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Output details

36 - Communication, Cultural and Media Studies, Library and Information Management

University of Central Lancashire

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Article title

KTO POLUBI MARY LENNOX? „TAJEMNICZY

OGRÓD” AGNIESZKI HOLLAND I WSPÓŁCZESNE KINO FAMILIJNE

Type
D - Journal article
DOI
-
Title of journal
Kwartalnik Filmowy
Article number
9426
Volume number
81
Issue number
-
First page of article
52
ISSN of journal
0452-9502
Year of publication
2013
Number of additional authors
-
Additional information

The Secret Garden (1993), the first film made by Agnieska Holland in Hollywood, is based on a novel by Frances Hodgson Burnett, that is widely recognised as a classic of children’s literature. The author argues that this film is the result of various negotiations between the many different models and aesthetic traditions of cinema – mainly Hollywood family cinema and the European art cinema. In the first part of the article the author discusses the context of production of The Secret Garden and its influence on the final artistic shape of the film. Then the analysis turns to the category of family cinema, to which Holland’s film is said to belong. In the analytical part of the article the author analyses in detail the initial and final sequences of the film, and using them as an example, she discusses the process of aesthetic and ideological negotiations.

Interdisciplinary
-
Cross-referral requested
-
Research group
None
Proposed double-weighted
No
Double-weighted statement
-
Reserve for a double-weighted output
No
Non-English
Yes
English abstract

The author argues that The Secret Garden (1993), the first film made by Agnieszka Holland in Hollywood, is the result of various negotiations between the many different models and aesthetic traditions of cinema – mainly Hollywood family cinema and the European art cinema. The author discusses first the context of production and its influence on the final artistic shape of the film. Then the analysis turns to the category of family cinema. The author analyses in detail the initial and final sequences of the film, and using them as an example, she discusses the process of aesthetic and ideological negotiations.