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  1. 2 Kwartalnik Filmowy

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  1. 2 Chmielecki K.

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  1. 2 2006

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1

'Painting by Windows' or 'mise-en-page' Aesthetics in Peter Greenaway's Films

100%
Chmielecki K.
Kwartalnik Filmowy
|
2006
|
issue 53
82-99
EN
Peter Greenaway's film-making, discussed within the context of British cinema, reveals a number of features that have led British critics and film makers to reject his work.The author uses the example of Greenaway's latest films to examine their aesthetics in the paradigm of mise-en-page aesthetics, understood as a variant of surface aesthetics. The adoption of this assumption makes him discuss its individual features as: 'active surface aesthetics', the aesthetics of writing (or calligraphy) and Windows aesthetics. The conceptions show the features of Greenaway's latest films: use of TV pictures and video, morphing as the governing principle of the organisation of visual space, encrustation of writing and the texture of paintings to frames and their visual structure of hypertext. Author's conclusion is that the aesthetics of Greenaway's latest films turns out to be the aesthetics of allegory.
2

Aesthetics of Mise-en-scene vs. Aesthetics of Mise-en-page, or on Two Aesthetics of the Electronic Image

100%
Chmielecki K.
Kwartalnik Filmowy
|
2006
|
issue 54-55
16-30
EN
The question of the film-reality relation was the basic issue of classic film theory. The problem is gradually relativized, as the relation is reversed or cancelled out by digital media used in film production. In this situation, the cinematic image may be understood as an electronic (analogue-digital) one. This assumption made, the aesthetics of the e-image makes use of both the aesthetics of mise-en-scene ('put in the scene') and aesthetics of mise-en-page ('put on the page'). The two theoretical perspectives show the opposing sides of the same phenomenon. The aesthetics of mise-en-scene focuses on the issue of 'representation' and is discussed as the aesthetics of the analogue image. The aesthetics of mise-en-page uses the term 'presentation' and may be treated as the aesthetics of the digital image. In this way, the electronic image takes on a status of an '(inter)medial hybrid', which largely determines its specificity.
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