Ciało biologiczne vs. ciało ekranowe – dynamika napięć w kinie efektów specjalnych
Biological Body Vs Screen Body – The Dynamics Of Tensions In Special Effects Cinema

Summary/Abstract: From its very beginnings trick cinema permitted the modifications of the human (and non-human) body and expand its range of properties. That which in the final film image became the body of superhuman heroes, the hybrid of human and inhuman elements, the multiplied body as well as the mutilated body, was in the cinema of the past and in its modern digital practice a construction of complex technical and biological apparatuses in which the bodies of actors and other living creatures taking part in the realization of the film were subjected to various reconfiguration, the absorption of virtual elements, and a kind of pressure and tension. These tensions required biological bodies and their agents to adapt to the camera, develop negotiation techniques, and sometimes involved a variety of constraints, and even suffering. The dialectic of the screen and biological body is presented in the article in the historical perspective, with particular focus on the cinema of modern digital effects. Stasieńko discusses selected imaging techniques that reveal the tension between technology and the body, such as selected prosthetics and characterization, actor immobilisation technologies, alternative models of creating the bodies on screen (virtual and biological equivalents).

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