Repressed Images – Regained Senses: On the Consequences of Watching a Film Again

Ryszard Ciarka

kwartalnik.filmowy@ispan.pl
Institute of Art, Polish Academy of Sciences (Poland)

Abstract

The author considers the problem of watching a film again, the second time with a greater attention, which reveals certain surprising qualities of the film and its deeper meaning, which might be deliberately hidden by the filmmaker, or is an effect of an error on part of the cinematographer, or is completely unintended by the film director. According to Ciarka the key question is: what can works of art do to us, especially masterpieces of the cinema, if we, thanks to copying and digitalisation, watch them for too long? This question is the starting point of an anthropological and philosophical reflection of the author on selected scenes from four films: Last Year at Marienbad by Alain Resnais, Andrei Tarkovsky’s Nostalghia, Akira Kurosawa’s Throne of Blood, and Ingmar Bergman’s The Seventh Seal.


Keywords:

Alain Resnais, Akira Kurosawa, Ingmar Bergman, Andrei Tarkovsky

Bergman, Ingmar, Obrazy, tłum. T. Szczepański, Warszawa: WAiF 1993, s. 238.
  Google Scholar

Encyclopedia of Japan, t. 6, Tokio: Kodansha 1983, s. 25.
  Google Scholar

Horacy [Q. Horatius Flaccus], List do Pizonów, w: Trzy poetyki klasyczne. Arystoteles, Horacy, Pseudo-Longinos, przełożył, wstępem i objaśnieniami opatrzył T. Sinko, wyd. II, zmienione, Wrocław: Zakład Narodowy Imienia Ossolińskich 1951, s. 67.
  Google Scholar

Marcel, Gabriel, Być i mieć, tłum. P. Lubicz Warszawa: Instytut Wydawniczy PAX 1986, s. 100-101.
  Google Scholar

Marcel, Gabriel, Dziennik metafizyczny, wyb. K. Tarnowski, tłum. E. Wende, oprac. tłum. S. Cichowicz, Warszawa: Instytut Wydawniczy PAX 1987, s. 121.
  Google Scholar

Mercado, Gustavo, The Filmmaker’s Eye: Learning (and Breaking) the Rules of Cinematic Composition, Oxford: Focal Press 2010, s 65.
  Google Scholar

Poprzęcka, Maria, JacekWoźniakowski o sztuce, „Znak” nr 693, luty 2013.
  Google Scholar

Simon, John, Converstation with Bergman, w: Ingmar Bergman: Interviews, red. R. Shargel, Jackson: University Press of Mississippi 2007, s. 88-89.
  Google Scholar

Skakov, Nariman, The (im)possible translation of „Nostalgia”, „Studies in Russian and Soviet Cinema”, t. 3, z. 3, Routledge 2009.
DOI: https://doi.org/10.1386/srsc.3.3.309/1   Google Scholar

Steene, Birgitta, Focus on the „Seventh Seal”, trans. D. Kushner, L. Malmström, New Jork: Englewood Cliffs 1972, s. 5.
  Google Scholar

Szczepański, Tadeusz, Apokalipsa według Ingmara Bergmana, „Kwartalnik Filmowy” 1995-1996, nr 12-13, s. 141, 142.
  Google Scholar

Tarkowski, Andriej, Kompleks Tołstoja: myśli o życiu, sztuce i filmie, Wybór fragmentów wywiadów, wypowiedzi i publikacji Andrieja Tarkowskiego z lat 1960-1986, wybrał, opracował i przedmową opatrzył S. Kuśmierczyk, Warszawa: Pelikan 1989, s. 143.
  Google Scholar


Published
2015-06-30

Cited by

Ciarka, R. (2015) “Repressed Images – Regained Senses: On the Consequences of Watching a Film Again”, Kwartalnik Filmowy, (89-90), pp. 19–26. doi: 10.36744/kf.2322.

Authors

Ryszard Ciarka 
kwartalnik.filmowy@ispan.pl
Institute of Art, Polish Academy of Sciences Poland

Etnograf, antropolog kultury, artysta wizualny, redaktor „Kwartalnika Filmowego”.



Statistics

Abstract views: 40
PDF downloads: 27


License

Copyright (c) 2015 Ryszard Ciarka

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.

In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.