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Wenders w imperium znaków

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Zając B.
Panoptikum
|
2009
|
issue 8(15)
193-200
EN
Making use of the convention of diary film (Ein gefilmtes Tagebuch) Wim Wenders seeks for the sacred images of the past, images of the city captured by another director, Yasujiro Ozu. Wenders’ perspective is quiet ambivalent; at the same time he tries to remain open minded in order to find other artist’s images and transfers his European perspective – sorrow – on Tokio’s landscapes. Paradoxically, instead of travelling he stays at home, in Germany, projecting “the well-known” rather than seeking for the new.
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