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  1. 2 Kwartalnik Filozoficzny

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  1. 1 Konicka H.

  2. 1 Żyznowski W.

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  1. 1 2011

  2. 1 2010

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Romana Ingardena “Kilka uwag o sztuce filmowej” w perspektywie dzisiejszej

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Konicka H.
Kwartalnik Filozoficzny
|
2010
|
vol. 38
|
issue 3
69-81
EN
This article considers the originality of Ingarden’s approach to the cinema with respect to the classical theory of the Seventh Art. Among the philosopher’s observations it brings out in full relief the points of convergence and anticipation with respect to contemporary ideas on the subject of film inspired by inquiries concerning the processes of cognition. The illusion of perceptive flux, the material’s status and the pragmatic function of cinematographic representation, the interactive relation between movie and spectator, diegesis as a cognitive-perceptive structure are the subjects of reflexion considered in Ingarden’s work devoted to moving pictures.
2

O budowie obrazu fotograficznego na podstawie teorii budowy obrazu malarskiego Romana Ingardena

100%
Żyznowski W.
Kwartalnik Filozoficzny
|
2011
|
vol. 39
|
issue 4
73 - 84
EN
The purpose of this article is to consider the similarities and differences that arise during the analysis of the structure of a photographic image, using Roman Ingarden’s theory of the structure of a painting. By drawing an analytical parallel between the layers of both works, the article shows that it is possible to identify the necessary and unnecessary layers of a photographic image. It also notes that the process of taking a photograph is the reverse of the process of creating a painting: the latter progresses from (real) objects, through their appearances in the form of light reflected from them, being drawn on the base material, until they finally become visible as stains. The difference between the above types of images comes also from the fact, that photography, unlike a painting, cannot be abstract.
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