Zbig Vision: nové vidění, nová skutečnost. Filmový obrazosvět Kafky Zbigniewa Rybczyńského

Bc. Marie Kotková

Bachelor's thesis

Zbig Vision: New Vision, New Reality. Film Image-world of Zbigniew Rybczyński's Kafka

Abstract:

Studie analyzuje "Kafku" (1992) Zbigniewa Rybzcyńského. Zaměřuje se na teoreticko-metodologickou reflexi a ekonomický a kulturně historický kontext díla a odhaluje background zvolených produkčních postupů v realizaci Rybczyńského "Kafky". Práce popisuje metodu simulace pohybu a příklady multiplikace obrazu a časoprostorové manipulace. Rybzcyński s aplikací nejnovějších technologií přichází i s novou estetikou filmové tvorby, novou formou herecké akce, odhaluje nové způsoby narace, čímž také otevírá nové možnosti percepce umění pohyblivých obrazů. "Kafka" je vrcholem autorova dosavadního experimentování na poli audiovizuální tvorby. Aplikace neformalistické filmové analýzy na "Kafku" pomáhá k rozkrytí aspektů nekonvenčních postupů Rybczyńského stylu.

Abstract:

The study analyses Zbigniew Rybczyński’s Kafka (1992). The study focuses on the theoretical – methodological reflection of Kafka and is dealing its economical and cultural – historical context. After the description of the methodological background of the neoformalist approach and after the setting of some hypothetical results of the application of the conception of the neoformalist film analysis to Kafka, this study is describing the background of the production and the distribution of the covering project named Audio/Visual Encyclopedia Series. This work is describing Rybczyński’s production process and the methods he used to the execution of his Kafka. Here are presented Rybczyński’s simulation of the movement, the instant video technique, examples of the multiple imagery and the resultant reversed process of filming and new ways of performing arts. The study is treating of Zbigniew Rybczyński as a phenomenon in the audiovisual culture. After a series of experiments across the whole area of the visual motion, Rybczyński made some very interesting discoveries: that visual motion gives a creator the possibility of photographing reality, in a very different way from what we know from our experience. Rybczyński built a motion control system which allows the camera to make any motion in space, at any speed. There through he opened new possibilities of the spatio-temporal manipulation. Rybczyński came up with new vision, new reality, new perception. Kafka is the top of his experimenting history. In this work I am including Rybczyński and his work to the cultural – historical context of the existing film production and trying to specify the status of Kafka within the frame of Rybczyński’s style. The neoformalist film analysis is applied to Rybzcyński’s Kafka. This text includes a naratological analysis and a part of the style analysis. The dominating factor which is repeated, varied, developed and paralleled, across the whole film and at the same time in almost every single segment, can be characterized, in my point of view, as “multiplication and motion”. In this study I revealed a parallel between the phenomenon-Rybczyński and phenomenon–Kafka and between their attitudes towards the artistic work.

Keywords

Zbigniew, Rybczyński, Kafka, Zbig Vision, neoformalistická filmová analýza, filmový obrazosvět, nová skutečnost, simulace pohybu, převrácený proces filmování, multiplikace, pohyb, visual motion, multiplacation, motion control system, spatio-temporal manipulation

Language used: Czech

Date on which the thesis was submitted / produced: 16. 5. 2008

Thesis defence

• Date of defence: 26. 5. 2008
• Supervisor: doc. Mgr. Lucie Česálková, Ph.D.

Masaryk University

Faculty of Arts

Bachelor programme / field:
General Theory and History of Arts and Culture / Film and Audio-Visual Culture Studies