<abstract xmlns="http://www.w3.org/1999/xhtml"><p>The paper focuses on a characteristic of Andrzej Zulawski’s aesthetics which has been ignored by most of the critics who emphasized the impact of surrealism and the taste for provocation in his cinema. Meanwhile, the œuvre’s French period is obviously characterized by self-reflexivity and media-reflexivity, autobiographical and literary background references. In these film dramas, the topic of love, beauty and artistic values are interconnected with a sophisticated narrative strategy using intermediality and intertextuality in a complex way. In Fidelity (La Fidelité, 2000), Żuławski put photography and literature in focus again in order to express thoughts and emotions in their complexity, surpassing the limitations of the linear narrative. A certain semiotic double-codedness is provided by either intertextual references or the hidden meanings based on the symbolic language of flowers, used as diegetic metaphors. Moreover, Żuławski thematizes photography that makes us conscious of our experiences from an aesthetic distance, even in an ironic manner.</p></abstract>

The paper focuses on a characteristic of Andrzej Zulawski’s aesthetics which has been ignored by most of the critics who emphasized the impact of surrealism and the taste for provocation in his cinema. Meanwhile, the œuvre’s French period is obviously characterized by self-reflexivity and media-reflexivity, autobiographical and literary background references. In these film dramas, the topic of love, beauty and artistic values are interconnected with a sophisticated narrative strategy using intermediality and intertextuality in a complex way. In Fidelity (La Fidelité, 2000), Żuławski put photography and literature in focus again in order to express thoughts and emotions in their complexity, surpassing the limitations of the linear narrative. A certain semiotic double-codedness is provided by either intertextual references or the hidden meanings based on the symbolic language of flowers, used as diegetic metaphors. Moreover, Żuławski thematizes photography that makes us conscious of our experiences from an aesthetic distance, even in an ironic manner.

Intermediality and Reflexivity in Andrzej Żuławski’s Fidelity

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

{"article-title":"Intermediality and Reflexivity in Andrzej Żuławski\u2019s Fidelity"}

The paper focuses on a characteristic of Andrzej Zulawski’s aesthetics which has been ignored by most of the critics who emphasized the impact of surrealism...

Intermediality and Reflexivity in Andrzej Żuławski’s Fidelity

Pubblicato online: 06 apr 2016

Pagine: 181 - 193

DOI: https://doi.org/10.1515/ausfm-2015-0022

Parole chiave
self-reflexivity, intermediality, adaptation, intertextuality, photography, poetry, language of flowers, irony

© 2016

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Intermediality and Reflexivity in Andrzej Żuławski’s Fidelity

Pubblicato online: 06 apr 2016

Pagine: 181 - 193

DOI: https://doi.org/10.1515/ausfm-2015-0022

Parole chiaveself-reflexivity, intermediality, adaptation, intertextuality, photography, poetry, language of flowers, irony

© 2016

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Parole chiave
self-reflexivity, intermediality, adaptation, intertextuality, photography, poetry, language of flowers, irony