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Aesthetics of Mise-en-scene vs. Aesthetics of Mise-en-page, or on Two Aesthetics of the Electronic Image

100%
Chmielecki K.
Kwartalnik Filmowy
|
2006
|
issue 54-55
16-30
EN
The question of the film-reality relation was the basic issue of classic film theory. The problem is gradually relativized, as the relation is reversed or cancelled out by digital media used in film production. In this situation, the cinematic image may be understood as an electronic (analogue-digital) one. This assumption made, the aesthetics of the e-image makes use of both the aesthetics of mise-en-scene ('put in the scene') and aesthetics of mise-en-page ('put on the page'). The two theoretical perspectives show the opposing sides of the same phenomenon. The aesthetics of mise-en-scene focuses on the issue of 'representation' and is discussed as the aesthetics of the analogue image. The aesthetics of mise-en-page uses the term 'presentation' and may be treated as the aesthetics of the digital image. In this way, the electronic image takes on a status of an '(inter)medial hybrid', which largely determines its specificity.
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(„Wędrujące pojęcia”. Koncepcja Mieke Bal – przykład inter- czy transdyscyplinarności?

70%
Tabaszewska J.
Studia Europaea Gnesnensia
|
2013
|
issue 8
113-130
PL
The notions of inter- and transdisciplinarity represent categories which the humanities frequently resort to in the discourse, but which remain difficult to define.  The attempts to do so are most often associated with subscribing to one of the possible models of interpreting relationships between individual disciplines of science. Mieke Bal’s concept of transdisciplinarity, which this paper discusses, envisages a framework where the privileged form of formulating scientific concepts would be in research practice that is rooted not only in the methodologies of individual sciences but most of all in the everyday practices and experiences.   
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