Waldemar Frąc
Arts & Cultural Studies Review, Issue 2 (24) , 2015, pp. 97-107
https://doi.org/10.4467/20843860PK.14.006.3524Experience of time in cinema is a paradox. Cinema as a time art makes temporal transcendence. Film as a kind of Nietzsche’s eternal return determines subjective experience of time. According to A. Pawełczyńska it is possible to indicate three essential ways of understanding of time in cinema: substantialist, attributive and subjective. Deleuze’s theory of time in cinema represents subjective approach. According to Bergson time is creation therefore cinema must be based on a transcendence of time.
Waldemar Frąc
Arts & Cultural Studies Review, Issue 3 (29), 2016, pp. 334-343
https://doi.org/10.4467/20843860PK.16.025.6027The problem of the history of ideas (unrestricted progress) in the Solaris written by Stanislaw Lem and in most known film adaptations directed by Andrei Tarkovsky (1972) and Steven Soderbergh (2002). Utopia as a camouflage of dystopia. Imperfection of human nature and metaphysical optimism. Utopian thinking in trans- and post-humanism. Possibility (?) of total communication (Lem’s novel) and the image of impenetrable mystery (Tarkovsky’s movie). Inevitability of defeat (Lem) and the image of salvation (Soderbergh).
Waldemar Frąc
Principia, Volume 26, 2000, pp. 129-148