The Cinema in the Web
Abstract
Defying the pessimistic vision heralding the end of the cinema, culture and art, Giżycki points to the internet as a new manner in which man communes with art, both as its vehicle and a medium of presentation. Giżycki writes about such multimedia projects as Peter Greenaway’s giant Tulse Luper Suitcasses but first of all focuses on animation that has dominated film production on the internet. The U.S. projects discussed by Giżycki are animated series for adults (Mr. Wong and Queer Duck) or political satires (This Land by Gregg and Evan Spiridellis, Jason Windsor’s The End of the World). Giżycki points out that Russia is also an active centre of satire. Mariusz Wilczyński is one of Polish animated film artists.
Keywords:
internet, animation, Mariusz WilczyńskiReferences
Nie dotyczy / Not applicable
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Authors
Marcin Giżyckikwartalnik.filmowy@ispan.pl
Rhode Island School of Design United States
Krytyk i historyk sztuki, autor książek z dziedziny historii filmu i zjawisk kultury artystycznej. Wykładowca w Rhode Island School of Design w USA. Prorektor w Warszawskiej Wyższej Szkole Sztuk Audiowizualnych i Nowych Mediów. 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).
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Copyright (c) 2006 Marcin Giżycki
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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.
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