Seeing with a Filmmaker’s Eyes: Glimpses of Mobilized Landscapes in Stan Brakhage’s The Wonder Ring (1955) and Visions in Meditation #2: Mesa Verde (1989)

Kornelia Boczkowska

doi:10.18290/rh.2017.65.11-5

Kornelia Boczkowska Uniwersytet im. Adama Mickiewicza w Poznaniu

DOI: https://doi.org/10.18290/rh.2017.65.11-5

Słowa kluczowe: amerykański film awangardowy i eksperymentalny; Stan Brakhage; amerykański krajobraz; phantom ride; symfonia miejska; film drogi

Abstrakt

Mignięcia ruchomych krajobrazów w The Wonder Ring (1955) i Visions in Meditation #2: Mesa Verde (1989) Stana Brakhage’a

Przedmiotem artykułu jest próba analizy reprezentacji amerykańskiego krajobrazu w filmach eksperymentalnych Stana Brakhage’a The Wonder Ring (1955) i Visions in Meditation #2: Mesa Verde (1989), przedstawionego za pomocą wybranych konwencji gatunków filmowych obejmujących phantom ride, symfonię miejską i film drogi. Analiza materiału filmowego autorstwa Brakhage’a pod względem wspomnianych cech gatunkowych może prowadzić do wniosku, że stosowany przez reżysera niekonwencjonalny montaż, ruchy kamerą i długie ujęcia mają na celu przywołanie zniekształconego doświadczenia czuciowej i kontemplacyjnej podróży poprzez wyeksponowanie dynamiki między mobilnym spojrzeniem wirtualnym (“mobilized virtual gaze”; Friedberg 1993) ze strony widza a mijanymi obiektami obserwowanymi z perspektywy pojazdu. W szczególności, dzięki wykorzystaniu takich technik jak kamerowanie “z ręki”, supernałożenie, dynamiczny “fast cutting”, obiektyw anamorficzny czy też wielokrotna ekspozycja, oba filmy zdają się kwestionować panoramiczną percepcję i wyidealizowany obraz amerykańskiego krajobrazu, nierozłącznie związanego z koncepcją naturalnej i technologicznej wzniosłości (natural/ technological sublime).

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