| Abstract | Filmska umjetnost je od svojih početaka u dijaloškom odnosu s tradicionalnim umjetnostima, posebno sa slikarstvom. Kako bi se odredili i definirali ovi odnosi, u ovom se radu razmatra film u okvirima vizualnih umjetnosti, a filmska slika se promatra u odnosu na tradicionalno slikarstvo, posebno s naglaskom na zajedničke formalne i narativne elemente. Ipak, osnovna razlika tradicionalne i filmske slike je u pokretu. Naime, filmska slika je pokretna i odvija se u određenom vremenskom trajanju čime su se intenzivno bavile filmske teorije 1970-ih godina te posebno apparatus teorija.
Uz pretpostavku da se u fizičkom svijetu umjetnička djela percipiraju u vidu estetskih fenomena, dakle različito od ostalih osjetilnih objekata, okviri analize u ovom radu pripadaju fenomenološkoj filozofskoj metodi. Naime, fenomenološke teorije percepcije umjetnosti podrazumijevaju mogućnosti promatrača da nadmaše vlastite perceptivne procese u svrhu spoznaje ideje koju umjetničko djelo reprezentira, a promatrača se pritom navodi na doživljavanje objekta koji nije nužno reprezentiran u samom djelu.
Film je hibridan medij u čijem se vizualnom jeziku ostvaruju intermedijalni procesi kao što je manipuliranje formalnim karakteristikama slikarstva. Filmske reprezentacije slikarstva evociraju fluidnu i intermedijalnu prirodu filmskog medija, a kategorizirane su prema načinu reprezentacije u dokumentarne filmove o umjetnosti, biografske filmove o umjetnicima, filmske scene u muzejima te izravne slikarske citate u filmu i tableaux vivants. Premda su u radu iznesene teorijske pozadine svake vrste reprezentacije, posebno se elaborira ona slikarskih citata u filmskom kontekstu.
U analitičkom dijelu rada, odabrani filmovi su klasificirani prema žanrovima, a u svakoj su žanrovskoj kategoriji kroz prizmu deskriptivne fenomenološke metode analizirana tri primjera. Interpretacijom i sintezom slikarskih citata na filmu te citiranih slikarskih ostvarenja demonstriraju se formalne, dramaturške i autorske tendencije u filmskom prikazu emotivnih, psiholoških te fizičkih stanja filmskih likova. |
| Abstract (english) | The art of film has been in a dialogic relationship with traditional arts, especially painting, since its beginnings. In order to determine and define these relationships in general, this paper examines the film within the framework of visual arts, and the film image is observed in relation to traditional painting, especially with an emphasis on common formal and narrative elements. However, the basic difference between traditional and film images is in the movement. Namely, the film image is moving and takes place over a certain period of time, which was intensively dealt with by film theories in the 1970s, and especially by the apparatus theory.
With the assumption that, in the physical world, artworks are perceived as aesthetic phenomena, therefore different from other sensory objects, the framework of analysis in this paper belongs to the phenomenological philosophical method. Namely, phenomenological theories of art perception imply the observer's ability to overcome their own perceptual processes in order to realize the idea that the work of art represents, while the observer is led to experience an object that is not necessarily represented in the work itself.
Film is a hybrid medium in whose visual language intermediate processes are realized and it manipulates the formal characteristics of painting. Film representations of painting evoke the fluid and intermedial nature of the film medium, and are categorized according to the way of representation in documentaries about art, biographical films about artists, film scenes in museums, and direct painting quotations in film and tableaux vivants. Although the theoretical background of each type of representation is presented in the paper, those painterly quotations in the film context are elaborated in particular.
In the analytical part of the work, the selected films were classified according to genres, and three examples were analyzed in each genre category through the prism of the descriptive phenomenological method. Through the interpretation and synthesis of painterly quotations on film and quoted painterly works, formal, dramaturgical and authorial tendencies are demonstrated in the film portrayal of the emotional, psychological and physical states of film characters. |
