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:  film image
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Historia żółtej ciżemki – architectural space seen through the child’s eye

100%
Świt-Jankowska B.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2017
|
vol. 22
|
issue 31
13-20
EN
This article focuses on the interdependencies between the film images and architectural education of the youngest. The author has attempted to define what sort of background preconditions the film image to gain the status of a source for psychoeducation, with particular emphasis placed on spatial education. The article includes a case study of Sylwester Chęciński’s film: Historia żółtej ciżemki [The Story of a Yellow Crakow] (1962).
2
Publication available in full text mode
Content available

Image of the city and modern architecture in the Polish feature films of the 1960s’

100%
Nadolny A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2017
|
vol. 22
|
issue 31
135-144
EN
This article focuses on the inter-dependencies between the film image and architecture. The author has attempted to define what sort of historical background preconditions the film image to gain the status of a source for research on the history of Polish urban planning and post-war architecture, with particular emphasis placed on the 1960s.
3

Obraz szukajacy prawdy – „realizm metafizyczny” jako realizacja filmowej ontologii fenomenologicznej

72%
Sarbiewska J.
Kwartalnik Filmowy
|
2011
|
issue 75-76
68-85
EN
Sarbiewska considers the relation between the film image, phenomenological subject and the ontology of reality. She puts forward the notion of phenomenological ontology in film, which she calls “metaphysical realism”. The starting point for the proposed complex of meanings is, following André Bazin, the importance of ontological nature of film, which permits a very particular contact with reality. Using the notion of Edmund Husserl’s phenomenological reduction, Sarbiewska takes the film camera (a subjective act of perception), to be the equivalent of an act of pure, intentional awareness, that is directed towards revealing the “ineffable” essence of things (the truth of being). At the same time she emphasizes that the type of contemplative viewing, open in film vision, permits one to go beyond clear dualism of subject and object and that through per visibilia ad invisibilia leads the way for phenomenological intuition in film. In her analysis the author uses the work of Werner Herzog, and in particular the ontology and aesthetics contained in his films.
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.