The Charm of Long Shots
Marcin Giżycki
kwartalnik.filmowy@ispan.plPolish-Japanese Academy of Information Technology (Poland)
Abstract
The author asks the question of whether there is a theory of long shots? He then presents elements of such theory present in the writings of Andre Bazin, Gilles Deleuze and other authors. Then he discusses selected shots from the films of, amongst others, Orson Welles, Alfred Hitchcock, Andrei Tarkovsky, Miklós Jancsó, Theo Angelopoulos or Chantal Akerman. He reserves a special place among these for Mikhail Kalatozov’s opening sequence of I am Cuba (1964).
Keywords:
long shots, mastershot, André Bazin, Gilles Deleuze, Mikhail KalatozovReferences
Bazin, André. Ewolucja języka filmu. In: Film i rzeczywistość. Trans. B. Michałek. Warszawa 1963.
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Bordwell, David, Kristin Thompson. Film Art: An Introduction. New York 1996.
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Deleuze, Gilles. Kino. trans. J. Margański. Gdańsk 2009.
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Henderson, Brian. A Critique of Film Theory. New York 1980.
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Orpen, Valerie. Film Editing: The Art of the Expressive. London 2003.
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Zettl, Herbert. Sight Sound Motion: Applied Media Aesthetics. Boston 1998.
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Authors
Marcin Giżyckikwartalnik.filmowy@ispan.pl
Polish-Japanese Academy of Information Technology Poland
Krytyk i historyk sztuki; autor książek z dziedziny historii filmu i zjawisk kultury artystycznej. Wykładowca w Rhode Island School of Design w USA, profesor w Polsko-Japońskiej Akademii Technik Komputerowych w Warszawie. Opublikował m.in. Nie tylko Disney – rzecz o kinie animowanym (2000), Koniec i co dalej? (2001), Słownik kierunków, ruchów i kluczowych pojęć sztuki drugiej połowy XX wieku (2002), Wenders do domu! Europejskie filmy o Ameryce i ich recepcja w Stanach Zjednoczonych (2006).
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Copyright (c) 2015 Marcin Giżycki
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