Zen in Cinema
Abstract
Writing on the relationships of Western experimental film, especially abstract images, with the philosophy and aesthetics of the Far East, Giżycki asks the question: Does... animation, the art of slowly adding small changes to a single frame, derive much from Oriental contemplation at all? Giżycki discusses works of Korean artist Nam June Paik, one of video art pioneers, who „made” Zenfor Film ; of James Whitney, the director of Yantra (1950-55), Dwija (1976), Wu Ming (1970-77), Hsiang Sheng (1977), Kang Jing Xiang and Li (the last two ones unfinished); of Jordan Belson whose inspiration by the culture of the Orient can be found in the titles of his abstract films: Mandala (1953), Raga (1959) or Samadhi (1967); of Robert Breer, influenced by the Japanese drawings of Katsushik Hokusai (views of Mount Fuji) and of film maker-abstractionist David Ehrlich, who thinks that a sense of time with which he makes films is closer to the culture of the Orient than to the culture of America.
Keywords:
animation, Nam June Paik, experimental cinema, David EhrlichReferences
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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) 2005 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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