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  1. 2 Kwartalnik Filmowy

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  1. 2 Zajac B.

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  1. 1 2010

  2. 1 2009

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1

ELEGY FOR CONTESTATION MOVEMENT IN THE 'IMAGES OF THE FLOATING WORLD' (Elegia dla ruchów kontestacyjnych w 'obrazach Przeplywajacego Swiata')

100%
Zajac B.
Kwartalnik Filmowy
|
2009
|
issue 65
197-208
EN
This essay discusses the aesthetic correspondences of Japanese new wave cinema with the iconography of premodern Japan, 'images of the floating world' (ukiyo-e), shunga pornography and kabuki theatre. Associations between ukiyo-e and new wave cinema are exemplified on one of the most significant movies of the decade, 'Buraikan' (1970) by Masahiro Shinoda. On the bases of aesthetical and narrative conjunction Shinoda recovers the cultural continuity, which seemed to be irretrievably ruptured as a result of the World War II and the nationalistic Japanese politics.
2

BETWEEN WORD AND IMAGE. THE DISCOURSE OF ESSAY-FILM (Miedzy slowem a obrazem. Dyskurs eseju filmowego)

100%
Zajac B.
Kwartalnik Filmowy
|
2010
|
issue 71-72
75-96
EN
Despite being subjective, at the structural and formal level, essay-film reveals many characteristics of forms described in Bill Nichols' typology of nonfiction cinema under the concept of expository mode. It is the replacement of the images of 'reality itself', with its spatiotemporal coherence, by the fragmentary images in new discursive relations with worlds that shows clear affinity between essay film and propaganda documentary. Also the figure of author and its voice bears some similarities with voice-of-God as a mode of narration specific to Nichols' expository documentary. Of course discourse of essay-film is rather polysemantic, opening itself to a dialogue with spectator. But it is also true that this essayistic sense of dialogism can be a trap for a reader. Zajac does not pass over such examples of essayistic pitfalls, but the hard core of his argumentation is focused on the strategies of weakening, deconstructing and sometimes even gradual obliterating of coherent authorial instance.
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