The Rebellious Eye

Marcin Giżycki

mgizycki@hotmail.com
Polish-Japanese Academy of Information Technology (Poland)
https://orcid.org/0000-0001-7525-0205

Abstract

The eye fascinates artists, writers, and filmmakers for ages. Usually it appears in the violent context, is plucked out, blinded, etc. The author is deliberating on this phenomenon, but he is focusing on two films which are not a celebration of cruelty: Film by Samuel Beckett and Alan Schneider (1965) and The Cage by Sidney Peterson (1947). Both films are of similar length – twenty-something minutes – and are mute. But they have also this in common that they can be interpreted as stories about split personalities.


Keywords:

eye, Beckett, Peterson

Bataille, G. (1991). Historia oka i inne historie (tłum. T. Komendant, W. Gilewski i I. Kania). Kraków: Oficyna Literacka.
  Google Scholar

Beckett, S. (1969). Film: A Film Script. New York: Grove/Atlantic, Incorporated.
  Google Scholar

Deleuze, G. (2008). Kino. 1. Obraz ruch (tłum. J. Margański). Gdańsk: słowo/obraz terytoria.
  Google Scholar

Desjarlais, R. (2018). The Blind Man: A Phantasmography. New York: Fordham University Press.
DOI: https://doi.org/10.2307/j.ctv75d9w3   Google Scholar

Gross, E. (2018, 27 lutego). Janet Leigh Reflects on That Famous ‘Psycho’ Shower Scene In a Recovered Interview. Woman’s World. https://www.womansworld.com/posts/entertainment/janet-leigh-psycho-154863
  Google Scholar

Kaplan, J. A. (2000). Remedios Varo: Unexpected Journeys, New York-London: Abbeville Press Publishers.
  Google Scholar

Koschany, R. (2018). Fenomenologia obrazów filmowych. Wideoesej jako krytyka tematyczna i sztuka interpretacji. Kwartalnik Filmowy, 104, ss. 24-34.
  Google Scholar

Paraskeva, A. (2017). Samuel Beckett and Cinema. London – Oxford – New York – New Delhi – Sydney: Blomsbury.
DOI: https://doi.org/10.5040/9781474219280   Google Scholar

Perlmutter, R. (1977). Beckett’s Film and Beckett and Film. Journal of Modern Literature, 1, ss. 83-94.
  Google Scholar

Renan, S. (1967). An Introduction to the American Underground Film. New York: P. Dutton.
  Google Scholar

Sitney, P. A. (1974). Visionary Film: The American Avant-Garde. New York: Oxford University Press.
  Google Scholar

Peterson, S. (1980). The Dark of the Screen. New York: New York University Press.
  Google Scholar

Swoboda, T. (2010). Historie oka. Bataille, Leiris, Artaud, Blanchot. Gdańsk: słowo/obraz terytoria.
  Google Scholar


Published
2020-11-13

Cited by

Giżycki, M. (2020) “The Rebellious Eye”, Kwartalnik Filmowy, (111), pp. 258–266. doi: 10.36744/kf.443.

Authors

Marcin Giżycki 
mgizycki@hotmail.com
Polish-Japanese Academy of Information Technology Poland
https://orcid.org/0000-0001-7525-0205

Film and art historian, critic, filmmaker. Professor at the Polish-Japanese Academy of Information Technology in Warsaw (Poland). Senior Lecturer at Rhode Island School of Design in Providence (USA). Artistic Director of “Animator” – International Animated Film Festival in Poznan (Poland). Former editor-in-chief of Animafilm – the ASIFA quarterly. He has published eight books and around 400 articles on film and art in Polish and foreign publications. He has also made a number of documentary, live action, experimental, and animated films in Poland and the USA. In 2016 he received the Award for the Outstanding Contribution to Animation Studies at Animafest, the World Festival of Animated Film in Zagreb (Croatia).



Statistics

Abstract views: 277
PDF downloads: 220


License

Copyright (c) 2020 Marcin Giżycki

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 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.