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Thomas Elsaesser a studia filmoznawcze

100%
Przylipiak M.
Facta Ficta. Journal of Theory, Narrative & Media
|
2019
|
vol. 3
|
issue 1
149-171
EN
Mirosław Przylipiak in his essay paints a comprehensive picture of Thomas Elsaesser’s professional development as a scholar of film and media studies. The paper also concentrates on his organizational activities, focused on promoting audiovisual culture, which unveil his broad intellectual pursuits. Przylipiak investigates Elsaesser’s academic background, drawing attention to his major areas of contribution to film studies: the history of German cinema, classical and post-classical American cinema, and film theory. With regard to the latter, the essay discusses Elsaesser’s original, multidisciplinary approach that combines various scholarly orientations in order to situate film within broader discussions in philosophy, anthropology, art history, media studies, and cultural studies. It highlights that Elsaesser creatively draws from many methods without fully subscribing to any of them, and in doing so he manages not to fall into theoretical contradictions. The article navigates the reader toward Elsaesser’s numerous organizational activities. It focuses on his institutional work which led to the establishment of several educational programmes and the creation of a book series dedicated to film and media at the University of Amsterdam. The paper then outlines Elsaesser’s contribution to the ongoing discussion on contemporary complex film narratives, which he called mind-game films. In this context, Przylipiak focuses on the issue of agency, as one of the dominant and recurring issues explored by Elsaesser in his large body of work on films, particularly with regard to his studies on mind-game films. The essay ends with reflections on Elsaesser’s philosophical understanding of film’s ontological status and his reflections on film studies as academic discipline.
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Przyjemność na granicy dyskomfortu

86%
Przylipiak M.
Kwartalnik Filmowy
|
2020
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issue 110 Poza człowiekiem
213-218
PL
Artykuł jest recenzją książki Barbary Szczekały pt. Mind-game films. Gry z narracją i widzem (2019). Książka kładzie nacisk na komplikacje i zawiłości narracyjne filmów gier umysłowych. Zadaniem odbiorcy byłoby te zawiłości zrozumieć, z rozsypanych puzzli ułożyć spójny obrazek, zagadki i tajemnice wyjaśnić. Odbiór ma charakter racjonalny, jego opis jest ujęty w ramę psychologii poznawczej. Przeciwstawiony jest mu drugi typ odbioru (autorka książki za nim optuje), wedle którego odbiorcy filmów gier umysłowych szukają w nich przede wszystkim ucieleśnionych emocji. Szczekała charakteryzuje bliżej trzy rodzaje takich emocji, które nazywa terrorem identyfikacji, ekscesem nagromadzenia oraz dyskomfortem poznawczym. Choć są to doznania nieprzyjemne, zdaniem autorki to właśnie one przyciągają widza do tego typu kina.
EN
The paper is a review of a book by Barbara Szczekała entitled Mind-game films. Gry z narracją i widzem [Mind-game Films: Games with Narrative and Spectator] (2019). The subject of the book is the current of “mind game films”, and the book is particularly concerned with the issue of the viewer’s reception of such films. Two modes of reception are confronted with each other. In the first one the emphasis is put on the complexity of mind-game films. The viewer’s task would be to straighten up this complexity, to complete a puzzle, to answer the riddles and solve mysteries. The reception is rational in nature, and the whole issue is put in the framework of cognitive psychology. This mode is juxtaposed to another one (the author opts for it), according to which the admirers of such films strive especially for embodied affects. Three such affects are described in detail: terror of identification, excess of accumulation and cognitive discomfort. Although these affects are rather unpleasant, the author insists that they attract the viewer to this kind of cinema.
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