Film as museum. Semiotics anf the elastic film image

摘要

[Abstract] This presentation explores the relationship and mutual influences integration between the high art (especially paintings) in the popular art territory, in the film «Le Fabuleux destin d'Amélie Poulain». This film is a hybrid phenomenon, allowing for a new kind of intervisual dialogue between the arts, how these fields interact and how they may expand beyond their existing limits? Film has the ability to engulf and ingest other genres and disciplines together. I would borrow Michael Backtin’s term of super-genre. In fact, film is a medium, which seeks to shape its form to different languages, text, and disciplines, constantly changeable, the film as a genre of all genres. The new technology brings new possibilities in film image towards a new kind of a museum. The «new museum» in this sense is not a museum of pictures alone, it is also a museum of objects, shapes, compositions, attitudes, gestures, pictorial fragments, colors, forms, all made existential, real. This collaboration creates a new kind of film closer to the Carnival concept. The focus is on translation, re-vision, interpretation and transformation of the arts into the filmic elastic image, through the use of codes, colors, form, composition, set design, pictorial fragments, camera and other aesthetic elements of film, providing a new semiotic experience. This film manifests the challenge of using masterpieces of the past in the film image, being in constant flux, evolving and change, creating a new kind of a Museum integrating in the multiple visual vision of our time The aim is to show the contribution of this hybrid phenomenon to the field of visual culture and to present new possibilities of expansion for the cinematic dialogue between the disciplines.