Relevant bibliographies by topics / Kieslowski

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Academic literature on the topic 'Kieslowski'

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Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Kieslowski"

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Eidsvik, Charles. ": Kieslowski's "Short Films": A Short Film about Killing . Krzysztof Kieslowski. ; Kieslowski's "Short Films": A Short Film about Love . Krzysztof Kieslowski." Film Quarterly 44, no. 1 (October 1990): 50–55. http://dx.doi.org/10.1525/fq.1990.44.1.04a00090.

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Talarczyk, Monika. "Krzysztof Kieślowski’s “Decalogue” as a Quality TV Series." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (March 25, 2019): 38–46. http://dx.doi.org/10.14746/i.2018.33.04.

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The text is dedicated to The Decalogue (Dekalog,1988) by Krzysztof Kieslowski and analyses the television series through the prism of genre and contemporary television studies, including the concept of quality television. Kieslowski’s series fulfills all the criteria assigned to the contemporary new generation television series, and can act as a reference point for interpreting Poland’s first new generation series by HBO, In treatment (Bez tajemnic, 2011–2013). The two titles are also linked by the same Polish film tradition, i.e. the cinema of moral concern, even though In treatment is based on foreign format.
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Bradatan, Costica. "Transcendence and History in Krzysztof Kieslowski's Blind Chance." East European Politics and Societies: and Cultures 22, no. 2 (May 2008): 425–46. http://dx.doi.org/10.1177/0888325408315770.

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The article examines Krzysztof Kieslowski's Blind Chance ( Przypadek, 1981) as a film with a distinct philosophical significance. According to the interpretation proposed, in Blind Chance Kieslowski touches on both universal philosophical topics (death, meaninglessness, quest for certainty and truth, deciphering silence) and “local” themes (East-European historical pessimism, geography as destiny, “terror of history”). In spite of Kieslowski's self-declared religious agnosticism, Blind Chance could be—thanks even to the aesthetics of the film—read as a paradoxical theological statement, not so much about God per se, as about the necessity of his existence. In the same vein, the film occasions a series of meditations on historical fate and the role of geography in history, about hope and hopelessness, existential exhaustion, and legacies of silence.
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Mikheeva, Yulia Vsevolodovna. "Ideas of the Philosophical Ideallogism and Kieslowski’s “Pyramid”." Journal of Flm Arts and Film Studies 4, no. 4 (December 15, 2012): 50–63. http://dx.doi.org/10.17816/vgik4450-63.

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The author analyzes the spontaneous demonstration of the ideas of philosophical dialogism in the films of Krzysztof Kieslowski. She investigates the evolution of the creative thinking of the director depicting the state of feelings of the present-day people. The deep insight into the individual’s intricate spiritual quest leads Kieslowski of the late period to the conclusions consonant with the philosophical ideas of Post-Christianity.
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Izod, John, and Joanna Dovalis. "Grieving, Therapy, Cinema and Kieslowski's "Trois Couleurs: Bleu" Trois Couleurs: Bleu Krzysztof Kieslowski." San Francisco Jung Institute Library Journal 25, no. 3 (July 2006): 49–73. http://dx.doi.org/10.2307/25705401.

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Thiboutot, Christian. "Kieslowski, fiction, and human science." Humanistic Psychologist 44, no. 4 (2016): 400–405. http://dx.doi.org/10.1037/hum0000037.

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Sterritt, David. "The Films of Krzysztof Kieslowski: The Liminal Image:The Films of Krzysztof Kieslowski: The Liminal Image." Film Quarterly 59, no. 2 (December 2005): 61–62. http://dx.doi.org/10.1525/fq.2005.59.2.61.2.

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Santilli, Paul C. "Cinema and Subjectivity in Krzysztof Kieslowski." Journal of Aesthetics and Art Criticism 64, no. 1 (January 2006): 147–56. http://dx.doi.org/10.1111/j.0021-8529.2006.00236.x.

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Izod, John, and Joanna Dovalis. "Grieving, Therapy, Cinema and Kieslowski'sTrois Couleurs: BleuTrois Couleurs: Bleu. Screenplay by Krzysztof Kieslowski . Directed by Krzysztof Kieslowski ." San Francisco Jung Institute Library Journal 25, no. 3 (August 2006): 49–73. http://dx.doi.org/10.1525/jung.1.2006.25.3.49.

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Paragis, María Paula, and Florencia González Pla. "El Seminario de la Ética a través del cine." Ética y Cine Journal 7, no. 2 (July 3, 2017): 55. http://dx.doi.org/10.31056/2250.5415.v7.n2.18979.

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Reseña de "El Seminario de la Ética a través del cine. Lecturas lacanianas de Charles Chaplin, Jules Dassin, Federico Fellini, Woody Allen, Alfred Hitchcock, Vince Gilligan, Krzysztof Kieslowski, George Stevens, Pedro Almodóvar y los hermanos Marx"
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Dissertations / Theses on the topic "Kieslowski"

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Filipec, Radim. "Krzysztof Kieslowski - Hledání skutečnosti." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78771.

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In my dissertation essay I am trying to analyse the relationship between a documentary and a feature film in the works of Krzysztof Kieślowski, their mutual interconnection and merger which intensively occurred in the early period of his creation. A progress from director - documentarist to the director of feature film. The advancement from recording reality to later efforts for its closest possible reconstruction in a fictional story. The reality which will become an important thought and inspiring material for the director but also a binding burden. His sensitive reception of the role of author - director in relation to his own works and mainly to the moral and ethical side of both professional and private life. These are the aspects of Kieślowski´s works I aimed to demonstrate on his particular films.
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Contreras, Díaz Sylvia Fabyola, and Díaz Sylvia Fabyola Contreras. "Aproximación semiótica al Decálogo de Krzysztof Kieslowski." Tesis de Licenciatura, Facultad de Ciencias Políticas y Sociales, 2014. http://hdl.handle.net/20.500.11799/13687.

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Comencé a pensar en dedicar mi tesis a Krzysztof Kieslowski desde que supe debía elegir un tema, lo elegí porque me considero admiradora de su filosofía sobre cómo hacer cine haciéndolo un medio de comunicación, la forma en que nos cuenta sus historias, su arte, su manera de ver la vida y transmitirla. En el Capítulo 1 veremos el Cine de Posguerra en Polonia, dado que Kieslowski director y guionista era polaco, y su trabajo lo desarrolló posterior a la segunda Guerra Mundial, la privatización de los países socialistas y el impacto que generó en la comunidad éstos cambios, cosa que para Kiesloswki fue de alta relevancia, por ello es importante conocer dicha etapa para comprender los motivos del Director en “El Decálogo” (1988-89). Pretendo tener un background sobre el cine de los ochentas en Europa, para tener un contexto del director, ya que se encontraba en el centro de las convulsiones poscomunistas. En el Capitulo 2 conoceremos sobre la vida y obra de Krzysztof Kieslowski quien nació en Varsovia en una familia de clase modesta. Tras 2 intentos fallidos de ingresar a la escuela de cine de Lodz y graduarse, comenzó haciendo documentales, cortometrajes, después fue creador de largometrajes como “Personal”(1975), “La doble vida de Verónica”(1991), “Breve Historia sobre el amor”, “Breve Historia sobre la muerte”(éstos 2 últimos extraídos de “El Decálogo” 1988), más tarde fue acomodado a la industria francesa y legó una trilogía testamentaria inspirada en los colores de la bandera francesa (1991-94) Considerándose éstas como sus últimas películas. Posterior a su muerte aparecieron 3 textos filmicos realizados con su eterno guionista y colaborador Piesiewicz tilulados “Cielo, Infierno y Purgatorio”, actualmente ha sido llevada al cine la de “Cielo” por el director Tom Tykwer (2002) y la de “Infierno” de Danis Tanovic (2005).
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Miranda, Suzana Reck. "A musica no cinema e a musica do cinema de Krzystof Kieslowski." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285119.

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Orientador: Fernão Ramos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A pesquisa apresentada se propõe a descrever caracteristicas específicas da utilização da música de Zbigniew Preisner em dois filmes de Krzysztof Kieslowski: A Dupla Vida de Véronique - 1991 e A Liberdade é Azul - 1993. Acredita-se que, nos exemplos levantados, a relação da música com a ficção contribui de uma forma bastante relevante para a estruturação dos temas apresentados nos filmes. Verificou-se como a expressão filmica de Kieslowski desenvolve o uso da linguagem musical a partir da reflexão sobre algumas particularidades do fluxo da música entre os campos diegético e não - diegético, abordando os modos pelos quais ela atua como instância narrativa, bem como a sua participação como temática dos filmes.A narrativa filmica é extremamente enriquecida com a contribuição das "pistas musicais". Isto ocorre, entre outros fatores, devido à multiplicidadede interpretações que uma mesma melodia permite. Para conduzir tal verificação, foram utilizadas como referência metodológicaas propostas teóricas de alguns autores - como Michel Chion, Claudia. Gorbman, entre outros - sobre música no cinema
Abstract: The research presented has purpose of describing the specific charact.eristics of the use of Zbigniew Preisner music in KrzysztofKieslowsky's movies. It is believed that, in the shown examples, this relation of the music with the fiction contributes in a very relevant form to the structuring of the themes presented in the movies. lt was verified the way Kieslowski's filmic expression develops the use of musical language from the reflection about some particularities of the music flow between the diegetic and the nondiegetic fields, tacking the ways in which the music acts as a narrative instance, as well as its participation as the film subject. lt will be pointed possible contributions of "musical clues" to the enrichmentof the filmic narrative. It was utilised as methodological references the theoretical proposals of authors such as Claudia Gorbman, Michel' Chion, and others, on music in the movies
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高慧芝 and Wai-chi Ko. "A comparative study of Wim Wenders and Krzysztof Kieslowski: the theme of alienation." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31224490.

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Ko, Wai-chi. "A comparative study of Wim Wenders and Krzysztof Kieslowski the theme of alienation /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23234295.

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El, Koussa May. "De la dynamique des larmes au cinéma. Douglas Sirk, Krzysztof Kieslowski, Ingmar Bergman." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010662.

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Selon Jean-Louis Leutrat, « les larmes sont un sujet éminemment cinématographique ». Art de l'image en mouvement, le cinéma ouvre la voie à une « dynamique» des larmes. Au cinéma, les larmes coulent dans l’image : elles apparaissent, se forment et se transforment. Connues pour leur faculté de purification, d'échange et d'union, les larmes permettent aux gens de communiquer leur désir d'être accueillis les uns dans les autres. Ainsi, dans le mélodrame, les larmes coulent afin de combattre la difficulté d'être en contact avec « l'autre ». Douglas Sirk, maître du mélodrame hollywoodien fait des larmes un moyen d'expression contre une stratégie qui caractérise son style, la séparation. Entre le besoin des personnages d'établir une union et une stratégie dominante de la séparation dans les films, une dynamique des larmes s'établit au cœur d'une tension entre l'union et la séparation. Dévoilement. communion, conversion, sont les trois étapes de la dynamique qui s'engendre. Avec son refus de montrer des larmes « réelles» pour des raisons éthiques, Krzysztof Kieslowski aggrave la tension entre la séparation dans un monde qui représente la « modernité », et l'écoulement des larmes. Il procure, en plus, à celles-ci une profondeur esthétique et leur donne différentes formes. Dans un cas plus extrême, Ingmar Bergman, à travers son style, interdit à ses personnages de verser des larmes, par peur de décoller le masque qui les protège du néant habitant leur monde. Les larmes touchent à une situation critique, elles appellent à l'union, tout en comportant le danger d'anéantissement
According to Jean-Louis Leutrat, "tears are a highly cinematic subject". As an art of image in movement, cinema may attribute to tears a certain "dynamic". In cinema, the tears flow in the picture: they appear. are formed and transformed. Known for their ability of purification, exchange and union, tears allow people to communicate their desire to be received one in another. Hence, in Melodrama, tears flow to face the difficulty of getting in touch with the "ether". Douglas Sirk, the master of Melodrama in Hollywood, makes of tears a means of expression against a strategy that characterizes his style, the strategy of separation. Between the need to establish a union, and a dominant strategy of separation, a dynamic of tears is born in the core of the strength between union and separation. Unveiling, communion, conversion, are the three stages of the produced dynamic. In his approach of denying "real" tears for ethical reasons. Krzysztof Kieslowski increases the tension between separation in a "modern" world and the flow of tears, while providing them a more aesthetical depth and different forms. More extremely, Ingmar Bergman, through his style, prevents his characters from shedding tears, by fear of taking off the mask that protects them from the nothingness that haunts their world. Tears reach a critical state; they call for the union, while featuring the danger of annihilation
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Hokama, Humberto. "Não matarás e a ampliação do olhar reflexivo : desejo e ética na obra de Kieslowski." Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/7352.

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This project aims to investigate aesthetic and signal subjects of Kieslowskian cinematographic language from the analysis of the episode 5 of the television series Decalogue (1988) and its respective version for cinema A short film about killing (1988). The aim is to study how Kieslowski constructs new relationships in extended version of this episode, the motivations that led him to rearrange them and/or reconstruct them, and what this option by “duplicating” the same movie can tell us about the cinema conception of this Polish director.
Serão investigadas questões sígnicas e ético-estéticas do discurso cinematográfico kieslowskiano, a partir da análise do episódio 5 da minissérie televisiva Decálogo (1988), em comparação com sua versão estendida no longa-metragem Não matarás (1988). O objetivo é estudar como Kieslowski constrói novas relações entre o formato de média-metragem (Decálogo 5) e o longa-metragem, quais as motivações que o levaram a rearranjá-los e/ou reconstruí-los, bem como o que esta opção, por “duplicar” uma mesma história, pode nos revelar sobre o projeto poético deste diretor polonês, naquele momento.
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Szlagor, Dagmara. "Le regard sur soi et sur l'autre dans le cinéma de Krzysztof Kieslowski, artiste complet." Toulouse 2, 2005. http://www.theses.fr/2005TOU20014.

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L'œuvre de Krzysztof Kieslowski devient un objet regardant et regardé à la fois, dévoilant la réalité du monde et les couches secrètes des dessous. L'artiste évolue, mûrit face à sa créature, change ses angles de vue et tente de connaître les assises de l'univers et de percer le mystère de l'homme. Sa vision est celle d'un observateur acharné du réel, celle d’un peintre travaillant méticuleusement ses motifs, fasciné par les couleurs, les ombres et les lumières, celle d’un musicien captant les sons de l'au-delà et celle d’un philosophe rêvant de comprendre. Son regard est celui d’un artiste complet
The oeuvre of Krzysztof Kieslowski becomes, at the same time, an object which is looking at and being looked to ; disclosing the reality of the world and its hidden side. The artist evolves and matures in front of his creature, changing his angles of view, trying to define the basis of the universe and to penetrate the mystery of human. His vision is the one of a fierce observer of reality, of a painter working meticulously his motifs, fascinated by colors, shadows and lights. It is also a vision of a musician capturing sounds of the beyond and of a philosopher who dreams of understanding. His vision is the one of a complete artist
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Dziekonska, Elzbieta Stefania. "The best of all worlds : public, personal, and inner realms in the films of Krzysztof Kieslowski." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/1382592/.

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This thesis is a study of the oeuvre of Krzysztof Kielowski. In particular, I examine claims made by Kielowski and many critics that in the 1980s the director moved away from filming the public world, which had been crucial to his work since he began filming in the late 1960s and became instead primarily concerned with the inner world. Although I agree that Kieslowski increasingly shifted his emphasis to the inner life, I argue that any attempt to abandon the public world in his later films was in fact of more limited scope than his claims suggest and his focus on the inner sphere neither absolute nor lacking in ambivalence. I distinguish between three realms of existence in Kielowski's narratives: the public sphere, namely, public life be it socio-political, economical, or work-related; the personal sphere, consisting of the individual's family and close friends; and the inner sphere, comprising the intimate emotional and mental life of the individual. By extensively examining Kielowski's treatment of these spheres and how they interact with and inform both one another and the films, I aim to demonstrate that the public and personal realms continued play a significant part in the productions of the 1980s and 1990s, regardless of Kielowski's claims otherwise, and result in more complex, multi-layered, and ambiguous narratives than is usually recognised. In distinguishing between the spheres that make up the individual's existence, I discuss the concomitant differences between public and inner realities. I examine the complications and ambiguities that arose from the combined presence of these quite distinct realities in the final works and end by looking at how they influenced Kielowski's decision to abandon fihnmaking in the mid-1990s. My thesis is also a career-survey of Kielowski's oeuvre and; in addition to substantiating my arguments, I simultaneously discuss what I believe to be other interesting and important aspects of Kielowski and his work, including the financing and censorship of his films, his political tendencies, his representation of his male and female characters as well as his distinction between youth and adulthood, his collaborative method; his relationship with his audience, and his critical reception. In doing so I aim to provide a detailed overview of Kielowski's entire career which can stand alone as a self-contained and comprehensive reference work and thus fill the current gap in English-language studies of Kielowski.
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Beuvelet, Olivier. "De la "finestra" à l'"image-fente" . Éthique et esthétique du cadre à partir du "Décalogue" de Krzysztof Kieslowski." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030111/document.

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Qu’est-ce qu’un cadre ? Qu’est-ce que voir ? Qu’est-ce que donner à voir ? Partant d’une séquence du Décalogue 8 et après avoir rappelé l’importance du modèle de la finestra albertienne comme origine de l’image, en peinture, photographie et cinéma, la thèse observe son traitement par Kieślowski dans Le Décalogue. Il s’agit d’abord de mettre en relation le projet du polyptyque avec le décalogue mosaïque, d’y suivre le sort du second commandement, comme commandement-fantôme, pour voir en quoi il s’en constitue comme le commandement-racine. L’amateur est considéré et étudié comme mise en jeu de ce commandement, sa Vie d’artiste est considérée à l’aune de sa quête cinématographique du réel dans l’image et de son cheminement éthique. La thèse observe ensuite en quoi le cadre peut être considéré comme une figure de la Lettre. Apparaît alors une dialectique de la finestra et de la fessura, où se lit l’expression visuelle du conflit de la pulsion scopique et de sa contention éthique. Est ensuite menée une approche phénoménologique de l’image-fente dans Le Décalogue,partant du motif de la fente pour observer l’image-fente comme dispositif visuel et comme figure métadiscursive.Elle devient ensuite concept heuristique dont est éclairée la structure d’ouverture, sa fonctionnalité de passage puis la part du rapport à l’origine et enfin sa dimension d’objet primaire.Le concept heuristique d’image-fente aura peut-être permis de mettre en évidence le désir inconscient de fusion avec l’origine que la finestra albertienne porte en elle sous la forme de la fessura qui la hante et la déforme
What is a frame? What is seeing? What is giving to see? Taking a sequence of Decalogue:VIII as a starting point and after having reminded the importance of the albertinian finestra model as origin of the image in painting, photography and cinema, the thesis explores its handling by Kieślowski in The Decalogue.To begin with, this is done by putting into relation the polyptych project with the Mosaic Decalogue. From there we follow the stake of the second commandment — as a ghost-commandment— to see how it makes up as the root-commandment. Camera Buff is dealt with and studied by means of this commandment being brought into play. Kieślowski’s Artist life is seen in the light of its cinematographic quest of the real inside the picture and of its ethical course. Next, I explore how the frame can be considered as a figure of the Letter. This is when a dialectic of the finestra and of the fessura crops up, where the visual expression of the conflict between the scopic drive and its ethical strain can be observed. I then set about a phenomenology of the image slit inside The Decalogue, taking the pattern ofthe slit to explore the image slit as a visual apparatus and then as a metadiscursive figure.It then becomes a heuristic concept about which I explore the opening structure and then its passage functionality to follow on with the measure of the relation to the origin and finally the primary object dimension.The heuristic concept of image slit may possibly have allowed to underline the unconscious desire of bonding with the origin which the albertinian finestra possesses within itself under the form of the fessura which haunts and distorts it
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Books on the topic "Kieslowski"

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Kieslowski, Krzysztof. Kieslowski on Kieslowski. London: Faber and Faber, 1993.

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Amiel, Vincent. Kieslowski. Paris: Editions Payot & Rivages, 1995.

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Murri, Serafino. Krzysztof Kieslowski. Bilbao, Spain: Ediciones Mensajero, 1998.

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Amiel, Vincent. Krzysztof Kieslowski. Paris: Jean-Michel Place, 1997.

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Zawislinski, Stanislaw. Kieslowski: Wazne, zeby isc--. Izabelin: Wydawnictwo "Skorpion", 2005.

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Erbstein, Monika. Untersuchungen zur Filmsprache im Werk von Krysztof Kieslowski. Alfeld: Coppi-Verlag, 1997.

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Kickasola, Joseph G. The films of Krzysztof Kieslowski: The liminal image. New York, NY: Continuum, 2004.

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La morale dell'altro: Scritti sull'inconscio dal Decalogo di Kieslowski. Firenze: Liberal libri, 1998.

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Campan, Véronique. Dix brèves histoires d'image: Le Décalogue de Krzysztof Kieslowski. Paris: Presses de la Sorbonne nouvelle, 1993.

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Wilson, Emma. Memory and survival: The French cinema of Krzysztof Kieslowski. Oxford: Legenda, 2000.

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Book chapters on the topic "Kieslowski"

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Boyne, Roy. "Memories of Hell: Kieslowski’s Vision of European Subjectivity." In The Idea of Europe in Literature, 207–24. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27496-3_12.

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Leung, Man-tat Terence. "Beyond the Duality of Intimacy and Intimidation: La double vie de Véronique and the Reclamation of Krzysztof Kieslowski’s Ethical Kernel after 1989." In Intimate Relationships in Cinema, Literature and Visual Culture, 169–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55281-1_13.

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Sherwin, Richard K. "Law’s Enchantment: The Cinematic Jurisprudence of Krzysztof Kieslowski." In Law and Popular Culture, 86–108. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780199272235.003.0005.

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Dupont, Sébastien. "De la dépression adolescente au clivage du moi. À propos de La double vie de Véronique (Krzysztof Kieslowski, 1991)." In L’adolescente et le cinéma, 251–63. Érès, 2013. http://dx.doi.org/10.3917/eres.paris.2013.01.0251.

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"Marin Karmitz is a phenomenon: one of the most prolic French producers of his generation. Alongside his production activities, he has also set up MK2, a successful distribution, exhibition, and sales company. Louis Malle, Alain Resnais, Claude Chabrol, Jean-Luc Godard—he has worked with them all. Karmitz has also branched further aeld, producing movies by Iranian master Abbas Kiarostami, by great Polish director Krzysztof Kieslowski, and by American auteur Gus Van Sant. Notable lms on the producer’s lmography include the Three Colors trilogy with Kieslowski (1993 to 1994), Chabrol’s version of Madame Bovary (1991), Resnais’ Mélo (1986), Kiarostami’s The Wind Will Carry Us (1999), and Jonathan Nossiter’s Signs & Wonders (2000). He also co-produced Van Sant’s Paranoid Park (2007). He was associate producer on Godard’s Every Man for Himself (1980), and his company produced Malle’s classic, Au Revoir Les Enfants (1987). There are several paradoxes about Karmitz. He is a gure of the 1960s, a radical leftist who fell foul of the lmmaking establishment in the turbulent post-1968 years. His directorial career was stopped in its tracks in the early 1970s and he was blacklisted. At the same time, this idealistic lmmaker with close links to the revolutionary movement proved to be an astute cinema owner and businessman. To outsiders, his lmmaking model seems akin to that of the Hollywood studios. His company is vertically integrated, handling everything from production to exhibition. He suggests his business is more in the tradition of the Lumière brothers. There is, of course, one very big difference between Karmitz and the Hollywood majors. Karmitz only produces lms by auteurs. Karmitz is nothing if not international in outlook. He came to France as a refugee. Born in 1938, Karmitz spent his early years in Romania. Once established as a producer, he has worked with lmmakers all over the world, but that leads to another surprising fact about him. He doesn’t much like to travel. His passport, he says, is the cinema." In FilmCraft: Producing, 73–74. Routledge, 2013. http://dx.doi.org/10.4324/9780240823881-25.

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