An Island in Time
Abstract
One of interesting ways of examining the essence of a film, and in this way our perception of a film and reality, is to challenge the very foundations of the medium, its absolutely most crucial assumption, which is obviously movement. Wadensjö analyses three very different films, Andrzej Munk’s Passenger (1961), Chris Marker’s La jetée (1963) and René Clair’s Paris qui dort (1924). He shows how stop-action in film can have different meanings. There is a very interesting combination of motionlessness and movement with memory, especially in the first two films.
Keywords:
movement, Andrzej Munk, Chris Marker, René ClairReferences
Nie dotyczy / Not applicable
Google Scholar
Authors
Andreas Wadensjökwartalnik.filmowy@ispan.pl
Swedish Film Institute Poland
Pracownik Szwedzkiego Instytutu Filmowego w Sztokholmie, studiował slawistykę i literaturoznawstwo na UJ w Krakowie i na Uniwersytecie w Sztokholmie.
Statistics
Abstract views: 0PDF downloads: 0
License
Copyright (c) 2002 Andreas Wadensjö
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.
