Images  

Mikolaj Jazdon,Piotr Plawuszewski

Mikolaj Jazdon, Piotr Plawuszewski, Kieslowski Revisited (& Re-watched). “Images” vol. XXIV, no. 33, Poznan 2018. Adam Mickiewicz University Press. Pp. 5–8. ISSN 1731-450X. DOI 10.14746/i.2018.33.01.

Marek Lis

The computer seems like a privileged personage in Decalogue 1 (Dekalog, jeden, 1987/88, prem. 1989, dir. K. Kieslowski): it is used by Pawel and his father to solve mathematical questions about Miss Piggy, to calculate the durability of the ice on the pon... see more

Joseph G. Kickasola

Kieslowski scholar Joseph G. Kickasola documents his efforts to find and explore the Warsaw apartment complex where Krzysztof Kieslowski filmed his Decalogue series. His startling, unexpectedly emotional experience at such an ordinary place becomes an opp... see more

Monika Talarczyk

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 ... see more

Paul Coates

The statement ‘the way up is the way down’ may imply that the spiritual way to perfection lies through humility. It may however also apply to the physical world that is the source of such spiritual metaphors, and within which the actions play out of ficti... see more

Francesca Parmeggiani

By referencing Italian auteurs Ermanno Olmi and Federico Fellini, this paper offers a re-reading of Krzysztof Kieslowski’s reflections on cinema that places the practice of describing reality and uttering “a statement of fact” about people’s lives and the... see more

Wojciech Otto

Krzysztof Kieslowski employed film properties in a creative way in his Three Colours (Trois couleurs, 1993–94) trilogy. They play various roles in Blue (Bleu, 1993), White (Blanc, 1993) and Red (Rogue, 1994): they make the presented world more p... see more

Radoslaw Dabrowski

Krzysztof Kieslowski and Ingmar Bergman belonged to different generations of film authors, but there was a certain artistic kinship between them. They were both interested in issues related to human existence, but their films also seem similar in terms of... see more

Denis Viren

Krzysztof Kieslowski is a cult figure among Russian moviegoers, but “proving” this is not as easy as in the case of the popularity of other Polish classic names in Russia, such as Andrzej Wajda and Krzysztof Zanussi. Placing Kieslowski on the list of Poli... see more

Joanna Bardzinska

The films of Krzysztof Kieslowski arrived in Spain comparatively late, and when they did so this was mainly due to the Film Festivals at San Sebastián and Valladolid, as well the efforts of independent producers like the brothers José María and Miguel Mor... see more

Tadeusz Lubelski

The article develops its title thesis, which proposes interpreting Kieslowski’s Camera Buff (Amator, 1979), his second full-length feature film, as a revised version of his documentary First Love, made five years earlier. Both films have similar starting ... see more

Piotr Zwierzchowski

Probably no other Polish filmmaker has devoted as much attention to the Polish United Workers’ Party (PZPR) as Krzysztof Kieslowski did in his films. Early on, he perceived the party as an organization where one could meet people with different desires, m... see more

Mikolaj Jazdon

In his master’s thesis, Documentary Film and Reality, Krzysztof Kieslowski dealt with a number of problems that turned out to play a vital role in his future film career, and its documentary period in particular. This range of topics includes the concept ... see more

Andrzej Sapija

The origins of particular documentary films are sometimes difficult to determine, precisely locate and capture in time and space. It is like searching for the source of a river. What marked the beginning of Intensity of Looking, a film about the great doc... see more

Franciszek Drag

The aim of the analysis is to present the film (Late Afternoon) by Gilles Renard as a study of melancholy. Both the plot and the cinematographic means used to shape the form of this short film correspond with the theoretical texts by Julia Kristeva and Me... see more

Krystian Przybylski

Iwona Siekierzynska school film Missy takes up the theme of a girl’s unfulfilled love for a priest. Her dog named Ledwosz not only accompanies her in the experience of encountering the man in cassock, while his anointing of a sick neighbor, but also trigg... see more

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