English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

The 1969 film, The Structure of Crystal (Struktura kryształu) marked the cinematic debut of Polish filmmaker Krzysztof Zanussi in the wake of the March 1968 sociocultural unrest and political turmoil in Poland. The film introduced into Polish cinema a new aesthetic—improvised dialogue filmed on location with a minimal narrative development—and a new protagonist: the intellectual. Zanussi’s film revolves around two scientists with opposing worldviews. Marek, a career-driven physicist and past fellow at Harvard University and an institute in the Soviet Union, visits a former classmate Jan and his wife Anna in the countryside, where Jan retreated after a mountain climbing accident five years earlier. In the two well-known scenes from the film, the friends converse about their work—Marek about a specialized problem in crystal physics and Jan about the philosophical concept of imaginary numbers—only to realize that their intellectual pursuits both fail to engage the other and also reveal fundamentally different ethical positions in the two men. Marek enjoys reaping a myriad of benefits from his ambition (such as publications, property, and international travel), while Jan finds meaning in contemplation, nature, and acts of altruism. The men find the other’s internal marker of success inconsequential and neither budges from his position during their several days spent together. Yet this dynamic is tipped ever so slightly one way or another in the film, creating the perception of ambivalence on the part of the filmmaker Zanussi. This complicated relationship, as I will show, is conveyed largely by the underscore. The film composer Wojciech Kilar’s music is a powerful cinematic device in the symmetrical construction of Zanussi’s film. The composer uses a handful of

Film Music and the Crystal-Image in Krzysztof Zanussi’s The Structure of Crystal