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dc.contributor.advisorGwóźdź, Andrzej-
dc.contributor.authorGruenpeter, Natalia-
dc.description.abstractThe aim of the present thesis is to embrace the common denominators between photography and cinema as they were in the beginnings of cinema. Via discovery of the tensions and intersections between the moving image and the still frame in the early motion pictures, and juxtaposing them with the chosen instances of the nineteenth century photography, the author explores the relationships bonding and/or differentiating the two modes of the act of seeing with its technologically-imposed indirectness, which, in turn, shaped the new ways of understanding and (re-)presenting the time, the body and the remembering. The early days of cinema are examined in the context of the contemporary revival the bond between the photography and motion picture has been undergoing, as one can clearly observe in the digital convergence, audiovisual arts and cinema-inspired photography. The questions undertaken in the course of the present thesis, one may argue, incorporate themselves in the “turn towards the history” trend, a significant constituent of the modern still/moving field study which accordingly scrutinizes the liaisons between the still and the moving images.pl_PL
dc.publisherKatowice : Uniwersytet Śląskipl_PL
dc.titleCzas, ciało, pamięć : fotografia w paradygmacie kinapl_PL
Appears in Collections:Rozprawy doktorskie (W.Hum.)

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