The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film schola...The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film scholar whose interests focus on women directors and problems of cultural and gender identity in the contemporary cinema. Nevertheless, she decided to expand her research area to include works of Polish female artists who utilise the media and these means of expression that can be analysed in regard to modern film studies. She adopted the theoretical, feminist, and gender perspective, also applying the methodology of cultural studies in their broadest definition. This enables the author to situate the movies under discussion in diverse contexts and theoretical concepts. The purpose of the paper is thus not to offer a comprehensive or historical discussion of women＇s input into audiovisual arts of Central and East European Countries, but to emphasise complexity and demonstrate dynamics of their artistic creativity in Poland particularly. In her analysis, Radkiewicz considers four different research approaches： historical, theoretical （which refers to film and media studies）, artistic, and identity related ones. From this perspective, she investigates filmmakers＇ and artists＇ strategies of using the cinematic field, film conventions, and means of representations, which are the foundation of their narrative expression.展开更多
Sergei Eisenstein was labelled as a theory master of ＂montage＂ for a long time, but also film theory pioneer that seems to be somewhat ＂outdated＂ in the eyes of the modem people. In fact, he was one of the most im...Sergei Eisenstein was labelled as a theory master of ＂montage＂ for a long time, but also film theory pioneer that seems to be somewhat ＂outdated＂ in the eyes of the modem people. In fact, he was one of the most important figures who created a few of theories and also were good at film creation in the film history of over years. He was not only an outstanding master-level film director, but also film theorist who created rich thoughts to the world. He often discussed the film theories with intercommnnity by taking his own works such as Bronenosets Potyomkin for an example, and simultaneously connected paintings （especially the Oriental painting）, music, literature and others with new arts in the writing of theories, so that the construction of his own film theories was accomplished. The focus of this paper is the later consideration of Sergei Eisenstein on the film works structure. Also, his theoretical system and contemporary significance are rethought by studying a series of thoughts such as ＂works structure＂ , ＂dynamic characteristics＂ , ＂logarithmic spiral＂ , ＂golden section＂ and ＂passionate structure＂ .展开更多
文摘The paper discusses selected works of Polish women artists and directors who employ various forms of audiovisual presentation： film, video art, and new media. The author wrote it from the perspective of a film scholar whose interests focus on women directors and problems of cultural and gender identity in the contemporary cinema. Nevertheless, she decided to expand her research area to include works of Polish female artists who utilise the media and these means of expression that can be analysed in regard to modern film studies. She adopted the theoretical, feminist, and gender perspective, also applying the methodology of cultural studies in their broadest definition. This enables the author to situate the movies under discussion in diverse contexts and theoretical concepts. The purpose of the paper is thus not to offer a comprehensive or historical discussion of women＇s input into audiovisual arts of Central and East European Countries, but to emphasise complexity and demonstrate dynamics of their artistic creativity in Poland particularly. In her analysis, Radkiewicz considers four different research approaches： historical, theoretical （which refers to film and media studies）, artistic, and identity related ones. From this perspective, she investigates filmmakers＇ and artists＇ strategies of using the cinematic field, film conventions, and means of representations, which are the foundation of their narrative expression.
文摘Sergei Eisenstein was labelled as a theory master of ＂montage＂ for a long time, but also film theory pioneer that seems to be somewhat ＂outdated＂ in the eyes of the modem people. In fact, he was one of the most important figures who created a few of theories and also were good at film creation in the film history of over years. He was not only an outstanding master-level film director, but also film theorist who created rich thoughts to the world. He often discussed the film theories with intercommnnity by taking his own works such as Bronenosets Potyomkin for an example, and simultaneously connected paintings （especially the Oriental painting）, music, literature and others with new arts in the writing of theories, so that the construction of his own film theories was accomplished. The focus of this paper is the later consideration of Sergei Eisenstein on the film works structure. Also, his theoretical system and contemporary significance are rethought by studying a series of thoughts such as ＂works structure＂ , ＂dynamic characteristics＂ , ＂logarithmic spiral＂ , ＂golden section＂ and ＂passionate structure＂ .
