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Journal articles on the topic 'Kieslowski'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

DE BLEECKERE, Sylvain. "Ethische perspectieven in de Dekalog van Kieslowski." Ethische Perspectieven 4, no. 2 (July 1, 1994): 101–3. http://dx.doi.org/10.2143/epn.4.2.2005337.

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12

Bartolomeo, Lisa Di, Paul Coates, and Annette Insdorf. "Lucid Dreams: The Films of Krzysztof Kieslowski." Slavic and East European Journal 44, no. 4 (2000): 681. http://dx.doi.org/10.2307/3086306.

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13

Evans, Georgina. "Synaesthesia in Kieslowski?s Trois couleurs: Bleu." Studies in French Cinema 5, no. 2 (August 18, 2005): 77–86. http://dx.doi.org/10.1386/sfci.5.2.7/1.

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14

Iordanova, Dina. "Kieslowski on Kieslowski. Ed. Danusia Stok. Boston: Faber and Faber, 1993. 268 pp. Illustrations. Index. Filmography. $22.95, hard bound." Slavic Review 54, no. 1 (1995): 168–69. http://dx.doi.org/10.2307/2501156.

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15

Sterritt, David. "The Cinema of Krzysztof Kieslowski: Variations on Destiny and Chance:The Cinema of Krzysztof Kieslowski: Variations on Destiny and Chance." Film Quarterly 59, no. 2 (December 2005): 61–62. http://dx.doi.org/10.1525/fq.2005.59.2.61.1.

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16

Kilbourn, R. J. A. "Toward a Non-Euclidean Cinema: Kieslowski and Literature." Canadian Journal of Film Studies 6, no. 2 (October 1997): 34–50. http://dx.doi.org/10.3138/cjfs.6.2.34.

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17

Trémois, Claude-Marie. "La double vie de Véronique, de Krzysztof Kieslowski." Esprit Février, no. 2 (2006): 221. http://dx.doi.org/10.3917/espri.0602.0221.

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18

Barış, Janet. "Order, Disobedience and Power in Kieslowski’s Dekalog." CINEJ Cinema Journal 7, no. 1 (December 21, 2018): 142–68. http://dx.doi.org/10.5195/cinej.2018.199.

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The Dekalog series, comprised of ten films made by Kieslowski in 1989-90 for the Polish TV, inspired by the Ten Commandments (Decalogues) in the Torah, treats the goodness and innocence of human beings, as well as the evilness and anxiety. Generally, as a common element in all films of the series, appears the triangle of order-submission-disobedience and the power field becomes a tide moving back and forth between different characters. According to Foucault, power is perceived differently today, compared to the past. In the earlier times, power was perceived to be the rulership of a king over its subjects, while today, different types of power exist. Foucault argues that the punishment directed towards the body before is now directed to the soul. The discourse in the Ten Commandments that directs people what to do and what not overlaps the Foucauldian definition of power and the punishment of the soul. This phenomenon appears in every film of the series differently, through the characters and the plot. This article’s objective is to examine Kieslowski’s Dekalog series through the relationship between order, submission and power, and to discuss the effects of this relationship over the characters.

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19

Wilson, E. "Three Colours: Blue: Kieslowski, colour and the postmodern subject." Screen 39, no. 4 (December 1, 1998): 349–62. http://dx.doi.org/10.1093/screen/39.4.349.

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20

Winchell, James. "METAPHYSICS OF POST-NATIONALISM: LA DOUBLE VIE DE KRZYSZTOF KIESLOWSKI." Contemporary French Civilization 22, no. 2 (October 1998): 240–63. http://dx.doi.org/10.3828/cfc.1998.22.2.007.

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21

Powrie, P. "Review: Memory and Survival: The French Cinema of Krzysztof Kieslowski." French Studies 56, no. 2 (April 1, 2002): 288–89. http://dx.doi.org/10.1093/fs/56.2.288.

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22

Solera, Jesús. "El cine de Krzysztof Kieslowski: la Perfección y el Azar." Vivat Academia, no. 105 (May 15, 2009): 235. http://dx.doi.org/10.15178/va.2009.105.235-240.

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23

Petrie, Graham. "Lucid Dreams: The Films of Krzysztof Kieslowski Edited by Paul Coates." Canadian Journal of Film Studies 9, no. 2 (October 2000): 93–96. http://dx.doi.org/10.3138/cjfs.9.2.93.

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24

Falkowska, Janina. ""The Political" in the Films of Andrzej Wajda and Krzysztof Kieslowski." Cinema Journal 34, no. 2 (1995): 37. http://dx.doi.org/10.2307/1225835.

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25

França, Andréa. "O cinema, seu duplo e o tribunal em cena." Revista FAMECOS 15, no. 36 (November 20, 2008): 91. http://dx.doi.org/10.15448/1980-3729.2008.36.4420.

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Este artigo discute o problema da natureza dupla da imagem do cinema e da natureza unívoca do tribunal, particularmente em dois filmes brasileiros recentes, Juízo, o maior exige do menor, de Maria Augusta Ramos e Jogo de cena, de Eduardo Coutinho. Analisam no tema do duplo e do tribunal - da justiça e do cinema - questões relativas ao lugar do espectador diante das imagens midiáticas contemporâneas, aos sistemas de representação, aos modos singulares de produzir a verdade, que serão analisadas aqui, bem como o possível diálogo desses documentários com as obras de Kieslowski, Kiarostami e Makhmalbaf.

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26

Roble, Raquel de Araujo, and Denize Araujo. "Comunicação visual no filme Trois Couleurs." Revista de Estudos Universitários - REU 46, no. 2 (December 17, 2020): 347–63. http://dx.doi.org/10.22484/2177-5788.2020v46n2p347-363.

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O objetivo do presente artigo é refletir sobre a comunicação por meio dos elementos visuais e seus significados no filme Trois Couleurs: Bleu (1993), do diretor e roteirista polonês Krzysztof Kieslowski e sobre o resultado imagético desta interface cinema e comunicação visual. A metodologia consiste em isolar imagens e analisar o significado de elementos visuais presentes na composição das mesmas, sob três perspectivas: a da semiótica peirceana, a da teoria da cor e a do conceito de intertextualidade resultante do dialogismo e da polifonia. O artigo é relevante por apresentar estratégias de análise fílmica.

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27

Guseva, E. V. "Metaphors of the war in the Kszysztof Kieslowski kinovellle «Do not bear false witness» from the «Decalogue» cycle." Язык и текст 6, no. 2 (2019): 44–50. http://dx.doi.org/10.17759/langt.2019060207.

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The article deals with the Kinowell of Krzysztof Kieslowski “Do not bear witness” from the cycle “Decalogue” (1989). The leitmotif of this short film-parable is the war, shown through the prism of numerous metaphors, moving from scene to scene and logically interconnected. These include, in particular, the falling picture in the house of the central heroine; a lamp that constantly turns off; broken letter. The war in the novel is presented not only in the direct, but also in the figurative sense of the word: as a state of enmity between people, as an internal disorder of personality.

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28

Wilson, E. "The Fright of Real Tears: Krzysztof Kieslowski between Theory and Post-Theory." Screen 43, no. 3 (September 1, 2002): 337–40. http://dx.doi.org/10.1093/screen/43.3.337.

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29

Akser, Murat. "The Fright of Real Tears: Krzysztof Kieslowski Between Theory and Post-Theory Slavoj Žižek." Canadian Journal of Film Studies 11, no. 1 (March 2002): 108–11. http://dx.doi.org/10.3138/cjfs.11.1.108.

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30

Beuvelet, Olivier. "Le réel au cinéma ou la rencontre virtuelle? sur le rôle du guichet chez Kieslowski." Cahiers de psychologie clinique 35, no. 2 (2010): 181. http://dx.doi.org/10.3917/cpc.035.0181.

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31

Coates, Paul. "Kieslowski and the Antipolitics of Color: A Reading of the "Three Colors" Trilogy." Cinema Journal 41, no. 2 (2002): 41–66. http://dx.doi.org/10.1353/cj.2002.0001.

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32

Dame, Isabelle, and Christian Thiboutot. "Le cinéma et la recherche en sciences humaines. Une exploration à partir de l’oeuvre de Krzysztof Kieslowski." Recherches qualitatives 35, no. 2 (2016): 123. http://dx.doi.org/10.7202/1084384ar.

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33

Woodward, Steven. "The Cinema of Krzysztof Kieslowski: Variations on Destiny and Chanceedited by Marek Haltof (London and New York: Wallflower Press, 2004)The Films of Krzysztof Kieslowski: The Liminal Imageedited by Joseph G. Kickasola (New York and London: Continuum, 2004)." Quarterly Review of Film and Video 23, no. 5 (October 2006): 466–72. http://dx.doi.org/10.1080/10509200690902296.

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34

Woodward, Steven. "The Cinema of Krzysztof Kieslowski: Variations on Destiny and Chance edited by Marek Haltof (London and New York: Wallflower Press, 2004) The Films of Krzysztof Kieslowski: The Liminal Image edited by Joseph G. Kickasola (New York and London: Continuum, 2004)." Quarterly Review of Film and Video 23, no. 5 (October 1, 2006): 466–72. http://dx.doi.org/10.1080/1050920069092296.

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35

Vargas, Walterson. "ANÁLISE DO CONCEITO DE LIBERDADE NO FILME A LIBERDADE É AZUL, DE KRZYSTOF KIESLOWSKI, A PARTIR DA FILOSOFIA AGOSTINIANA." Revista Diálogos 2, no. 1 (April 1, 2018): 338–454. http://dx.doi.org/10.13115/2236-1499v2n19p338.

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36

Moyano, Juan Pablo. "Las experiencias de relaciones humanas como atisbos de la Gracia. Investigación dialogante con Hans Urs von Balthasar y Krzysztof Kieslowski." Cuadernos de Teología 2, no. 2 (December 2010): 180–203. http://dx.doi.org/10.22199/s07198175.2010.0002.00003.

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37

Svendsen, Erik. "Kieslowskis Trikoloretrilogi." MedieKultur: Journal of media and communication research 11, no. 23 (September 2, 1995): 12. http://dx.doi.org/10.7146/mediekultur.v11i23.1050.

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Krzysztof Kieslowskis er i Vesteuropa blevet rosende modtaget af såvel kritikerstanden som af et bredt feinschmeckerpublikum. I den- ne artikel foretager Erik Svendsen en grundig analyse af den polske instruktørs seneste - og måske sidste? - film, trilogien "Blå", "Hvid" og "Rød". "Trikoloretrilogien" giver et signalement af den vestlige modernitet, hvis grundværdier er formuleret i den franske revolutions slogan om frihed, lighed og broderskab, men artiklen påviser, at det i lige så høj grad er de bibelske ønsker om tro, håb og kærlighed, der undersøges i filmene.

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38

Wilson, Emma. "Book Reviews : Lucid Dreams: The Films of Krzysztof Kieslowski. Edited by Paul Coates. (Cinema Voices Series). Trowbridge, Wiltshire: Flicks Books, 1999. Pp vi + 234. £14.95." Journal of European Studies 30, no. 117 (March 2000): 129–30. http://dx.doi.org/10.1177/004724410003011721.

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39

Jørholt, Eva. "Erik Svendsen: "Kieslowskis kunst"." MedieKultur: Journal of media and communication research 14, no. 28 (September 3, 1998): 2. http://dx.doi.org/10.7146/mediekultur.v14i28.1128.

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40

Bale, Kjersti. "Iscenesettelse av sorg: Kieslowskis Bleu." Agora 19, no. 02-03 (September 9, 2001): 129–42. http://dx.doi.org/10.18261/issn1500-1571-2001-02-03-08.

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41

Raskin, Richard. "On Kieslowski’s Urzad/The Office." Short Film Studies 5, no. 1 (April 1, 2015): 16–20. http://dx.doi.org/10.1386/sfs.5.1.16_1.

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42

Žižek, Slavoj. "Chance and Repetition in Kieslowski's Films." Paragraph 24, no. 2 (July 2001): 23–39. http://dx.doi.org/10.3366/jsp.2001.24.2.23.

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43

Mann, Karen. "Kieslowski's Narrative Conscience: Physical Time and Mental Space." Quarterly Review of Film and Video 19, no. 4 (January 2002): 343–53. http://dx.doi.org/10.1080/10509200214855.

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44

Restuccia, Frances L. "The Thought Specular: Kieslowski's White and Streitfeld's Female Perversions." Film-Philosophy 14, no. 1 (February 2010): 122–43. http://dx.doi.org/10.3366/film.2010.0004.

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45

Coates, Paul. "The Sense of an Ending: Reflections on Kieslowski's Trilogy." Film Quarterly 50, no. 2 (December 1996): 19–26. http://dx.doi.org/10.1525/fq.1996.50.2.04a00040.

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46

Starosta, Anita. "Gardens of Things: The Vicissitudes of Disappearance." Intermédialités, no. 10 (August 10, 2011): 147–63. http://dx.doi.org/10.7202/1005558ar.

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This essay traces the disappearance of the Soviet Union through aesthetical and everyday objects, and through an organization of the ethical and economic values that mark the so-called post-Soviet world. Looking through the different ways historical changes are mediated and made apprehensible, I propose to read Ryszard Kapuscinski's non-fictional account Imperium, Zbigniew Herbert's poems “Elegy for the Departure of Pen, Ink and Lamp” and “The Envoy of Mr. Cogito,” and Krzysztof Kieslowski's film No End (1984). I argue that the vicissitudes of disappearance question notions of historical rupture, making visible the processes of cultural renegotiation and reconstitution.

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47

Watson, Garry. "Kieslowski's Decalogue: living carefully, eyes open, trying not to cause pain." Studies in Eastern European Cinema 8, no. 2 (March 20, 2017): 199–201. http://dx.doi.org/10.1080/2040350x.2017.1303937.

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48

Cunneen, Joseph. ""Being Alive is a Gift": Krzysztof Kieslowski's The Decalogue." Spiritus: A Journal of Christian Spirituality 1, no. 1 (2001): 79–85. http://dx.doi.org/10.1353/scs.2001.0006.

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49

Goulding, Daniel J. "The Films of Krzysztof Kieslowski: The Liminal Image. By Joseph G. Kickasola. New York: Continuum, 2004. xx, 332 pp. Notes. Index. Illustrations. $19.95, paper. - The Cinema of Knysztof Kieślowski: Variations on Destiny and Chance. By Marek Haltof. London: Wallflower Press, 2004. xiv, 191 pp. Notes. Bibliography. Index. Filmography. Photographs. £42.50, hard bound. £14.99, paper." Slavic Review 64, no. 3 (2005): 642–44. http://dx.doi.org/10.2307/3650160.

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50

Kichelewski, Audrey. "Poland's Postwar Trauma and Identity in Pawel Pawlikowski's Films: Reflections on Ida and Cold War." Central European History 53, no. 3 (September 2020): 652–56. http://dx.doi.org/10.1017/s0008938920000473.

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Does homecoming epitomize Polish filmmaker Pawel Pawlikowski's last two films, Ida (2013) and Cold War (Zimna wojna, 2018)? Considering the box office, the awards won, and the film critics’ response, it seems that the transition from documentaries to feature films meant a turn to Polish history and identity for the director. (Pawlikowski was born in Warsaw but has spent most of his life abroad after his parents left Poland in the wake of the anti-Zionist campaign of March 1968, while he was still a teenager.) As Jerry White put it, analyzing Cold War in the light of Pawlikowski's earlier career as a British filmmaker interested in non-Polish themes, his last two films have put “Polish cinema back into global spotlight.” The question arises whether Pawlikowski's recent films gained worldwide success—in fact, they were more successful abroad than in Poland itself—because of the vision of Poland they convey, rather than a “Polish vision” of postwar European history and identity. This article examines several the major themes of Pawlikowski's films and compares them with the work of other acclaimed Polish directors, especially one of Krzysztof Kieslowski's later films, The Double Life of Véronique (La double vie de Véronique, 1991).

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