NUOBODULYS IR PRIEVARTA: ANTONIONI FOTOPADIDINIMO" ATVEJIS.
The article examines cinematic violence, and deals with one of the most distinctive examples of metacinema, namely, Blow up by Michelangelo Antonioni. Firstly, Blow up covers not only the the key issues of history of photography but also those of ontology. Therefore, in the article, it is returned n...
| Publicado en: | Problems / Problemos Vol. 92; pp. 143 - 158 |
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| Autor principal: | |
| Formato: | Artículo |
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Vilnius University
2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=126047960&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 126047960 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13921126 3D4C jtl: Problems / Problemos issn: 13921126 maglogo: N pubinfo: dt: 2017 vid: 92 pid: 16037 pub: Vilnius University artinfo: ui: 126047960 10.15388/Problemos.2017.92.10910 ppf: 143 ppct: 15 formats: fmt: @attributes: type: P size: 2.6MB tig: atl: NUOBODULYS IR PRIEVARTA: ANTONIONI FOTOPADIDINIMO" ATVEJIS. aug: au: Milerius, Nerijus affil: Vilniaus universiteto Filosofijos katedra Universiteto g. 9/1, LT-01513 Vilnius sug: keyword: metacinema photography violence Antonioni fotografija metakinas prievarta ab: The article examines cinematic violence, and deals with one of the most distinctive examples of metacinema, namely, Blow up by Michelangelo Antonioni. Firstly, Blow up covers not only the the key issues of history of photography but also those of ontology. Therefore, in the article, it is returned not only to one of the pioneers of photography, William H. F. Talbot, but also to key ideas of Plato. Secondly, interpreting the notions of Roland Barthes, philosophical aspects of fashion photography are explored. Thirdly, the controversy of John Berger and Don McCullin over the issue of photography of war or agony is discussed. The article reveals Antonioni's strategy to capture violence not directly but as a symptom or opportunity to overcome the monotony of everyday life predominant in modern society. It is argued that such access allows Antonioni to avoid the hypostasis of the status of violence, which is typical for various prophetic artistic manifests. Tęsiant kinematografinės prievartos tyrinėjimus, straipsnyje nagrinėjamas vienas ryškiausių kino istorijoje metakino pavyzdžių - Michelangelo Antonioni Fotopadidinimas" (Blow up"). Pirma, atskleidžiant, kokiu būdu Fotopadidinimas" aprėpia ne vien fotografijos istorijos, bet ir pamatinius ontologijos klausimus, sugrįžtama ne vien prie vieno iš fotografijos pradininkų F. Talboto, bet ir prie filosofijos klasiko Platono nuostatų. Antra, pasitelkiant R. Barthes'o nuostatas, tyrinėjami mados fotografijos filosofiniai aspektai. Trečia, siekiant išryškinti bendrą Fotopadidinimo" kontekstą, aptariama J. Bergerio ir D. McCullino kontroversija karo arba agonijos fotografijos klausimu. Straipsnyje atskleidžiama Antonioni strategija fiksuoti prievartą (žmogžudystę) ne tiesiogiai, bet kaip sociume vyraujančios monotonijos įveikos simptomą ar galimybę. Argumentuojama, kad tokia prieiga leidžia Antonioni išvengti prievartos statuso hipostazavimo, būdingo profetiniams meninės prievartos manifestams. pubtype: Academic Journal doctype: Article src: R language: Lithuanian refInfo: copyright: @attributes: flag: Y custom: Copyright of Problems / Problemos is the property of Vilnius University and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Problems / Problemos holder: Vilnius University dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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