Abstract
There’s more to discover about Bob Fosse’s masterpiece Cabaret (1972) through these two inspiring shots. Marek Hendrykowski’s comprehensive study including detailed in-depth analysis of the opening and last shot of Berlin 1931 story enlarges the scope of understanding of film poetics used in Cabaret. It also demonstrates the crucial importance of the outstanding direction, filming and editing to that unique film.References
J. Mukařovsky, Próba strukturalnej analizy fenomenu aktorstwa (Charlie Chaplin w „Światłach wielkiego miasta”), przeł. J. Mayen, [w:] tenże, Wśród znaków i struktur, red.J. Sławiński, Warszawa 1970.
M. Hopfinger, Kultura współczesna – audiowizualność, Warszawa 1985, s. 57-79.
M. Hendrykowski, Gasthaus Waldesruh – narodziny tragedii z ducha piosenki, „Kino” 1998, nr 2 oraz tenże, Musical jako arcydzieło, „Kwartalnik Filmowy” 1995/1996, nr 12-13.
J. Łotman, O modelującym znaczeniu „końca” i „początku” w przekazach artystycznych (Tezy), [w:] Semiotyka kultury, red. E. Janus, M.R. Mayenowa, Warszawa 1975.
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