Religia i film. Stylizacje na język religijny w filmach Wojciecha Jerzego Hasa

  1. Iwona Grodź

Abstract

Religion and film. Stylizationson religious language in films made by Wojciech Jerzy Has

The main aim of the article is to answer the question about, how religious language functions in cinematography. It is both about specifying an aim of introducing it to a plot or narration of a film and about when it is introduced. It will be crucial to specify what goal the director attains by using religious language in his films. How important it is for the plot development. Is it connected with the will to remind the viewers about the world which does not exist currently or is it rather parodying the defined view.
The next stage is an analysis of the particular examples of the use of religious language in Wojciech Has’s films, for example The Codes, The Sandglass, The Manuscript Found in Saragossa, The Personal Diary of the Wicked… Written by Himself, The Amazing Journey of Balthazar Kober. Next, the ways of showing its functioning in cinematography: stylization, allusion, form of quotations, collage, parody, pastiche, travesty.
Concluding, the director uses the religious language stylisations and quotations (for example the Holy Scripture or other cultural texts, like Juliusz Słowacki’s Anhelli) in the considerate way. Using the religious language, he characterizes setting and time of action, the film characters and, above all, his attitude towards religion. Love language gets the markers of religious language in his films. In this way, Has approaches to understanding the new version of religion and religiousness, not consistent with the Old Testament, but rather with New Testament’s message which means: “Love your neighbor as yourself”.

 

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Studia Filmoznawcze

40, 2019

Pages from 187 to 200

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