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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...

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...

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...

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...

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...

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...

Abbas Kiarostami

Projections 4½ : In association with Positif: Film-makers on Film-making

Faber & Faber Limited, 1995

Book chapter

...To avoid all misunderstandings, I should confess at once that I haven't been particularly struck by either a director or a film. My films are much more influenced by events which occur in daily life, and which, without realizing it, I store...

Agnès Varda

Projections 4½ : In association with Positif: Film-makers on Film-making

Faber & Faber Limited, 1995

Book chapter

...Some notable numbers (and positive ones, if quantity makes for strength):Forty (40) years of cinema since my first long film in 1954 (La Pointe Courte); four hundred (400) numbers of Positif in forty (40) years; and forty (40) days since I...

Alain Cavalier

Projections 4½ : In association with Positif: Film-makers on Film-making

Faber & Faber Limited, 1995

Book chapter

...What I like best is going to see someone's first film. I try to divine the future pitfalls and the present splendours. All the future oeuvre is there. I remember the sleepless night before my own first day of shooting, the hurried breakfast...

Alain Corneau

Projections 4½ : In association with Positif: Film-makers on Film-making

Faber & Faber Limited, 1995

Book chapter

...Glen Ford in The Big Heat.The name which springs to mind this December 1993 is Fritz Lang. So why Fritz Lang?Because, many years later, the mystery remains unsolved.Because it's the question of identity, central to all his films, which...