Normal view MARC view ISBD view

"Tablo" i filmska slika Roya Anderssona / Janica Tomić.

By: Tomić, Janica.
Material type: materialTypeLabelArticleDescription: 104-110.Other title: Tableau and the Films of Roy Andersson [Naslov na engleskom:].Subject(s): 6.06 | Roy Andersson, tablo, dubinski kadar, ekspresionizam hrv | Roy Andersson, tableau, depth of field, expressionism eng In: Književna smotra : časopis za svjetsku književnost 127 (2) (2014), str. 104-110Summary: The paper examines the meanings of tableau in film history and in other media. Following its dominance during the so called primitive period of early cinema, tableau assumes the function of a stylistic alternative in a number of theories that have articulated its otherness in film history (Burch, Bordwell, Heath, Bazin, Michelson), referring to connotations of static image, anachronism, intermediality etc. Comparisons are drawn with descriptions of tableau in photography, literature and performative arts. Recent proliferation of theoretical discourse on tableau-effects found in a number of stylistically varied films (Bordwell, Bal, Dalle Vacche, Peucker) serves as a starting point for an analysis that further explorers the formal and affective qualities of cinematic tableaux. Combined with Deleuze's and other theoretical accounts of extreme depth of field and expressionism, a theoretical framework is established for an analysis of Roy Andersson’s films, particularly Songs from the second floor (2000), where, as the paper argues, tableau aesthetics realizes its utmost radical potential for transfiguring cinematic time and space.
Tags from this library: No tags from this library for this title. Log in to add tags.
Item type Current location Call number Status Notes Date due Barcode Item holds
Članak Članak Knjižnica FFZG
SNZ
Available zatražite skeniranje na snz@ffzg.hr 1305177933
Total holds: 0

The paper examines the meanings of tableau in film history and in other media. Following its dominance during the so called primitive period of early cinema, tableau assumes the function of a stylistic alternative in a number of theories that have articulated its otherness in film history (Burch, Bordwell, Heath, Bazin, Michelson), referring to connotations of static image, anachronism, intermediality etc. Comparisons are drawn with descriptions of tableau in photography, literature and performative arts. Recent proliferation of theoretical discourse on tableau-effects found in a number of stylistically varied films (Bordwell, Bal, Dalle Vacche, Peucker) serves as a starting point for an analysis that further explorers the formal and affective qualities of cinematic tableaux. Combined with Deleuze's and other theoretical accounts of extreme depth of field and expressionism, a theoretical framework is established for an analysis of Roy Andersson’s films, particularly Songs from the second floor (2000), where, as the paper argues, tableau aesthetics realizes its utmost radical potential for transfiguring cinematic time and space.

HRV

There are no comments for this item.

Log in to your account to post a comment.

Powered by Koha