Sztuczne światy: postmodernizm w filmie fabularnym
Engl. Zsfassung u.d.T.: Artificial worlds : postmodernism in feature film
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Wrocław
Wydawn. Uniw. Wrocławskiego
2007
|
| Schriftenreihe: | Acta Universitatis Wratislaviensis
2934 |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017040064&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017040064&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Zusammenfassung: | Engl. Zsfassung u.d.T.: Artificial worlds : postmodernism in feature film |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Artificial worlds |
| Umfang: | 261 S. |
| ISBN: | 9788322927977 |
Internformat
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| 520 | 8 | |a Engl. Zsfassung u.d.T.: Artificial worlds : postmodernism in feature film | |
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Datensatz im Suchindex
| _version_ | 1819268768058048512 |
|---|---|
| adam_text | Spis treści
Wstęp
............................................................... 5
Część I
·
Postmodernizm w różnych dziedzinach kultury
Pierwsze zastosowania terminu
........................................... 11
Postmodernizm w literaturze
............................................. 12
Postmodernizm w architekturze
........................................... 39
Postmodernizm w sztukach plastycznych
.................................... 48
Postmoderna
w filozofii
................................................. 54
Część
II
·
Postmodernizm jako system sygnifikacji
Trzy systemy sygnifikacji
................................................ 67
Realizm i modernizm w filmie
............................................ 80
Postmodernizm w filmie (przegląd najważniejszych stanowisk badawczych)
........ 90
W poszukiwaniu antenatów
.............................................. 96
Techniki i strategie
..................................................... 100
Trzy postmodernizmy
................................................... 110
Sztuczne światy
........................................................ 169
Jak jeszcze można wykreować sztuczne światy?
.............................. 183
Podwójna lektura
-
czyli jak połączyć to, co było oddzielone
.................... 202
Jak wykorzystać kicz?
.............................................·..... 211
Zakończenie, czyli Amelia
............................................... 221
Bibliografia
........................................................... 224
Summary
............................................................. 240
Indeks filmów
......................................................... 242
Indeks nazwisk
........................................................ 252
Artificial
worlds
Postmodernism in feature film
Summary
The book Artificial worlds. Postmodernism in feature film consists of two main parts. The
first is a review of the most important academic approaches to postmodernism in literature,
architecture, fine arts and philosophy. The author devotes most of his attention to observa¬
tions on modernism in literature, because it was in this area that postmodernism appeared
first and it was in literature that its presence is particularly strong. The question, what is post¬
modernism, is preceded every time with a new look at the definition of modernism which is
a point of reference for the trend that followed it.
The second part is devoted to the problem of postmodernism in film. The author also
defines the most important features of the codes that preceded and complemented postmo¬
dernism
-
realism and modernism. This part begins with a table that presents the dominants
present in all these three signifying systems. The features of realism, modernism and post¬
modernism analysed by the present author are: the form, the interpretative dominant, the
dominant type of the world presented in various works, the dominant in the communication
model, the culture model, the most common way of viewing reality, the attitude to tradition,
and preferred values. The postmodernist model is characterised by a combination of formal
transparency and distortions of perspective; by the fact that the plot and the form are granted
an equal status. We can also notice the dominant role of the work s addressee; a combination
of elements of popular and high culture; rationalism and
iraţionalism;
as well as references
to the past and
individualisation
of attitudes or giving up of the problem of ethics. Yet the
most important determinant of postmodernism according to the present author is the con¬
sciously artificial nature of reality created in the work. Postmodernist works do not conceal
their fictional nature and they do it in a variety of ways. This is caused by the fact that certain
trends in art have exhausted themselves, that the fundamental questions of ethics have chan¬
ged and that certain transformations have taken place in the postmodern society.
Subsequent chapters deal with the ways of realising postmodernist dominant. The au¬
thor introduces a division of postmodernism in film into three main types: high, popular and
postmodernism proper. The first is a continuation of certain modernist ideas used in a new,
postmodern situation. The most interesting example of high postmodernism is, according to
the present author, the work of the English director Peter Greenaway. Popular postmodernism
is realised in two main ways. The first involves introducing to a film, which belongs to the
realistic system, elements that betray its fictional character; the second results from the fact
that some realist works resemble pastiche, functioning mainly as a hypurbolisation of a spe¬
cific genre. Postmoderniam proper utilises the biggest number of dominants ascribed to this
Summary
241
code, using postmodernist techniques in the name of the postmodernist strategy
-
the exam¬
ples of this paradigm analysed in the book are:
Tarantino
s
Pulp Fiction, Lynch s Blue Velvet
and Fargo by the
Coen
brothers.
In later chapters the author emphasises another postmodernist characteristic
-
artificia¬
lity of the worlds created in films. Works such as Greenaway s The Baby ofMacon, Weir s
Truman Show, Cronenberg s eXistenZ or Matrix by the Wachovsky brothers show that in
postmodernist times unequivocal separation of truth from falsehood, the stage from the au¬
ditorium, television studio from the street, computer-generated reality from everyday life is
extremely difficult and sometimes even impossible.
The artificiality of realities created in postmodernist works not only manifests itself dire¬
ctly in their plots, but can also be projected by means of other formal devices. Film-within-
film that appears is such works as Craven s Scream or Reisz s French Lieutenant s Woman;
exaggerated baroqueness and mannerism of the world created in Has Manuscript found in
Saragossa;
a conviction that the world follows specific rules of the game that we can find in
Fincher s Game, Laconte s Ridicule or films depicting modern erotic relationships such as
Lyne s Nine and a Half Weeks or Polanski s Bitter Moon are examples of various ways of
signalling the artificial character of the film reality examined in the present book.
Subsequent chapters examine the new reception model, implied by the unique character
of postmodernist works, as well as postmodernist attempts to use such extreme elements of
mass culture as kitsch.
Translated by Anna Kijak
|
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| id | DE-604.BV035234171 |
| illustrated | Not Illustrated |
| indexdate | 2024-12-20T13:26:30Z |
| institution | BVB |
| isbn | 9788322927977 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017040064 |
| oclc_num | 169956229 |
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| owner_facet | DE-12 |
| physical | 261 S. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Wydawn. Uniw. Wrocławskiego |
| record_format | marc |
| series | Acta Universitatis Wratislaviensis |
| series2 | Acta Universitatis Wratislaviensis |
| spellingShingle | Lewicki, Arkadiusz Sztuczne światy postmodernizm w filmie fabularnym Acta Universitatis Wratislaviensis Motion pictures / History / 20th century Postmodernism Kino - 1960-1990 - historia i krytyka jhpk Kino - 1990- - historia i krytyka jhpk Postmodernizm - w kinie jhpk Postmodernizm jhpk Film Geschichte Film (DE-588)4017102-4 gnd Postmoderne (DE-588)4115604-3 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4115604-3 |
| title | Sztuczne światy postmodernizm w filmie fabularnym |
| title_auth | Sztuczne światy postmodernizm w filmie fabularnym |
| title_exact_search | Sztuczne światy postmodernizm w filmie fabularnym |
| title_full | Sztuczne światy postmodernizm w filmie fabularnym Arkadiusz Lewicki |
| title_fullStr | Sztuczne światy postmodernizm w filmie fabularnym Arkadiusz Lewicki |
| title_full_unstemmed | Sztuczne światy postmodernizm w filmie fabularnym Arkadiusz Lewicki |
| title_short | Sztuczne światy |
| title_sort | sztuczne swiaty postmodernizm w filmie fabularnym |
| title_sub | postmodernizm w filmie fabularnym |
| topic | Motion pictures / History / 20th century Postmodernism Kino - 1960-1990 - historia i krytyka jhpk Kino - 1990- - historia i krytyka jhpk Postmodernizm - w kinie jhpk Postmodernizm jhpk Film Geschichte Film (DE-588)4017102-4 gnd Postmoderne (DE-588)4115604-3 gnd |
| topic_facet | Motion pictures / History / 20th century Postmodernism Kino - 1960-1990 - historia i krytyka Kino - 1990- - historia i krytyka Postmodernizm - w kinie Postmodernizm Film Geschichte Postmoderne |
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