| Popis: |
This article focuses on Roy Andersson’s signature landscapes using theatrical (theatre of the absurd) and painting (the trompe d’oleil effect, the aesthetics of tableaux vivants) motifs. The author presents the complex web of roles that landscape fulfils in the Swedish director’s cinematography: the emotional landscape of the characters, the narrative frame of the film stories, and the position of the non-living actor. The author thus proves that for the Swedish director, landscape is not just a passive background for screen events, but an active co-creator and catalyst of meaning. |
