Pograniczność sztuki i filmoznawstwo interdyscyplinarne. Przykład poezji "filmowej"
| dc.contributor.author | Koschany, Rafał | |
| dc.date.accessioned | 2013-05-08T12:07:35Z | |
| dc.date.available | 2013-05-08T12:07:35Z | |
| dc.date.issued | 2012 | |
| dc.description.abstract | The starting point of this reflection is to emphasize that the first theories of film were interdisciplinary, which was determined by the nature of film as a synthetic art. However, as the time goes by, we can observe a reverse tendency: now other fields of art are becoming film-like. Therefore, it is necessary to theoretically analyze this borderline between different fields of art and, consequently, the interdisciplinarity of film studies. In this article I analyze Polish poetry which owes much to film on many levels. This poetry can be classified based on two main criteria: the subject (the presence of cinema itself, directors, actors, and particular films in this poetry) and the substance. Apart from historical and theoretical literary problems, the main aim of studying film poetry is culture as such, namely: the presence of the media in everyday life, film consciousness, the ways of perceiving reality and, finally, the shape of imagination which I call film imagination. | pl_PL |
| dc.identifier.citation | Człowiek i Społeczeństwo, 34/2012, s.79-91 | pl_PL |
| dc.identifier.issn | 0239-3271 | |
| dc.identifier.uri | http://hdl.handle.net/10593/6139 | |
| dc.language.iso | pl | pl_PL |
| dc.publisher | Wydawnictwo Naukowe Uniwersytetu im. Adama Mickiewicza | pl_PL |
| dc.title | Pograniczność sztuki i filmoznawstwo interdyscyplinarne. Przykład poezji "filmowej" | pl_PL |
| dc.type | Artykuł | pl_PL |