Abstract
The article analyses and interprets Robert Stando’s little-known educational film Strach ma wielkie oczy [Fear has large eyes]. The film was made in 1965 and produced by the Documentary Film Studio in Warsaw. The author explores the original character of the film, reconstructing the stylistic and compositional techniques used by filmmakers, among others, in the field of cinematography (underwater photography), editing, word function, music, sound effects etc.
Highlights
Wszystkie kiedykolwiek s lmowane przestrzenie można podzielić na trzy kategorie: łatwe, neutralne i trudne
E article analyses and interprets Robert Stando’s little-known educational lm Strach ma wielkie oczy [Fear has large eyes]. e lm was made in and produced by the Documentary Film Studio in Warsaw. e author explores the original character of the lm, reconstructing the stylistic and compositional techniques used by lmmakers, among others, in the eld of cinematography, editing, word function, music, sound e ects etc
Mowa teraz nie tylko o tym jednym utworze, lecz także o licznych innych pracach Roberta Stando, nakręconych przez niego na przestrzeni wielu lat
Summary
Wszystkie kiedykolwiek s lmowane przestrzenie można podzielić na trzy kategorie: łatwe, neutralne i trudne. Mowa teraz nie tylko o tym jednym utworze, lecz także o licznych innych pracach Roberta Stando, nakręconych przez niego na przestrzeni wielu lat.
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