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  • Kieslowski, Krzysztof
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Introduction

Mark Le Fanu

Mark Le Fanu is a well-known writer on film who has contributed regular pieces and columns to Sight and Sound, Positif and the East-West Review. A former Lecturer in English at the University of Cambridge, he was from 1993-2008 Director of Studies in Film History at the European Film College in Ebeltoft, Denmark. He is the author of The Cinema of Andrei Tarkovsky (1987) and Mizoguchi and Japan (2005), which was shortlisted in its year of publication for the Krazna-Kraus Prize. Author affiliation details are correct at time of print publication.

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Believing in Film : Christianity and Classic European Cinema

I.B. Tauris, 2018

Book

...At some stage in European civilisation, Christianity ceased to be the paramount driving force; it ceased to be both the primary inspiration of art, and the measure of that art’s true value – its final court of appeal, so to speak...

Early Works (1966–1988)

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book

...As discussed, Kieślowski began in documentaries, and this experience exerted considerable influence on his feature filmmaking. What is most clear is that Kieślowski appreciated the immediate powers of the image, even as he debated its...

Which Kieślowski?

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book

...Krzysztof Wierzbicki’s documentary Krzysztof Kieślowski: I’m So-So begins with perspectives on Kieślowski through the eyes of different people (a policeman, a medium, etc.). No two descriptions are alike. In film studies, the theoretical...

The Later Features (1991–1994)

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book

...This final chapter discusses the films that epitomize Kieślowski’s metaphysically aimed formalism. Much of the discussion in Chapter 2 center on these last four films, so this chapter will not discuss form in the same detail, even though...

Afterword

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book

...The French critic Vincent Amiel shares my admiration for the final image of the judge in Red,See Chapter 2 for a still image of this shot. but for slightly different reasons. Amiel sees the broken window as an image of surrender, a symbol...

On the Dialectics of Filmic Colours (in general) and Red (in particular)

Paul Coates

Paul Coates is Professor in the Film Studies Department of the University of Western Ontario, Canada. He is the author of The Story of the Lost Reflection (1985), The Gorgon's Gaze: German Cinema, Expressionism and the Image of Horror (1991) and Cinema, Religion and the Romantic Legacy (2003). Author affiliation details are correct at time of print publication.

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Cinema and Colour : The Saturated Image

British Film Institute, 2010

Book

...Introduction: In the Shadow of Eisenstein I wanted there to be red drops of blood in the black-and-white part, after the murder of Vladimir Andreyevich; but Fira Tobak would not have it; saying that would be Formalism. (Eisenstein...

Immediacy, Abstraction, and Transcendence

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book

...However formidable Kieślowski’s screenwriting talents, the elements that make his work truly great are most resistant to verbal description. This chapter precedes the readings of his films precisely because one must have a sense...

Poland: A Trio of Catholics

Mark Le Fanu

Mark Le Fanu is a well-known writer on film who has contributed regular pieces and columns to Sight and Sound, Positif and the East-West Review. A former Lecturer in English at the University of Cambridge, he was from 1993-2008 Director of Studies in Film History at the European Film College in Ebeltoft, Denmark. He is the author of The Cinema of Andrei Tarkovsky (1987) and Mizoguchi and Japan (2005), which was shortlisted in its year of publication for the Krazna-Kraus Prize. Author affiliation details are correct at time of print publication.

Search for publications

Believing in Film : Christianity and Classic European Cinema

I.B. Tauris, 2018

Book

...‘Premonitions of fate [. . .] and mortality’. Zbigniew Zapasiewicz and Piotr Garlicki in Zanussi’s mordant portrait of pre-Solidarity Poland, Camouflage (1977).Just as Russia retained a bedrock of Orthodoxy throughout the communist period...

The Decalogue (Ten film series, 1988)

Joseph G. Kickasola

Joe Kickasola is Assistant Professor of Communication Studies at Baylor University. Author affiliation details are correct at time of print publication.

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The Films of Krzysztof Kieślowski : The Liminal Image

Continuum, 2004

Book

...These ten films, released in 1988, function as a watershed moment in Kieślowski’s career. Many demonstrate the formal emphasis that will fully characterize his work after 1988. Some films hearken back to the more subdued...
Image
...Paris Street. Day A wild crowd outside the department stores in the city centre. A terrible noise, vendors shouting, street organs grinding, children crying. Hell. The camera observes this sea of faces slightly from above. Slowly...