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dc.contributor.authorTomić, Janica
dc.contributor.editorOstalska, Katarzyna
dc.contributor.editorFisiak, Tomasz
dc.date.accessioned2022-10-20T16:42:49Z
dc.date.available2022-10-20T16:42:49Z
dc.date.issued2020
dc.identifier.issn0084-4446
dc.identifier.urihttp://hdl.handle.net/11089/43825
dc.description.abstractThe paper introduces the concept of tableau as articulated by film history and theory, with examples from the films of Roy Andersson, Jean-Luc Godard and Lars von Trier. A lesser known tradition, the bonnet view originates from Kelly Reichardt’s western Meek’s Cutoff which set out to tell the story from “the point of view of the woman who pours John Wayne’s coffee.” By replacing generic conventions, notably the customary widescreen with a square-like image, Meek’s Cutoff conveys the visual and social restrictions signified by women’s bonnets. The bonnet view is further traced in the tableaus of TV-series Handmaid’s Tale and other cinematic portrayals of women’s history ( Jessica Hausner's Amor Fou and Carl Th. Dreyer’s The Day of Wrath), exploring its potential as a vehicle of the female gaze.pl_PL
dc.language.isoenpl_PL
dc.publisherŁódzkie Towarzystwo Naukowe; Wydawnictwo Uniwersytetu Łódzkiegopl_PL
dc.relation.ispartofseriesZagadnienia Rodzajów Literackich;1
dc.rightsAttribution-NonCommercial-NoDerivatives 4.0 Międzynarodowe*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjecttableaupl_PL
dc.subjectbonnet viewpl_PL
dc.subjectR. Anderssonpl_PL
dc.subjectL. von Trierpl_PL
dc.subjectK. Reichardtpl_PL
dc.subjectC.Th. Dreyerpl_PL
dc.titleUnder Her Hat: Glimpses of Bonnet Viewpl_PL
dc.typeArticlepl_PL
dc.page.number135-145pl_PL
dc.contributor.authorAffiliationUniversity of Zagreb - Chorwacja, Faculty of Humanities and Social Sciences, Scandinavian Divisionpl_PL
dc.identifier.eissn2451-0335
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dc.identifier.doi10.26485/ZRL/2020/63.1/11
dc.relation.volume63pl_PL
dc.disciplinesztuki filmowe i teatralnepl_PL


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