DC pole | Wartość | Język |
dc.contributor.author | Kita, Barbara | - |
dc.date.accessioned | 2021-05-06T12:38:08Z | - |
dc.date.available | 2021-05-06T12:38:08Z | - |
dc.date.issued | 2013 | - |
dc.identifier.isbn | 978-83-60743-75-1 | - |
dc.identifier.uri | http://hdl.handle.net/20.500.12128/20188 | - |
dc.description.abstract | Issues raised in the book concern the phenomenon of the freeze
frame image in fi lm. Th e slow motion image/freeze frame are thus the
core of refl ections reconstructed in the late (from the year 1980) artistic
practice of Jean-Luc Godard. Th e fi lm, video and television practice
combined with Godard’s theoretical essays become an exemplifi
cation for the narrative which has a form of a theoretical refl ection
upon the nature of an immobile/mobile image.
Th e book is comprised of six chapters, three of which are essentially
related to the constitution of freeze frames. Th e fi rst chapter,
which has an introductory character, provides an explanation of the
reasons for raising the subject and determines features of the late
style present in Godard’s work. Th e following chapter, Return to cinema,
gives an account of periodisation of the director’s artistic work,
at the same time refl ecting the critical moments in his artistic biography.
In this chapter the Author emphasises the signifi cance of the
so called “second fi rst fi lm” – Slow Motion (1979/80), seeing in it the
actual shift leading to fundamental technical, aesthetic and thematic
revaluations which have since continually accompanied Godard.
Th e subsequent chapters: Stop the motion/slow motion image, Still
images/paintings and Freeze frame/photography give an account of
technological and ontological determinants of an image, which are diverse for fi lm, video and photography. Th e Author is particularly
interested in aberrations within the fi lm motion which result in changes
of perception and plastic shaping of video-fi lm utterances. Visual
strategies used by Godard in his fi lm essays authorise inspirations by
painting and painting techniques, and also by photography as a specific
medium of memory and as an archive (archiving) of reality.
Alongside the refl ections upon painting in fi lm the Author raises
issues of cinematization, self-portrait, landscape and manner of
framing – which are important for fi lm and painting. She emphasises
the paradoxicality of both the very still images (fi xe, immobile)
in fi lm and their author’s activities consisting in mobilisation of still
painting and photographic images, and, simultaneously, the artist’s
will to bring fi lm and video images to a halt. Moreover, despite the
frequently experimental character of the performance of the pope of
the New Wave, the Author notices in Godard’s performance an evident
reversal to the cinematic tradition (silence of cinema, usage of
existing fi lm image-quotes).
Th e summary is a demonstration of the theoretical character of
Godard’s audiovisual endeavours, which means – neither more nor
less – the creation of a new quality of constructing theory in practice.
Th e Author, in the context of painting, photographic and „interimage”
perspectives, is inspired not only by refl ections and observations
by Jean-Luc Godard himself, but also by the theories of image
by R. Bellour, J. Aumont, A. Rouille and opinions on art, performance
and painting of L. Marin and H. Damisch. | pl_PL |
dc.language.iso | pl | pl_PL |
dc.publisher | Katowice : Uniwersytet Śląski | pl_PL |
dc.rights | Uznanie autorstwa-Na tych samych warunkach 3.0 Polska | * |
dc.rights.uri | http://creativecommons.org/licenses/by-sa/3.0/pl/ | * |
dc.subject | Jean-Luc Godard | pl_PL |
dc.subject | film | pl_PL |
dc.subject | fotografia | pl_PL |
dc.subject | obraz malarski | pl_PL |
dc.subject | obraz zatrzymany | pl_PL |
dc.title | Obraz zatrzymany : praktyka i teoria późnego Godarda | pl_PL |
dc.type | info:eu-repo/semantics/book | pl_PL |
Pojawia się w kolekcji: | Książki/rozdziały (W.Hum.)
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