The Aesthetics and Politics of Landscape film

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dc.contributor.advisorGyőri, Zsolt
dc.contributor.authorSzabó, Zoltán
dc.contributor.departmentDE--Bölcsészettudományi Karhu_HU
dc.date.accessioned2018-05-23T13:06:59Z
dc.date.available2018-05-23T13:06:59Z
dc.date.created2018
dc.description.abstractThis paper explores the intersection of landscape painting and neo-avantgarde cinema, collectively referred to as landscape film. Through examining selected works from three different filmmakers (James Benning, Stan Brakhage, Chris Welsby), I identify certain formal and thematic principles which can be used to establish an overarching typology of the genre. Based on the interpretative/contemplative distinction made by W. J. T. Mitchell concerning the approaches to the study of landscape, I argue that the majority of the filmmakers belonging to this genre utilize one of these two strategies to create visual landscape studies – the interpretative landscape film, inspired by 19th century romanticism, treats its subject as a textual system where spatiality is directly articulate of the social and political discourses which produce it, while the contemplative landscape film, drawing from post-impressionism, works toward the purification of the visual field by moving from figurative representation towards abstraction and making the material qualities of landscape its focal point of investigation.hu_HU
dc.description.courseAnglisztikahu_HU
dc.description.degreeBSc/BAhu_HU
dc.format.extent27hu_HU
dc.identifier.urihttp://hdl.handle.net/2437/252673
dc.language.isoenhu_HU
dc.subjectlandscape filmhu_HU
dc.subjectphenomenologyhu_HU
dc.subjectlandscape paintinghu_HU
dc.subjectavant-garde filmhu_HU
dc.subject.dspaceDEENK Témalista::Filozófiahu_HU
dc.subject.dspaceDEENK Témalista::Művészetekhu_HU
dc.titleThe Aesthetics and Politics of Landscape filmhu_HU
dc.typediplomamunka
Fájlok
Gyűjtemények
Theses (Institute of English and American Studies)