Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  EARLY CINEMA
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Audiosfera wczesnych kin na przykładzie Wrocławia

100%
Dębski A.
Prace Kulturoznawcze
|
2012
|
vol. 13
157-169
EN
Using Wrocław as an example, the author examines the audiosphere of early cinemas, i.e. those from before WWI. Cinemas were never “silent,” because they were always accompanied by sound. Transformations of their audiosphere reflected the growing status of this new form of entertainment. The author focuses mainly on recitation and music. The latter in particular played a significant part in the growth of the status of cinemas in the cultural life of the city. First pianists then larger orchestral bands were just as important for the attractiveness of any show as the pictures on the screen. This was especially important for women and fitted in well with the emancipating nature of cinema in an era in which women fought for a right to vote. The cultural context associated with the growing popularity of cinemas cannot be reduced only to visual sensations related to the development of film art. It was influenced by many more factors, with the audiosphere playing an important part in the process.
2

CINEMA SURFACE DESIGN (Projekt powierzchni kina)

75%
Lippit A. M.
Kwartalnik Filmowy
|
2009
|
issue 65
30-47
EN
The author analyses the matter of the surface: the surface of cinema and of the screen, a space that seems to be flat but at the same time hides and reveals a strange depth, a folded volume. Looking at the first films of the brothers Lumiere and other examples of early cinema, and using Tom Gunning's metaphor of 'absorption' and 'swallowing', the author attempts to describe the strange moment of collision between the spectator and the energy of film, the space of cinema. The gesture of this contact is like a swallowing. What awaits the spectator at the projected point of collision is an imaginary depth that opens from the other side of the screen. He explores the question of the cinema as bilateral reality, where the surface is the border between inside and outside. In his analysis he refers to the concepts and theories of Maurice Merleau-Ponty, Gilles Deleuze, and Sigmund Freud. What we get is a fascinating psychology (or maybe rather psychoanalysis) of cinema, of its movement. The early cinema being the forgotten, but important trace.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.