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

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Terry Gilliam
help Sort By:

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

Miasto w stanie płynnym. Filmowa analiza „papierowej architektury” na przykładzie „Instant City” (1968) Petera Cooka i Rona Herrona oraz „Teorii wszystkiego” (2013) Terry’ego Gilliama

100%
Stasiowski M.
Kwartalnik Filmowy
|
2020
|
issue 109 Przestrzeń architektoniczna w filmie
159-176
PL
Wprowadzenie mediów bazujących na przebiegu czasowym na etapie projektowym wiązało się z nowym rozumieniem przestrzeni reprezentowanej i architektonicznej jako tworu dynamicznego i poniekąd zdematerializowanego. Projekty architektoniczne nieprzeznaczone do wybudowania zawsze wiązały się ze specyfiką medium/nośnika. Nieraz ich radykalna estetyka łączyła tradycyjne metody notacji ze współczesnymi prądami w sztuce, jak pop-art w przypadku prac Archigramu. Kino jest kolejnym gruntem, na którym mogą być realizowane tego typu eksperymenty myślowe. Przypadek Instant City jest w historii „papierowej architektury” szczególny, gdyż antycypuje miejskie życie w czasach Web 2.0, z kolei Teoria wszystkiego Terry’ego Gilliama dobitniej uwypukla bezradność urbanistycznej armatury w nadążaniu za zmianami. W swym artykule autor koncentruje się na najbardziej medialnym aspekcie prowadzonej przez dekady polemiki, czyli fasadach medialnych, ikoniczności, immersji w środowiska wirtualne, responsywnych skórach budynków, spekulując na temat granicy między architekturą a wydarzeniem. [artykuł opublikowany w języku angielskim jako: Built as Rain. Film Analysis of Unbuildable Architectural Speculations – a Case Study of „Instant City” (dir. Peter Cook and Ron Herron, 1968) and „The Zero Theorem” (dir. Terry Gilliam, 2013)]
EN
The introduction of time-based media into the design stage opened up a new understanding of architectural and represented space as a dematerialized, dynamic, and user-dependent concept. Unbuildable architectural projects always relied on specific techniques and media. Their radical nature usually channelled innovative artistic currents and visualization tools, like collage and pop art aesthetics in the works of Archigram. Cinema is yet another ground for such deliberations. With Instant City (Archigram’s Peter Cook and Ron Herron) and The Zero Theorem (Terry Gilliam) the problem of dematerialization is being channelled by architectural/spatial proposals that involve a range of literary tropes, cultural texts, and filmic intertexts, in order to create a rich embroidery of references that forward a new look upon architectural production as a practice of creating protocols for dynamic and all the more elusive imagery. This article’s central objective lies in the task of reframing a discussion on iconicity, media facades, and mutative building skins, so as to include modes of cinematic portrayal that are not just contents of architectural “messages”, but also their “media”.
2
Publication available in full text mode
Content available

Figura mitologicznej Kasandry w filmach science fiction

55%
Rojek P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2020
|
vol. 28
|
issue 37
234-246
EN
The article reflects on how characters with the features of the mythological Cassandra function in science fiction films. Such references are part of the rich tradition of building fictional depictions of the near or distant future on the foundation of mythical stories. The study aimed to examine the considerable and complex meaning which Cassandra conveys through the ages and to determine its usefulness in constructing pop culture ideas about the current condition of humanity. In contemporary fiction, Cassandra is brought to the fore more often than in ancient sources, and her fullest portrait is drawn in those films that both consider her a figure of the powerlessness of the prophets and take into account her personal drama. In Terminator 2: Judgment Day (1991) by James Cameron, 12 Monkeys (1995) by Terry Gilliam, Minority Report (2002) by Steven Spielberg, and Arrival (2016) by Denis Villeneuve, the figure of Cassandra is examined through her prophetic gift, the alleged madness of the seer and the fearfulness of the prophetism itself.
3

Don Kichot niewierny: kontrkulturowość niespełnienia

51%
Barbaruk M.
Prace Kulturoznawcze
|
2018
|
vol. 22
|
issue 3
27-39
EN
The author analyzes the cultural status of the unfinished adaptations of Don Quixote of Miguel de Cervantes, which were worked on for years by Orson Welles (1955–1985) and Terry Gilliam (1991–2018). Although there are many films about the errant knight, these two projects still arouse interest of critics, viewers and filmmakers. Barbaruk initially puts these perplexing obsessions in the context of the idea of film maudit and the romanticism of interpretations of Don Quixote, but considers that only referring to modernity, which is the embodiment of the film industry, makes it understandable. In the unfinished projects of Welles and Gilliam the author sees the potential for self-creation and interpretation (underlining of openness of Cervantes’s novel and the autonomy of its heroes) and a counter-cultural, critical force aimed at contemporary finality.
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.