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CINEMA: QUESTIONING OBJECTS (Kino: pytanie rzeczy)

100%
Frac W.
Kwartalnik Filmowy
|
2011
|
issue 74
8-14
EN
The author attempts to present cinema from the point of view of an object. It appears that a film object gives rise to a number of fundamental, anthropological questions: about characteristic ways of experiencing being in time, about the existential character of memory and the need for meaning, and about basic directions of teleological cinematic visualization of reality. Analyzed here are the ideas present in traditional theories of film, as it is there, where the ontology of cinema was considered first. St. Augustine and Martin Heidegger define further steps of the philosophical reflection.
2

EIDOLON: FROM OBJECT POEMS TO OBJECTS IN FILM (Od wiersza o rzeczy do rzeczy w filmie)

100%
Koschany R.
Kwartalnik Filmowy
|
2011
|
issue 74
15-24
EN
The material world and in particular objects are a focus of great interest in anthropology, sociology, historiography, archeology and literature studies. And so in turn Koschany considers how objects and the material world are understood and analysed in film studies. One of the possibilities is the interdisciplinary comparative reflection upon the function and the ways of being of objects in film and literature. Koschany considers the example of object poems (Ding-Gedicht) and their film equivalent. The starting point in this comparison is to distinguish 'normal' objects (that are always subordinate in relation to subjects) from objects (things) that are of equal rank to men, understood in accordance to the framework provided by Kant, Husserl or Heidegger (hence the frequent references to philosophy). In the article two methods dealing with the analysis of things in poems and films are considered: the semiotic and the phenomenological. The author also considers the example of the word 'Rosebud', spoken by Citizen Kane, and its particular relation with another object - a child's sleigh.
3
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POSTMODERNÉ, KOGNITÍVNE, INTENCIONÁLNE, INŠTRUMENTÁLNE A SEMIO-PRAGMATICKÉ TEÓRIE DOKUMENTÁRNEHO FILMU

80%
Palúch M.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 4
328 - 337
EN
The author compares and contrasts theoretical approaches which contemporary film theorists and philosophers employ in an effort to capture the essence of non-fiction cinema. He explicates postmodern, cognitive, intentional, instrumental and semio-pragmatic theories of documentary film as we encounter them in the contemporary theoretical reflection, especially in works by Gregory Currie, Noël Carroll, Bill Nichols, David Bordwell, Carl Plantinga, or Roger Odin. Detailed attention is paid especially to three concepts/definitions/approaches to documentary production: Documentary as Indexical Record (Currie), Documentary as Assertion (Carroll) and Asserted Veridical Representation (Plantinga). The study aims to stimulate a discussion of Slovak documentary production that would reflect the current state of thinking about documentary film.
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