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Photogenic qualities of aquatic landscapes in the works of Roman Polański

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Kita B.

Polish Journal of Landscape Studies

2020

vol. 3

issue 6

109-120

In his debut feature film, Knife in the Water (1961), and then in the subsequent films Cul-de-sac (1966), Pirates (1986), Frantic (1988), Bitter Moon (1992), Death and the Maiden (1994), and The Ghost Writer (2010), Roman Polański uses the element of water in a significant way. It is particularly interesting when water is visible and constitutes a crucial element of the films’ narrative-woven from water images and aquatic landscapes. So, how do aquatic landscapes function in Polański’s films? I believe that he develops his individual film style in which the element of water-its being filmed-both emphasizes the protagonists’ motivation, often conditions it, and is also a very important detail which shapes images and, therefore, affects the aesthetics of those images. Does a specific kind of aesthetics created by aquatic landscapes-which are characterized by a particular form of photogeneity-exist? Polański certainly does not use common visual clichés. The beauty of his aquatic landscapes is of a different type. They are interesting, original, non-intrusive, yet noticeable-even if they do not dominate the whole image. The text follows the director’s visual strategies which prove the photogenic potential of his films. I argue that this photogeneity-stemming from, inter alia, aquatic landscapes-determines the attractiveness of Polański’s films.

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1 Polish Journal of Landscape Studies

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1 2020

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Photogenic qualities of aquatic landscapes in the works of Roman Polański