Film. Kép. Nyelv
Film. Picture. Language
Contributor(s): Ágnes Pethő (Editor)
Subject(s): Fine Arts / Performing Arts, Photography, Visual Arts, Film / Cinema / Cinematography, Sociology of Art
Published by: Scientia Kiadó
Keywords: film;picture;language;medium;
Series: Sapientia Könyvek
- Print-ISBN-13: 978-973-795-367-4
- Page Count: 464
- Publication Year: 2007
- Language: Hungarian
CHIAZMATIKUS TALÁLKOZÁSOK A FILMI BEFOGADÁSBAN
CHIAZMATIKUS TALÁLKOZÁSOK A FILMI BEFOGADÁSBAN
(CHIASMATIC ENCOUNTERS IN THE PERCEPTION OF FILMS)
- Author(s):László Tarnay
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:21-55
- No. of Pages:35
- Keywords:chiasm;intermediality;Kim Ki-Duk
- Summary/Abstract:The paper investigates the relationship between chiasm as a fundamental diacritical concept used from philosophy to psychology and representation in film and its perception. Chiasm is a nontotalizing idea of the encounter between the ’Self’ and the Other. It derives from ancient and classical rhetoric where it was assigned a metonymic structure vis-a-vis the more common form of metaphor. The basic argument is that film or the moving image has several representational planes where metonymy is operant, first and foremost montage and intermediality. The paper discusses only the first of the two where reflexivity plays a minimal role, and it also traces consequences of chiasmatic montage at the perceptual level of film images. The paper proposes four basic categories or types of film perception: a) categorical perception, b) aspect seeing, c) specificity recognition and d) modulation. It concludes with a detailed analysis of Seom (2000) by the Korean director, Kim Ki-Duk.
- Price: 4.50 €
A KÖZELKÉPTŐL AZ ARCIG ÉS VISSZA
A KÖZELKÉPTŐL AZ ARCIG ÉS VISSZA
(FROM FACE TO CLOSE-UP – AND BACK)
- Author(s):Beáta Margitházi
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:57-92
- No. of Pages:36
- Keywords:physiognomy;photogénie;Deleuze;close-up
- Summary/Abstract:Photogénie and physiognomy are among the most wide-known concepts of the early film aesthetics, and reveal two different ways of thinking about the nature of film. Although these concepts do not imply coherent, theoretical systems, they develop two specific viewpoints about the importance of movement and representation in film. In this way, photogénie and physiognomy meet in the problem of the close-up, both of them dealing intensely with the aesthetics of face in film, naming it as an unusual, delicate area, which carries some truly “film-like” characteristics. The close-up initiates the specific idea of seeing “in close-up” and provides that technical condition, through which the face can appear as an artistic opportunity for the film. While photogénie deals with the differences between reality and its filmic image, physiognomy emphasizes the ability of the filmic image to produce sensitive surfaces, or even to “facialize” its subject. This study discusses these concepts by evoking the writings of Béla Balázs and the artists of French impressionism, Jean Epstein, Germaine Dulac and Louis Delluc. To test the validity of these concepts, the author analyses two very different films: Cecil B. DeMille’s The Cheat (1915), which was one the French impressionists’ most adored American films, and John Cassavetes’ Faces (1968), which contains a lot of close-ups evoking different aspects of photogénie.The paper also refers shortly to the after-life of these concepts, which are often evoked by the philosophical film theory of Gilles Deleuze.
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A PSZICHÉ SÍKJAI A FILMKÉPEN
A PSZICHÉ SÍKJAI A FILMKÉPEN
(THE PLAINS OF THE PSYCHE IN MOVING IMAGES)
- Author(s):Erika Kapronczai
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:93-115
- No. of Pages:23
- Keywords:psyche;moving image
- Summary/Abstract:The flatness of moving images break the illusion of reality of the spectator and it is usually considered to be a self-reflexive device. However a special phenomenon, a frequent use of flat surfaces within the filmic image can be observed in cases of some Eastern Asian films. The author argues that this phenomenon is not merely a stylistic device but a reflection of a special way of thinking. The study tries to determine the cardinal reason of the phenomenon of constructions of flat quality in moving images and present the specificities of its appearances in this perspective. Parallels are drawn with the Bizantian icon representations and the aspects of the introvert personality in Jung’s definition. Specific scenes from the films of Kim Ki Duk, Wong Kar Wai, Hsiao-Hsien Hou, Tran Anh Hung, Koreeda Hirokazu are analysed.
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„NÉZETELTÉRÉS”
„NÉZETELTÉRÉS”
(“CLASH OF VIEWS”)
- Author(s):Miklós Kiss
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:117-137
- No. of Pages:21
- Keywords:documentary;fiction;György Pálfi
- Summary/Abstract:The essay is about the question of documentary versus fiction but in a special context called the “exploited” reality. The illustrational example is György Pálfi's Hukkle (2002), and the argumentation is based on the rigorous distinction of the montage-theory of Bazin. In Bazin's classical opinion there are two types of directors and therefore two types of films: which believe in the reality, and which believe in the picture.In Hukkle the exploited reality has three layers: the first is the reality-context of the film (the real events from the 1920's), the second is the fabula of the film (the fictious murders in Pálfi's story), and the third is the camouflage of the reality (formal and stylistic genre conventions of the documentary films). With these layers Pálfi makes a full circle around reality and imaginary, he switches our attention permanently between the documentary and the fiction. To do this, he chose an experimental narrative form, the so called "magic-picture" narrative. The originally image-natured picture-puzzle turns into moving images: with this gesture we arrive in the special field of the border-land of documentary and fiction.
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KÉPEK BŰVÖLETÉBEN
KÉPEK BŰVÖLETÉBEN
(SPELLBOUND BY IMAGES)
- Author(s):Ágnes Pethő
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Visual Arts, Film / Cinema / Cinematography
- Page Range:139-196
- No. of Pages:58
- Keywords:cinema;painting;Hitchcock
- Summary/Abstract:The essay tries to contribute to a better understanding of the role of paintigs or pictorialism in Alfred Hitchcock’s films. Classical narrative films (musicals, film noirs, the films of Orson Welles or Sternberg) often used pictorial techniques or incorporated paintigs or portraits within the the filmic narrative. It is argued that Hitchcock’s films on the one hand present typical instances of filmic pictorialism or use of portraits (mainly in his gothic romances or women’s melodrama type films), however his art can also be considered as a deconstruction of these techniques, as a transition from the avantgarde “cinema of attractions” of early cinema to an abstract and modernist type film language. The films referred to are: Rebecca (1940), Suspicion (1941), Spellbound (1945), Stagefright (1950), Strangers on a Train (1951), Vertigo (1958). In these films the portrait or the painterly image becomes a sort of abyss or a portal through which we are transposed on a metanarrative level about the nature of images in general or the nature of cinema itself. Painting appears as cinema’s double, but not in a conventional sense (as used by most hollywood narratives: that is a mere image that needs a narrative explanation and therefore presents itself as a riddle or enigma soon to be solved during the plot), but as a threat, as something that is capable of opening up the image both to an infinitiy of meanings and both capable of emptying it of all meanings and throwing its spellbound viewer into the horror of the Unnamable.
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LOKÁLIS TÉRKONCEPCIÓ ÉS „ELEMI” KÉPSZERŰSÉG A „FEKETE SZÉRIA” FILMJEIBEN
LOKÁLIS TÉRKONCEPCIÓ ÉS „ELEMI” KÉPSZERŰSÉG A „FEKETE SZÉRIA” FILMJEIBEN
(LOCAL SPACE AND "ELEMENTARY” PICTURALITY IN THE FILMS OF THE SO CALLED “BLACK SERIES”)
- Author(s):Zoltán Gregus
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:199-227
- No. of Pages:29
- Keywords:black series; Hungarian film
- Summary/Abstract:It is very difficult to name periods or trends in the Hungarian film production at the turn of the 1980s and 1990s. The ’black series’ is perhaps the most appropriate designation for the films directed by Béla Tarr, Ildikó Enyedi, Attila Janisch, György Fehér and János Szász, emblematic figures of this time, provided that we consider it more than a technical option and view it as a stream with formal and thematic overlappings. The present paper argues that the black and white technique used in the forementioned films is not a fashionable and arbitrary option but stylisation and a means of abstraction from the concrete social-political environment, which can be interpreted in most cases as a return to the elementary. Therefore it becomes an important dramatic element, closely connected to the time and space structures of the films. The narration of the above films has a discontinuous structure, its spacial and temporal parameters are characterized by the prevalence of discontinuous and divergent formal elements. Therefore the last part of the paper examines the possibilities of local space conception in the modality of the space outside the picture frame, which can be grasped in the juxtaposition of cuts. I use the term global space for the more or less homogeneous frame that shows a coherence and continuity of perception, while I consider the tangential and discontinuous relation between different types of spaces a local space.
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DOKUMENTUM ÉS ELBESZÉLÉS IRÁNI FILMEKBEN
DOKUMENTUM ÉS ELBESZÉLÉS IRÁNI FILMEKBEN
(DOCUMENTARY AND NARRATIVE IN IRANIAN FILMS)
- Author(s):Judit Pieldner
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:229-239
- No. of Pages:11
- Keywords:documentary;narrative;Iranian film
- Summary/Abstract:The present paper examines some aspects of the reflexivity of the Iranian films: Mohsen Makhmalbaf's Salaam Cinema is a film about film-making, having as its theme the directing of the film, another film of the same director, entitled Gabbeh, deals with story-telling by reinterpreting the role of the frame and expanding on the metaphor of texture, whereas Jafar Panahi's The Mirror explores the possibilities of documentary by revealing the film-making apparatus and thus turning the genre of documentary into a counter-documentary. The analyzed films deal with the ambiguous relationship between documentary and fiction, between reality and representation and are characterized by an obsessive medial awareness.
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ÉRZÉKI TEXTÚRÁK ÉS EMLÉKEZETSTRATÉGIÁK ATOM EGOYAN FILMJEIBEN
ÉRZÉKI TEXTÚRÁK ÉS EMLÉKEZETSTRATÉGIÁK ATOM EGOYAN FILMJEIBEN
(SENSORIAL TEXTURES AND FORMS OF MEMORY IN THE CINEMA OF ATOM EGOYAN)
- Author(s):Zsolt Győri
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:241-258
- No. of Pages:18
- Keywords:film;video image;intersubjectivity;Atom Egoyan
- Summary/Abstract:The essay concentrates on the phenomenological difference between the visual texture of the film and the video image, as well as the working of this difference into a critique of contemporary audiovisual culture, its reconstitution of the forms of intersubjectivity. It seems that in the works of Atom Egoyan the uses of image follow identical strategies as the mechanisms of intersubjectivity. Both exercise the movement of substitution: the image as a fetishized prosthetic device comes to organize family life, whereas the act of remembrance will be understood as the necessity to record and imagify. These strategies are analyzed in two early films – Family Viewing (1987) and Speaking Parts (1989). Relying on the textural difference of video/film-image, the paper identifies Egoyan's preoccupation with the ways the hand, forms of tactile communication, the ”culture” of tactility are portrayed, and – in the act of cinematic representation – subordinated to the eye and audiovisual culture. In The Adjuster (1991) there is a clear hierarchy between these two regimes/orders of intersubjectivity, the visual sphere with its vicious circles of recording/deleting devours practices of tactility. In the Calendar (1993) Egoyan clearly confronts the video image with the photographic image, intensifying their difference. The visually beautiful, yet artificial photos create a totally different reading of the narrative events than the archival video segments. Questions of memory and individual/collective identity in Ararat (2002) are likewise addressed through the distinction between visual textures and media (film, video footage, painting).
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A MÚLT EGY KÉPERNYŐ?
A MÚLT EGY KÉPERNYŐ?
(THE PAST IS A SCREEN?)
- Author(s):Andrea Virginás
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:259-275
- No. of Pages:17
- Keywords:intermediality; turn from modernism to postmodernism
- Summary/Abstract:The paper is founded on the axiom that crime detection as an epistemological and cultural paradigm is prone to historical change; therefore the turn from modernism to postmodernism should be seized – thanks to different markers. One of these markers may be photography or rather the mode films of detection and crime deal with the medium and technology of still images. Analyzing examples like Blow Up (Michelangelo Antonioni, 1966), Blade Runner (Ridley Scott, 1982), A Pure Formality (Giuseppe Tornatore, 1994), Smoke (Wayne Wang, 1995), Fight Club (David Fincher, 1999), Memento (Christopher Nolan, 2000), and Mullholland Drive (David Lynch, 2001), I conclude that they can be considered as belonging to a trend in contemporary cinema. This trend visualizes memory, remembrance and identity as depending on images and pictures, on the one pole showing us the simple belief in the power of photography to depict/represent reality, while on the other extreme narrating "tales" where photos enter into the most intimate spheres of human subjectivity.
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A VIDEO MINT VÍZ
A VIDEO MINT VÍZ
(VIDEO AS WATER)
- Author(s):Kálmán Matolcsy
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:277-288
- No. of Pages:12
- Keywords:video technology; Japanese mythology
- Summary/Abstract:The essay tracks down the cultural background of the seminal Jhorror, Ringu, from the Japanese Kaidan to the obscene dreams of 1980s video technology. The author argues that the quality of water in the film is primarily that of the chaos monster's propensity to fertility, which in turn is conveyed to the virus-like replication capacity in video (resulting in the qualities of instantaneity, architectonics and plasticity). The clash of cultural claustrophobia and the awful and aweful technology in biogenetic video provides a memetic transcription of Japanese mythology.
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„A RÉGI AZ ÚJBAN”
„A RÉGI AZ ÚJBAN”
(OLD WINE IN A NEW BOTTLE)
- Author(s):Gábor Zoltán Kiss
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Visual Arts, Film / Cinema / Cinematography
- Page Range:289-300
- No. of Pages:12
- Keywords:conventional cinematography;computer animation;interdisciplinarity;cartoon
- Summary/Abstract:The essay offers an interdisciplinary approach to the analysis of the new medium of computer animation. The concept of old forms being preserved by new media is not a new one. Literary narratives often become film histories, while film integrates the language of "still" images. In the process of intermedial mutations, animation – such as cartoons and the comic medium – becomes a model: it reinterprets the traditional adaptational and distributional notions of film. Intermediality – the filmic employment of the computer generated imagery in this case – at the same time raises the question of transition from one technological register to the other. The significance of computer generated images (CGI) has been obscured by the new mediums' spectacular and financial issues, and the latter are superficial (usually shallow) symptoms of a primary process that may change the role of filmic and literary narratives. On the other hand, the spreading of CGI is just a recent chapter in the history of illusion-generating devices, ranging from perspective and trompe l'oeil to film itself. The paper examines the two basic types of CG animation (real time and prerendered) with a focus on such terms as interactivity, immersion and machinima.
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LÁTNI VAGY NEM LÁTNI?
LÁTNI VAGY NEM LÁTNI?
(TO SEE OR NOT TO SEE?)
- Author(s):Hajnal Király
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:303-330
- No. of Pages:28
- Keywords:adaptation;dialogue between film and literature;carnivalself-reflexivity;
- Summary/Abstract:Adaptation, as a constant practice in film history, is becoming – due to an assumed tendency to neglect reading in favor of film watching – one of the main topics of theoretical debates. In this context, the theory of faithful adaptation seems to demonstrate a way to avoid replacing literature with its adaptation. This theory views literary text as authority, with which adaptation can only establish a relation of subordination, at most analogy, leading to an one-sided critical approach of adaptations. Thus, a terminology suitable to help a non-hierarchic approach is needed. First, it is necessary to consider film as text, in a textological meaning, a system of heterogeneous elements. Starting only from this affirmation one can speak about a dialogue between film and literature in the case of adaptations. The term of dialogue mediates between a linguistical, textological, narratological and a sociological, cultural, anthropological analysis of adaptations, this latter being helped by the metaphorical terms of the Bahtinian carnival: the masque (disemination, duplicity, play), laughter (subversion, irony, parody, self-reflexivity) and cannibalism (assimilation of the other to possess his/her power). This paper aims to reinforce a flexible approach of adaptations through a series of analyses using this terminology by looking at the adaptations of Hamlet, including Rosencrantz and Guildenstern are dead by Tom Stoppard; Tom Jones by Tony Richardson and De-ale carnavalului by Lucian Pintilie. Though in principle these analyses function without this terminology as well, in many cases the carnival metaphor is more than a static model: for exemple, in Lucian Pintilie's adaptation it appears as a way of being of the autonomous filmic creation, independent of the literary model.
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A FÉLSZEMŰ PREPARÁTUM
A FÉLSZEMŰ PREPARÁTUM
(THE ONE-EYED DISSECTION)
- Author(s):Emőke-Ágnes Horváth
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:331-352
- No. of Pages:22
- Keywords:adaptation;Taxidermia;György Pálfi;Lajos Parti Nagy
- Summary/Abstract:The film Taxidermia is based on two short stories of the Hungarian writer, Lajos Parti Nagy. On the first sight the film is an adaptation in the common sense of the word, but it is a good example of a shift from this to a specific postmodern way of using literature as well, by reinterpreting and engaging into continuous intermedial dialogue. It is the postmodern idea that defines the way in which György Pálfi traces down the evolution of an identity, his view of history and storytelling, his concept of art and his attitude towards the act of creation and the film itself. As the youngest member of the family remembers that his grandfather and father, just like him have come under the influence of an obscure obsession: Vendel is obsessed by sex, Kálmán by gluttony and Lajos by taxidermy. In the end, they all fail in their self-realization. The film also questions whether immortality can be achieved through the creation of a perfect piece of art. In what does originality consist and how does the work deal with tradition. The director breaks the traditional frame of genres and stylistic unity. The incorporated three destinies, characters and eras remind us of black comedy, cult, family drama, historical, biographical and war film, propaganda film or parody. The overthrowing of features like naturalism, surrealism, poetic style, the aesthetic categories of the abominable, the grotesque, the absurd and irony lead to the excessiveness which rewrites the original stories in an unique postmodern way.
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NAIV MÉDIUMELMÉLETEK: A MOZGÓKÉP ÉS A FOTOGRÁFIA REPREZENTÁCIÓI A HÉTKÖZNAPI GONDOLKODÁSBAN
NAIV MÉDIUMELMÉLETEK: A MOZGÓKÉP ÉS A FOTOGRÁFIA REPREZENTÁCIÓI A HÉTKÖZNAPI GONDOLKODÁSBAN
(NAÏVE MEDIUM THEORIES: REPRESENTATIONS OF MOVING IMAGES AND PHOTOGRAPHY IN EVERYDAY THINKING)
- Author(s):Melinda Blos-Jáni
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:353-389
- No. of Pages:37
- Keywords:moving image; private visual media; home cinema
- Summary/Abstract:The study is part of a larger anthropological inquiry of the visual media produced and viewed in private contexts. With the intent of the enlargement of point of views related to the scientific discourses about home videos and snapshots (private visual medias), using methods of the social representations theories, the author examines the ways in which visual media are represented in the common sense. The author examines often-used phrases of the everyday language, in which through comparison or metaphors experienced or seen events are associated with the representational model associated with moving picture. On the basis of these linguistic examples one can conclude that with comparisons like: "it was just like in the movies" we categorize impressions, events considering them as characteristic of these visual media. Metaphors like "it is worth being captured/filmed" – the popular, common notion of the moving picture appears as a model of the everyday experience. The second part of the study presents the qualitative conclusions of a research based on a survey form: the way in which concepts implicitly present in speech integrate into discourses and practices.
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REFLEXÍV KÉPEK GYALUI JENŐ 1918-BAN ÍRT, A FÉNY ASSZONYA CÍMŰ FORGATÓKÖNYVÉBEN
REFLEXÍV KÉPEK GYALUI JENŐ 1918-BAN ÍRT, A FÉNY ASSZONYA CÍMŰ FORGATÓKÖNYVÉBEN
(REFLEXIVITY IN JENŐ GYALUI'S SCRIPT, THE WOMAN OF LIGHT (1918))
- Author(s):Bálint Zágoni
- Language:Hungarian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:391-428
- No. of Pages:38
- Keywords:reflexivity; Jenő Gyalui; script
- Summary/Abstract:Among the renowned directors, actors and cinematographers who contributed to the silent film production of Cluj in the 1910s, the name of the scenarist Jenő Gyalui sounds somewhat unfamiliar. He is mentioned only in connection with one film, the Világrém (Din grozaviile lumii), made in 1920. Still his role in the history of silent film production is more important than that, the only cause of his name being forgotten can be explained with his untimely death (he died at the age of 24) and the lack of data about the films made in 1918. The above essay presents a script written by Jenő Gyalui, a script that has never been screened. The importance of The Woman of Light lays undoubtedly in the fact, that the story presents several interesting techniques of filmic reflexivity. The examples show in what ways notions connected to the concept of film can appear in the script, and what kind of mimetic and reflexive filmic imagery typical of early cinema does the writer of the script foresee while creating the filmic story. The text of the script is also published as an appendix to this analysis.
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Abstracts
Abstracts
(Rezumate)
- Contributor(s):Ágnes Pethő (Editor)
- Language:English, Romanian
- Subject(s):Fine Arts / Performing Arts, Film / Cinema / Cinematography
- Page Range:429-448
- No. of Pages:20
- Price: 4.50 €
