Otwarcie filmu fabularnego, jego funkcje i znaczenie

• Authors: Grzegorz Jaroszuk

Title variants

EN

Opening of the film and its functions

• Languages of publication: PL

Abstracts

PL

Opening of the film and its functions Legendary American producers who’d accepted to read tens of scripts had a justified approach to read only first ten pages. Although on a first sight it may appear negligence, they knew well that if they are not convinced by the first pages of the script, it is very likely that the audience won’t feel convinced either. The article concerns the role of the film opening and its structure. Its functions and transformations are described upon the examples of films by Ingmar Bergman and Paul Thomas Anderson.

EN

Legendary American producers who’d accepted to read tens of scripts had a justified approach to read only first ten pages. Although on a first sight it may appear negligence, they knew well that if they are not convinced by the first pages of the script, it is very likely that the audience won’t feel convinced either. The article concerns the role of the film opening and its structure. Its functions and transformations are described upon the examples of films by Ingmar Bergman and Paul Thomas Anderson.

Keywords

PL

opening of the film; first sequence; first 10 minutes

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2017
• Volume: 20
• Issue: 29
• Pages: 233-251

Dates

published

2017-08-17

Contributors

author

Grzegorz Jaroszuk

• Państwowa Wyższa Szkoła Filmowa, Telewizyjna i Teatralna im. Leona Schillera w Łodzi

References

• Anderson P.T., 2008, Tell the story! Tell the story! rozm. E. Pilkington, „The Guardian” [online], 4 stycznia, tekst dostępny na stronie: <www.guardian.co.uk/culture/2008/jan/04/awardsandprizes>
• Arystoteles, 1989, Poetyka, przeł. i oprac. H. Podbielski, Wrocław
• Bergman I., 1993, Obrazy, przeł. T. Szczepański, Warszawa
• Campbell J., 1997, Bohater o tysiącu twarzy, przeł. A. Jankowski, Poznań
• Field S., 1998, Pisanie scenariusza fi lmowego, przeł. W. Wertenstein, B. Pankau, słowo wstępne B. Michałek, Warszawa
• Gulino P.J., 2010, Screenwriting – the sequence approach, New York
• Schütte O., 2005, Praca nad scenariuszem, przeł. M. Borzęcka, A. Głowska, Warszawa
• Szczepański T., 1999, Zwierciadło Bergmana, Gdańsk
• Vogler Ch., 2009, Podróż autora: struktury mityczne dla scenarzystów i pisarzy, przeł. K. Kosińska, Warszawa

Identifiers

DOI

10.14746/i.2017.29.14