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‘Through a Microscope from a Telescopic Distance’: Witkacy, Cameron and the Photography of Faces

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Fedorowicz-Jackowska A.

Ikonotheka

2020

vol. 30

31-49

Witkacy was a central figure of the Polish art scene in the first half of the twentieth century. A painter, writer, philosopher, art theorist, and playwright, he also imaginatively played with the photographic medium. This article will show that the most significant part of his photographic practice, carried on since his youth, was centered on faces. Debating the prevailing view that tends to see Witkacy as a lone visionary, I will argue that Julia Margaret Cameron’s photographic portraits inspired the artist’s style and approach to the genre of photographic portraiture.

Głos Joanny. O paragone sztuk w "Męczeństwie Joanny d'Arc" Carla Theodora Dreyera

84%

Mrozewicz A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

2009

vol. 7

issue 13-14

181-190

The last mute film in Carl Th. Dreyer’s oeuvre, The Passion of Joan of Arc (1928), is often referred to as a film “made of close-ups” and purely cinematic. Dreyer used to stress himself that close-up was the specific cinematic device that asserted film’s position as autonomous art. He especially insisted on film’s independence from theatre. Thus, it might sound quite surprising that in an interview from 1965, Dreyer draws attention to the underestimated, according to him, role of theatre in Joan of Arc. In my essay I focus on the theatricality in Dreyer’s film, arguing that “the theatrical” and “the cinematic” are two strategies used to present two different worlds of ideas and beliefs: that of the judges, clergymen and inquisitors, which at the same time is the world of males, and that of Joan, an illiterate woman who strives alone for her idea against a group of powerful men. What we observe in the film is a growing presence of ‘the cinematic’, the strategy allied with Joan, who in the final scene triumphs over the judges, just like cinema triumphs over theatricality.

The voice of Joan. On paragone in Carl Th. Dreyer’s “The Passion of Joan of Arc” The last mute film in Carl Th. Dreyer’s oeuvre, The Passion of Joan of Arc (1928), is often referred to as a film “made of close-ups” and purely cinematic. Dreyer used to stress himself that close-up was the specific cinematic device that asserted film’s position as autonomous art. He especially insisted on film’s independence from theatre. Thus, it might sound quite surprising that in an interview from 1965, Dreyer draws attention to the underestimated, according to him, role of theatre in Joan of Arc. In my essay I focus on the theatricality in Dreyer’s film, arguing that “the theatrical” and “the cinematic” are two strategies used to present two different worlds of ideas and beliefs: that of the judges, clergymen and inquisitors, which at the same time is the world of males, and that of Joan, an illiterate woman who strives alone for her idea against a group of powerful men. What we observe in the film is a growing presence of ‘the cinematic’, the strategy allied with Joan, who in the final scene triumphs over the judges, just like cinema triumphs over theatricality.

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1 Ikonotheka

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Fedorowicz-Jackowska A.

1 Mrozewicz A.

1 2021

1 2009

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‘Through a Microscope from a Telescopic Distance’: Witkacy, Cameron and the Photography of Faces

Głos Joanny. O paragone sztuk w "Męczeństwie Joanny d'Arc" Carla Theodora Dreyera