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Please use this identifier to cite or link to this item: http://hdl.handle.net/20.500.12128/3493
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dc.contributor.authorKempna-Pieniążek, Magdalena-
dc.date.accessioned2018-05-10T09:56:40Z-
dc.date.available2018-05-10T09:56:40Z-
dc.date.issued2012-
dc.identifier.isbn9788322620892-
dc.identifier.isbn9788380125032-
dc.identifier.urihttp://hdl.handle.net/20.500.12128/3493-
dc.description.abstractThe book was devoted to the place Marc Forster’s output is given in the category of imagination. In the first part the author outlines the most important theories of imagination, starting from the ancient conceptions and phenomenology to contemporary philosophy and film thought. When discussing the opinions of such researchers as Gaston Bachelard, Jean-Paul Sartre, Hanna Segal, Paul Ricoeur, Edgar Morin and Gilles Deleuze conclusion on a multidimensional understanding of this problem and its entanglement into contemporary redefinitions of such categories as memory can be drawn. The second part of the book constitutes a collection of analyses of Marc Forster’s movies (Finding Neverland, Stay, Stranger than Fiction, The Kite Runner, Monster’s Ball, Quantum of Solace). The author presents the levels on which the concept of imagination understood as a psychological, aesthetic or philosophical , and, above all, anthropological category appears in director’s works in five subsequent scenes. In her interpretations, she makes use of different research tools, including, René Girard’s or Roland Barthes’ theories. She also refers to, among others, the problems of movie authorships, postmodern movie, contemporary collections of phantasms, and the occurrence of mythic structures in pop culture at the turn of the 20th and 21st centuries. Although the most popular Forster’s works constitute the core issue, the author also touches upon his less known projects, such as a debuting movie Everything Put Together or a commercial LX Forty. Conclusions from the analyses conducted, included in the book, correspond with the latest theories of imagination. In the light of Forster’s works imagination presents itself as a category tightly connected with memory, identity or subjectivitypl_PL
dc.language.isoplpl_PL
dc.publisherWydawnictwo Uniwersytetu Śląskiegopl_PL
dc.rightsUznanie autorstwa-Użycie niekomercyjne-Bez utworów zależnych 3.0 Polska*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/3.0/pl/*
dc.subjectMarc Forsterpl_PL
dc.subjectwyobraźnia w kiniepl_PL
dc.titleDziwniejsze niż fikcja : rola wyobraźni w filmach Marca Forsterapl_PL
dc.typeinfo:eu-repo/semantics/bookpl_PL
Appears in Collections:Książki/rozdziały (W.Hum.)

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Uznanie autorstwa - użycie niekomercyjne, bez utworów zależnych 3.0 Polska Creative Commons License Creative Commons