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SLOWACKI'S 'BENIOWSKI' AND TUWIM'S 'POLISH FLOWERS' AND THE CONVENTIONS OF FILM EDITING (Beniowski i Kwiaty polskie - Reguly montazu filmowego)

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Michalowski P.

Ruch Literacki

2009

vol. 50

issue 6(297)

463-477

This article discusses the way in which the narrative technique of Juliusz Slowacki's 'Beniowski' and Julian Tuwim's 'Polish Flowers' appears similar to film editing with its staple devices like close-ups, long shots, cuts and crosscuts, montage and sequencing techniques. While acknowledging the limits of comparability of literature and film, it is possible to see in Slowacki's digressive poem an anticipation of film techniques. The latter poem, on the other hand, exhibits the author's programmatic inspiration by the cinema. The methods of handling time shifts and movement between scenes, signalling levels of importance of various narrative subjects and indicating the modality of a represented action are hardly different. So for example the device of withdrawal of the camera eye from the scene, at times even beyond the frame of the fictional world is common both to the digressive poem and the autothematic film. Finally, the different kinds of shifts between scenes/digressions can, in a way, be the equivalent of the metaphoric and metonymic mode.

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1 Ruch Literacki

1 2009

1 Michalowski P.

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SLOWACKI'S 'BENIOWSKI' AND TUWIM'S 'POLISH FLOWERS' AND THE CONVENTIONS OF FILM EDITING (Beniowski i Kwiaty polskie - Reguly montazu filmowego)