"Univerzita Palack\u00E9ho v Olomouci" . "K\u0159\u00ED\u017E, Michal" . "Studie p\u0159edkl\u00E1d\u00E1 stru\u010Dnou anal\u00FDzu vztahu mezi intertextualitou a intermedialitou na p\u0159\u00EDkladu filmov\u00E9ho d\u00EDla %22The Immortal Story%22 re\u017Eis\u00E9ra Orsona Wellese. Perspektivou klasick\u00E9ho v\u00FDtvarn\u00E9ho um\u011Bn\u00ED se film jev\u00ED jako zp\u016Fsob vypr\u00E1v\u011Bn\u00ED, kter\u00FD produkuje intertextu\u00E1ln\u00ED v\u00FDznamy. Re\u017Eis\u00E9r Orson Welles, kter\u00FD byl dob\u0159e obezn\u00E1men se soudob\u00FDm teoretick\u00FDm my\u0161len\u00EDm ve Francii, vytvo\u0159il filmov\u00E9 d\u00EDlo, je\u017E podstatn\u00FDm zp\u016Fsobem zd\u016Fraz\u0148uje podm\u00EDn\u011Bnost ka\u017Ed\u00E9ho p\u0159\u00EDb\u011Bhu vzhledem k vlastn\u00ED struktu\u0159e vypr\u00E1v\u011Bn\u00ED. Zat\u00EDmco p\u0159\u00EDb\u011Bh realizovan\u00FD na prim\u00E1rn\u00ED rovin\u011B vyu\u017E\u00EDv\u00E1 klasickou formu perspektivy (perspectiva arteficialis), p\u0159\u00EDb\u011Bh realizovan\u00FD na sekund\u00E1rn\u00ED rovin\u011B je Wellesem prim\u00E1rn\u011B sn\u00EDm\u00E1n perspektivou hloubky pole, a tedy v\u00FDznamov\u011B odkazuje k osob\u011B tv\u016Frce. Orson Welles jako pan Clay vypr\u00E1v\u00ED v jednom moment\u011B p\u0159\u00EDb\u011Bh, kde je s\u00E1m jako postava sou\u010D\u00E1st\u00ED jin\u00E9ho vypr\u00E1v\u011Bn\u00ED. Lidsk\u00FD subjekt se ztr\u00E1c\u00ED v zrcadlov\u00E9m odraze."@cs . "2007-11-07+01:00"^^ . "The paper follows one common aim: to analyse the particular relation between intertextuality and intermediality, and to illustrate the above mentioned relation with the example of Orson Welles' 1968 film The Immortal Story, which he made in France. When viewed from the perspective of fine art, this film as a narration is seen as one producing many intertextual meanings. Orson Welles, who certainly was familiar with new thinking in France, managed to create a film which essentially emphasized the intertextual foundation of every story by its structure of narrative levels. While the first-level story has the classical perspective form - perspectiva artificialis - for the story of the second level, Welles chose the depth-of-field perspective, thus refering to the person of creator. Orson Welles as Mr. Clay narrates a story and at the same time, he himself is being a part of another story. Human subject is fading in a mirror image."@en . "RIV/61989592:15210/08:33142675" . . . "Olomouc" . "Olomouc" . "intermediality, intertextuality, narratology, literature, film"@en . "1"^^ . . . . . "Intermedialita versus Intertextualita-The Immortal Story Orsona Wellese: um\u011Bn\u00ED vypr\u00E1v\u011Bt v literatu\u0159e a ve filmu" . "1"^^ . "15210" . . . "Intermedialita versus Intertextualita-The Immortal Story Orsona Wellese: um\u011Bn\u00ED vypr\u00E1v\u011Bt v literatu\u0159e a ve filmu" . "Intermediality vs. Intertextuality - The Immortal Story by Orson Welles: The Art of Narration in Literature and Film"@en . "Intermediality vs. Intertextuality - The Immortal Story by Orson Welles: The Art of Narration in Literature and Film"@en . "RIV/61989592:15210/08:33142675!RIV13-MSM-15210___" . . "Intermedialita: Slovo-obraz-zvuk. Sborn\u00EDk p\u0159\u00EDsp\u011Bvk\u016F z mezin\u00E1rodn\u00EDho sympozia" . "10"^^ . "Studie p\u0159edkl\u00E1d\u00E1 stru\u010Dnou anal\u00FDzu vztahu mezi intertextualitou a intermedialitou na p\u0159\u00EDkladu filmov\u00E9ho d\u00EDla %22The Immortal Story%22 re\u017Eis\u00E9ra Orsona Wellese. Perspektivou klasick\u00E9ho v\u00FDtvarn\u00E9ho um\u011Bn\u00ED se film jev\u00ED jako zp\u016Fsob vypr\u00E1v\u011Bn\u00ED, kter\u00FD produkuje intertextu\u00E1ln\u00ED v\u00FDznamy. Re\u017Eis\u00E9r Orson Welles, kter\u00FD byl dob\u0159e obezn\u00E1men se soudob\u00FDm teoretick\u00FDm my\u0161len\u00EDm ve Francii, vytvo\u0159il filmov\u00E9 d\u00EDlo, je\u017E podstatn\u00FDm zp\u016Fsobem zd\u016Fraz\u0148uje podm\u00EDn\u011Bnost ka\u017Ed\u00E9ho p\u0159\u00EDb\u011Bhu vzhledem k vlastn\u00ED struktu\u0159e vypr\u00E1v\u011Bn\u00ED. Zat\u00EDmco p\u0159\u00EDb\u011Bh realizovan\u00FD na prim\u00E1rn\u00ED rovin\u011B vyu\u017E\u00EDv\u00E1 klasickou formu perspektivy (perspectiva arteficialis), p\u0159\u00EDb\u011Bh realizovan\u00FD na sekund\u00E1rn\u00ED rovin\u011B je Wellesem prim\u00E1rn\u011B sn\u00EDm\u00E1n perspektivou hloubky pole, a tedy v\u00FDznamov\u011B odkazuje k osob\u011B tv\u016Frce. Orson Welles jako pan Clay vypr\u00E1v\u00ED v jednom moment\u011B p\u0159\u00EDb\u011Bh, kde je s\u00E1m jako postava sou\u010D\u00E1st\u00ED jin\u00E9ho vypr\u00E1v\u011Bn\u00ED. Lidsk\u00FD subjekt se ztr\u00E1c\u00ED v zrcadlov\u00E9m odraze." . . . . "O" . . "Intermedialita versus Intertextualita-The Immortal Story Orsona Wellese: um\u011Bn\u00ED vypr\u00E1v\u011Bt v literatu\u0159e a ve filmu"@cs . "372933" . . . . . "Intermedialita versus Intertextualita-The Immortal Story Orsona Wellese: um\u011Bn\u00ED vypr\u00E1v\u011Bt v literatu\u0159e a ve filmu"@cs . "978-80-244-2054-7" . "[2C3B6C9CA1D5]" .