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EPISTEMISCHE STILE DER VERGEGENWÄRTIGUNG. FRANZÖSISCHES UND UNGARISCHES MITTELALTER AUF DER PARISER WELTAUSSTELLUNG 1900

100%
Carqué B.
ARS
|
2009
|
vol. 42
|
issue 1
64-80
EN
The article examines a specific role of medieval architectural language at the 1900 Paris World Exposition. Two ephemeral buildings evocated the presence of the history in a seemingly similar way: partial citations from different epochs - with a specific stress put on the Middle Ages - were mixed together to make stunning ensembles. The similarity of approach and overall impression hid cardinal differences. While in the case of the Hungarian pavilion the medieval citations impersonated the basis for the political and cultural self-concept of the nation, in the case of the French ensemble - Le Vieux Paris - they were instrumental in a merely nostalgic interest in the history of the city.
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ITALSKÝ WESTERN JAKO ZDROJ IKONOGRAFICKÉ, SPEKTAKULÁRNÍ A ŽÁNROVÉ REVITALIZACE. INTERTEXTOVÉ ODKAZY, CITACE A PARAFRÁZE VE WESTERNECH QUENTINA TARANTINA

100%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
|
2016
|
vol. 64
|
issue 1
51 – 66
EN
This study deals with the intertextual references, citations and paraphrases of Italian popular genre western all'italiana (western in the Italian style) in American westerns by Quentin Tarantino. Main emphasis is placed on thematic, narrative, stylistic and mainly on iconographic, socio-cultural and musical contexts between two Tarantino's movies Django Unchained (2012) and The Hateful Eight (2015) and westerns of some Italian directors that filmmaker reflects in his no-western movies yet. Citation level is analysed on example of general characteristics of Italian western and on example of work by some directors (for example Sergio Corbucci, Sergio Sollima, Giulio Petroni, Tonino Valerii, Duccio Tessari and others), from whose movies Tarantino takes and modifies selected scenes, shots, situations and replicas of characters. The study follows the process of revitalization of genre, iconographic, socio-cultural, spectacular and musical elements in Tarantino's westerns that represent a cinematic tribute to Italian westerns and their directors. The text examines also international phenomenon and cult status of character Django in the context of Corbucci's original movie and movies of other filmmakers. This study explores also archival songs and music themes from Italian westerns used by Tarantino in his movies and his first collaboration with composer Ennio Morricone on original music for his last western. On the basis of this collaboration Tarantino changed stylistic level of using styles, genres and trends of archive music of 60's and 70's. Similarly also Morricone composed for western new and atypical score that is very different from his music for Italian westerns in period of 60's and 70's.
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