Screens of the World
Abstract
Monitor, or a dynamic screen, is now an extremely popular cultural category. The omnipresence of monitors, which often double concrete reality in real time, constitutes largely the dominant style of the culture of the turn of the centuries. Gwóźdź analyses the phenomenon of the screen, i.e. „a window on the world”. But cinematic screen differs from video monitor. The former signifies interference in the continuum of the world, is a veil covering reality we no longer notice as soon as a film is projected. This image always turns towards the past. Video monitors are the opposite because of what they emit (they are the screen of the present) and of its material character.
Keywords:
screen, monitor, imageReferences
Nie dotyczy / Not applicable
Google Scholar
Authors
Andrzej Gwóźdźkwartalnik.filmowy@ispan.pl
University of Silesia Poland
Profesor Uniwersytetu Śląskiego, pracuje w Zakładzie Filmoznawstwa i Wiedzy o Mediach. Autor książek Kultura - komunikacja - film (1992), Obrazy i rzeczy. Film między mediami (1997).
Statistics
Abstract views: 47PDF downloads: 13
License
Copyright (c) 2001 Andrzej Gwóźdź
This work is licensed under a Creative Commons Attribution 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.
Most read articles by the same author(s)
- Andrzej Gwóźdź, “Come On, Just Hit Play”: Streaming as a Technocultural Practice , Kwartalnik Filmowy: No. 124 (2023): Streaming
- Andrzej Gwóźdź, How Screens Were Becoming Books , Kwartalnik Filmowy: No. 109 (2020): Architectural Space in Film
- Andrzej Gwóźdź, Towards Poland, or Images of the Silesian Uprisings and the Plebiscite in Polish Films , Kwartalnik Filmowy: No. 112 (2020): Polish Documentary, Polish Animation
- Andrzej Gwóźdź, Films Which Wanted to See in a Different Way: In the Bauhaus Circle , Kwartalnik Filmowy: No. 113 (2021): Film and Technology
- Andrzej Gwóźdź, A Somewhat Personal Memory of Alicja Helman From the Time of Her Silesian Haven , Kwartalnik Filmowy: No. 113 (2021): Film and Technology
- Andrzej Gwóźdź, „Sąsiedzi” [„The Neighbours”] and Bydgoszcz in Film , Kwartalnik Filmowy: No. 110 (2020): Beyond Human Being
- Andrzej Gwóźdź, Multiculturalism in GDR Films? An Attempt to Describe a Phenomenon That Might Not Have Existed , Kwartalnik Filmowy: No. 117 (2022): Unknown/Hidden Cinema
- Andrzej Gwóźdź, History Does Not Come Full Circle. In Memory of Alina Madej (1953-2019) , Kwartalnik Filmowy: No. 107 (2019): Journey, (E)migration, Pilgrimage
- Andrzej Gwóźdź, Memory of the GDR in Films Made by (West) German Authors in the First Decade of United Germany , Kwartalnik Filmowy: No. 125 (2024): Cinema as a Memory Machine
- Andrzej Gwóźdź, Film as an Event , Kwartalnik Filmowy: No. 103 (2018): Young Polish Cinema – Confrontation of Generations
