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  1. 2 Kwartalnik Filmowy

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  1. 1 2007

  2. 1 2006

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  1. 1 Kruk A.

  2. 1 Rutkowska T.

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1

Syllepsis in Woody Allen's Films

100%
Kruk A.
Kwartalnik Filmowy
|
2007
|
issue 60
172-182
EN
The aim of this article is to show the sylleptic character of Woody Allen's films. The author attempts to transplant the concept of the sylleptic subjectivity of literary science onto a ground of film science, blurring the line between the textual 'self' and real 'self'. Syllepsis is designed to constitute the strategy of self-presentation, which allows the author to get away from the explicit character of biographism and hide behind his hero who has many qualities of the author himself and at the same time is literally not his portrait. This strategy appears to be appropriate to the postmodern world in which the line between reality and fiction has faded away, however Allen's films can constitute its model example. This is confirmed by 'Annie Hall', 'Zelig', 'The Purple Rose of Cairo' or 'Deconstructing Harry'. Furthermore, syllepsis is also a model of the reception in which the author is read through the world represented in his works.
2

Woody Allen's Play with Hollywood Conventions

100%
Rutkowska T.
Kwartalnik Filmowy
|
2006
|
issue 56
25-36
EN
The authoress writes about Woody Allen's ironic and nostalgic ties with the tradition of Hollywood's film genres. In his movies, Allen places the elements encouraging the viewer to join a peculiar intertextual game. He uses direct or indirect visual and verbal quotes from the classical movies of the Golden Era of Hollywood. Such references are not only made in 'The Purple Rose of Cairo', or 'Play it Again', 'Sam' (a play and film written by and starring Woody Allen and directed by Herbert Ross), where the story centres on how cinema could change the lives of film heroes. Such references can only be seen in all his movies. Parodies of various genres seem to be of special interest; 'Sleeper', a parody of science-fiction genre, 'Manhattan Mystery Murder' - in which you can find elements of the crime mystery movie or 'Everyone Says I Love You' in which he ironically revives the formula of the classical musical.
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