„Pan sądzi, że koniec bliski?”. Późny modernizm, duchy kina i Wesele Andrzeja Wajdy | Zendy

Miłosz Stelmach | Zendy

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„Pan sądzi, że koniec bliski?”. Późny modernizm, duchy kina i Wesele Andrzeja Wajdy

Author(s) -

Miłosz Stelmach

Publication year - 2017

Publication title -

przestrzenie teorii

Language(s) - English

Resource type - Journals

SCImago Journal Rank - 0.1

H-Index - 2

eISSN - 2450-5765

pISSN - 1644-6763

DOI - 10.14746/pt.2017.27.11

Subject(s) - narrative , subjectification , literature , art , history , reflection (computer programming) , art history , philosophy , linguistics , computer science , programming language

The aim of the article is to place Andrzej Wajda’s work from the early 1970s in the late-moderist trend developing in Polish film at that time. The best example of this is The Wedding (1972), which implements modernist strategies of subjectification, self-reflection and stylisation at the artistic and narrative level. The presence of ghosts in this film especially leads to a theoretical discussion on the spectral nature of the medium of film.

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