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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...

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...

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 chapter

...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 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...

Colour and Suffering

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 chapter

...The gold of your hair MargaretheThe ash of your hair Sulamith. (Paul Celan) A Matter of Life and Death Sometimes, shockingly, the properties of film technology – its powers and inadequacies – can make the difference between life...

‘Europe’

Thomas Elsaesser

Thomas Elsaesser is Emeritus Professor at the University of Amsterdam, The Netherlands, and since 2013 Visiting Professor at Columbia University. European Cinema and Continental Philosophy further develops Elsaesser’s approach to national and auteur cinema begun with Fassbinder’s Germany: History Identity Subject (1996), continued with European Cinema – Face to Face with Hollywood (2005) and given a theoretical turn in Film Theory: An Introduction through the Senses (2010). Author affiliation details are correct at time of print publication.

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European Cinema and Continental Philosophy : Film as Thought Experiment

Bloomsbury Academic, 2019

Book chapter

...The real must be fictionalized in order to be thought. Political Europe as a philosophical issue In the introductory chapter I argued that, viewed from a certain perspective, European politics and European cinema can be understood...

art imitating lifeBlack Swan: Limit Experience and Artistic Perfection

Jadranka Skorin-Kapov

Jadranka Skorin-Kapov is Professor of Operations Research at Stony Brook University, USA, with a diverse background in mathematics, philosophy, and art history and criticism. Author affiliation details are correct at time of print publication.

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Darren Aronofsky’s Films and the Fragility of Hope

Bloomsbury Academic, 2016

Book chapter

...Perfection is not just about control. It’s also about letting go. Surprise yourself, so you can surprise the audience. Transcendence.Following The Wrestler (2008), Aronofsky’s next film is Black Swan (2010), which to some extent relates...