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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 chapter

...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...

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 chapter

...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...

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 chapter

...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...

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 chapter

...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...

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 chapter

...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 chapter

...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...