Generational Distance
Abstract
Helman reviews Rafał Syska’s book Maintaining distance. The film world of Robert Altman (2008). The book is also the habilitation thesis of the author. Helman notes that Syska’s research on American cinema and monographies, as well as his experience as an editor of several edited volumes gave him solid grounding in preparing such a valuable monograph. In order to describe such a difficult director, that escapes all classification, Syska successfully combines several aims and methodologies in order to produce a book that is both comprehensive and complete. Helman concentrates on the structure of the book, thus bringing us closer to Syska the monographer.
Keywords:
Rafał Syska, review, Robert AltmanReferences
Syska Rafał, Robert Aldrich – sceptyk, w: Mistrzowie kina amerykańskiego. Tom I: Klasycy, red. Ł. A. Plesnar, R. Syska, Wydawnictwo Rabid, Kraków 2006.
Google Scholar
Syska Rafał, Zachować dystans. Filmowy świat Roberta Altmana, Wydawnictwo Rabid, Kraków 2008.
Google Scholar
Authors
Alicja Helmankwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Filmoznawca; wykłada w Instytucie Sztuk Audiowizualnych UJ. Prowadzi badania w zakresie teorii filmu, komparatystyki. W dorobku naukowym ma ponad 20 książek autorskich, m.in.: O dziele filmowym (1970, 1981), Film faktów i film fikcji (1977), Przedmiot i metody filmoznawstwa (1985), Słownik pojęć filmowych (1991-1998), Historia semiotyki filmu, t. 1-2 (1992-1993), Twórcza zdrada. Filmowe adaptacje literatury (1998), Urok zmierzchu. Filmy Luchina Viscontiego (2002), Ten smutek hiszpański. Konteksty twórczości filmowej Carlosa Saury (2005), Odcienie czerwieni. Twórczość Filmowa Zhanga Yimou (2010).
Statistics
Abstract views: 63PDF downloads: 6
License
Copyright (c) 2011 Alicja Helman

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.
Most read articles by the same author(s)
- Alicja Helman, Transgressions and Transformations in the Filmmaking of Kornél Mundruczó , Kwartalnik Filmowy: No. 101-102 (2018): European Cinema of 21st Century
- Alicja Helman, Cultural Contexts of Glauber Rocha’s Filmmaking , Kwartalnik Filmowy: No. 103 (2018): Young Polish Cinema – Confrontation of Generations
- Alicja Helman, Difficult Development of Unused Potential , Kwartalnik Filmowy: No. 103 (2018): Young Polish Cinema – Confrontation of Generations
- Alicja Helman, Ideology − Subculture − Breakdance: Tian Zhuangzhuang’s “Rock Kids” , Kwartalnik Filmowy: No. 91 (2015): Film Between Pop Music and Pop Culture
- Alicja Helman, The Paths of Film Studies Development , Kwartalnik Filmowy: No. 85 (2014): Film and Media – the Past and the Future
- Alicja Helman, In Search of Meaning , Kwartalnik Filmowy: No. 87-88 (2014): Film and Theatre
- Alicja Helman, Two Returns , Kwartalnik Filmowy: No. 89-90 (2015): Redefinitions of the Classics
- Alicja Helman, Spider’s Love Game, or on Bernardo Bertolucci’s Adaptation Strategies , Kwartalnik Filmowy: No. 100 (2017): On Celebrating
- Alicja Helman, Not in the Canon, but at the Centre of Matters , Kwartalnik Filmowy: No. 79 (2012): Interiors: On Cinematic Enclosed Space
- Alicja Helman, Early Work of Zhang Yimou and the Art That Inspired It , Kwartalnik Filmowy: No. 65 (2009): Film Image, Image in Film (part II)