Angelologiczny traktat filmowy pomiędzy sztukami. O "Niebie nad Berlinem" Wima Wendersa

• Authors: Katarzyna Lisiecka

Title variants

EN

Angelologic treatise between the arts. On “The Wings of Desire” by Wim Wenders

• Languages of publication: PL

Abstracts

PL

Angelologic treatise between the arts. On “The Wings of Desire” by Wim Wenders The study titled Angelologic treatise between the arts. On “The Wings of Desire” by Wim Wenders undertakes to analyze aesthetic and cultural contexts which have impinged on the overall significance of the film. Commencing with the presentation of the angelic motifs and the relations they bear to the angelologic tradition of Western culture, the author identifies some thematic and formal elements which influenced the original concept of spiritual reality depicted in Wenders’s film. Due to its consistent fictional and artistic vision, the picture has been dubbed “the angelologic film treatise”. The second part of the article focuses on the analysis of the visual and musical aspects of the film. The most significant interpretative framework revolves around the concept of visual games and the topos of musical harmony (musica mundana, humana and instrumentalis). The issues under consideration demonstrate the great significance all the formal devices, both in terms of presented images and music, have in constructing deep layers of meaning. A particular importance should be assigned to these audio-visual elements that underscore the relevance of spiritual and existential aspects, constituting the substance of Wenders’s film.

EN

The study titled Angelologic treatise between the arts. On “The Wings of Desire” by Wim Wenders undertakes to analyze aesthetic and cultural contexts which have impinged on the overall significance of the film. Commencing with the presentation of the angelic motifs and the relations they bear to the angelologic tradition of Western culture, the author identifies some thematic and formal elements which influenced the original concept of spiritual reality depicted in Wenders’s film. Due to its consistent fictional and artistic vision, the picture has been dubbed “the angelologic film treatise”. The second part of the article focuses on the analysis of the visual and musical aspects of the film. The most significant interpretative framework revolves around the concept of visual games and the topos of musical harmony (musica mundana, humana and instrumentalis). The issues under consideration demonstrate the great significance all the formal devices, both in terms of presented images and music, have in constructing deep layers of meaning. A particular importance should be assigned to these audio-visual elements that underscore the relevance of spiritual and existential aspects, constituting the substance of Wenders’s film.

Keywords

PL

film and music; musca mundana; musica humana; musica instrumentalis; muzyka filmowa; Niebo nad Berlinem; Wim Wenders

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2009
• Volume: 7
• Issue: 13-14
• Pages: 191-204

Dates

published

2009-06-13

Contributors

author

Katarzyna Lisiecka

• Zakład Dramatu i Teatru, Uniwersytet im. Adama Mickiewicza w Poznaniu

References

• A. Gwóźdź, Aniołowie nad Berlinem, w: Wim Wenders. Wydano z okazji przeglądu filmów Wima Wendersa, Kraków 1993, s. 64-67. Przedruk za: „Kino" 1988, nr 4.
• K. Kaczor, Upadłe anioły. O Ewolucji postaci aniołów we współczesnej kulturze popularnej, w: Anioł w literaturze i kulturze, pod red. J. Ługowskiej i J. Ska¬wińskiego, Wrocław 2004, s. 325-330.
• A. Grzegorczyk, Anioł po katastrofie. Szkice z filozofii kultury, Warszawa 1995. A. Lewicki, Od Wspaniałego życia do Anioła w Krakowie. Filmowe obrazy anioła, w: Anioł w literaturze..., s. 331-339.
• Z Leszkiem Kołakowskim rozmawia Zbigniew Mentel, Kraków 2008, cz. II, s 187.
• H.-G. Gadamer, Aktualność piękna. Sztuka jako gra, symbol i święto, przeł. K. Krzemieniowa, Warszawa 1993, s. 34 i 35.
• W. Benjamin, Anioł historii. Eseje, szkice, fragmenty, wybór i oprac. H. Orłowski, Poznań 1996, s. 415 („Poznańska Biblioteka Niemiecka", t. 2).
• R. Rauh, Wim Wenders undseineFilme, München 1990; P. Buchka, Augen kann mannichtkaufen. Wim Wenders undseineFilme, München - Wien 1983.
• A. Helman, Na ścieżce dźwiękowej. O muzyce w filmie, Kraków 1968, s. 160-161.
• J. J. James, Muzyka sfer. O muzyce nauce i naturalnym porządku wszechświata, przeł. M. Go19] Zob. Z. Lissa, Estetyka muzyki filmowej, Kraków 1964, s. 236-243.
• C. Debussy, Monsieur Croche, przeł. A. Porębowiczowa, posłowie S. Jarociński, Kraków 1961, s. 38.

Identifiers

DOI

10.14746/i.2009.13.14.15