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1

Krzysztof Kieślowski (1941 – 1996)

100%

Jelonkiewicz M.

Kwartalnik Polonicum

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2016

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issue 21

46-48

EN

Kieslowski's films focus on universal issues. They are experienced in a similar way by everyone no matter where they come from. Love, death, jealousy, sadness, despair, the choice between good and evil – these are all human problems, dilemmas and feelings. As a result, everyone is able to understand and identify with these films and their subject matter is universal. The universality of philosophical and ethical themes is characteristic of most of Kieslowski's films - especially the latter ones, beginning with The Decalogue. Kieślowski has said that his films are stories about people and are meant to make us better human beings. He asked us questions, often without giving any answers. He wanted us to figure them out by ourselves. He said that asking questions is more important. That is why during intercultural discussions of his films, people tend to speak about universal issues. These films are treated as culturally significant texts, as a source of knowledge about man and his problems, about the mental state of all of us who happen to find ourselves in a difficult life situation, as for example life-threatening danger or the severing of interpersonal ties. Modern interpretations of the meanings of The Decalogue show the timelessness and repetitive nature of certain matters and human behaviors, regardless of place and time.

2

The Party in Krzysztof Kieślowski’s Films

51%

Zwierzchowski P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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vol. 24

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issue 33

137-153

EN

Probably no other Polish filmmaker has devoted as much attention to the Polish United Workers’ Party (PZPR) as Krzysztof Kieślowski did in his films. Early on, he perceived the party as an organization where one could meet people with different desires, motivations and modus operandi. Kieślowski’s perspective could be defined as such: do not judge the whole, focus on individuals. His subsequent films present a change in this perspective. Workers and devoted members of the communist party were in the center of the director’s interest in some of his early films. Later, he focused more and more on individuals, especially those who had to face the party as a structure and hierarchy. Kieślowski’s films made in the early 1980s show party leaders and people in charge who eventually turn out to be losers. Kieślowski perceived various aspects and forms of being a party member, not only as a stepping stone for one’s career. He saw and presented the everyday life of PZPR, relations between the authorities and society, and its members and representatives of the party apparatus. He was quite critical about the party and people in charge, but also tried to see and present the reasons motivating their conduct. Social and political changes in Poland in the early 1980s made this kind of approach increasingly difficult for Kieślowski.

3

Krzysztof Kieślowski’s film props in the triptych “Three Colours”

51%

Otto W.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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vol. 24

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issue 33

73-85

EN

Krzysztof Kieślowski 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 probable, co-create images of heroes, build dramaturgy and convey symbolic content. Such a treatment of film props is shaped by the director’s film style and creates a specific cinematic atmosphere.

4

„Ciągle żywy”. Wpływ Kieślowskiego na kino polskie w czasach postkomunistycznych

51%

Haltof M., Tambor A.

Postscriptum Polonistyczne

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2010

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issue 1(5)

89-104

EN

The influence of Krzysztof Kieślowski on Polish post-communist cinema is discussed. The author refers to all events held in 2006 (the year of the 10th anniversary of the director’s death). He stresses Kieślowski’s influence and reflects upon his cooperation with Krzysztof Piesiewicz. Also the effect Kieślowski had on such directors as Michał Rosa, Jerzy Stuhr, Iwona Siekierzyńska, to name but a few, is indicated.

5

Narracja filmowa – funkcja terapeutyczna. Kilka słów o Amatorze (1979) Krzysztofa Kieślowskiego

44%

Grodź I.

Człowiek i Społeczeństwo

|

2023

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vol. 56

283-291

EN

The strategy of the (auto)therapist in film art is a process of dynamic interaction between the transmitting and receiving roles, i.e. the director – the protagonist of his work and the projected viewers. The film is a space enabling the creator to analyze the problems of a modern man in order to increase the skills of self-understanding, self-distancing from emotions and developing reflection. The latter is conducive to the coherence of narratives about oneself and the construction of one’s identity. Results and conclusions: Projection and identification, which is part of the emotional and cognitive responses available to the creator and recipient of the work, are processes of therapeutic importance. Creation (and contact with its effect – a finished work) is then a tool helping to regulate: modulation of attention, emotions (modulation of emotion), fosters cognition (modulation of cognition), understanding behavior (modulation of behavior) and communication (modulation of communication).

6

Inflancka Travelogue: 10 Short Essays on “Decalogue”

38%

Kickasola J. G.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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vol. 24

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issue 33

19-38

EN

Kieślowski scholar Joseph G. Kickasola documents his efforts to find and explore the Warsaw apartment complex where Krzysztof Kieślowski filmed his Decalogue series. His startling, unexpectedly emotional experience at such an ordinary place becomes an opportunity to reflect on the films, theorize on the function of place in them, and consider the way that human life and cinema feed into each other. Fictional stories and their cinematic constructions can deepen our experience, and make the world feel more lived in, more true. Nothing magical happened, but everything ordinary happened in all its fullness, like a kind of prophecy, fulfilled.

7

"Night with the General" - a Democratic Documentary

38%

Piepiórka M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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vol. 15

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issue 24

119-128

PL

The film is one of few examples of political documentaries produced in Poland after 1989. It is not limited to merely outlining the political argument over General Jaruzelski’s decision to impose martial law. Although it concerns events in Polish history, it is not a historical documentary, as it brings forth present-day political conflicts that have arisen around historical events. Trying to reconstruct this current political argument, Zmarz-Koczanowicz reaches for a method developed in the 1970s by the so-called “Kraków School” led by Krzysztof Kieślowski. ^e “talking heads” method was meant to help documentary filmmakers in the Polish People’s Republic reach what the person in the street actually thought and avoid the distortions of propaganda. For Kieślowski, however, the overriding aim was conciliation and an attempt to understand both sides of the political barricade - the authorities and the vox popu- li. His attitude, according to the terminology suggested by Chantal Mouffe, was a post-political one striving for an agreement through a rational dialogue. Zmarz-Koczanowicz’s aim, however, is different: she is intent on showing a clash of different hegemonies that do not strive for consensus. Their agonistic argument, played out in the political register, rather than a moral one, is a guarantee, according to this Belgian philosopher of politics, that democracy will continue to exist.

8

Affirmation, Acceptance and Rejection: Polish Contemporary Documentary Filmmakers and their Relation to Poland’s Documentary Film Tradition

38%

Mąka-Malatytńska K.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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vol. 15

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issue 24

155-164

PL

This paper attempts to define the complex attitude to the tradition in Poland of fact-driven cinema shared by members of the young generation of Polish documentary filmmakers. The examples of films by Marcin Koszałka and Wojciech Staroń, and Tomasz Wolski’s The Lucky Ones, discussed in greater detail, illustrate various shades of this complex attitude, oscillating between affirmation and opposition. The article argues against criticism that demands contemporary cinema take up certain issues and discard others.

9

Film zakulisowy jako gatunek i zwierciadło społeczne

36%

Świdziński W.

Kwartalnik Filmowy

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2021

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issue 116 Kino i tożsamośc społeczna

190-212

PL

Artykuł jest próbą charakterystyki nieopisanego dotąd zjawiska – filmu zakulisowego. Jego schemat fabularny opiera się na śledzeniu procesu powstawania spektaklu teatralnego od castingu po udaną premierę, do której dochodzi pomimo licznych perypetii. Ważną jego cechą jest przedstawienie zespołu teatralnego jako mikrospo- łeczności o potencjale metafory społecznej. Za prototyp gatunku można uznać backstage musical Busby’ego Berkeleya. W kolejnych dekadach nawiązywali do niego lub dekonstruowali jego struktury między innymi John Cassavetes, Bob Fosse, Carlos Saura, a ostatnio Alejandro González Iñárritu. Krzysztof Kieślowski i Agnieszka Holland w filmach należących do nurtu moralnego niepokoju w autorski sposób wykorzystali formułę filmu zakulisowego, by opowiedzieć o utracie złudzeń i zakwestionować ideę zespołu. Sugerowali przy tym, by ich filmy odczytywać nie jako krytykę instytucji teatru, lecz uniwersalne metafory społeczne.

EN

This article attempts to characterize a genre that has not yet been described: the backstage film. Its storyline follows the process of creating a theatrical performance, from casting to a successful premiere, which takes place despite numerous obstacles. An important feature of the film is its depiction of the theatre company as a micro-community with the potential of a social metaphor. Busby Berkeley’s backstage musical can be considered the prototype of the genre. In the subsequent decades, it was referred to or deconstructed by John Cassavetes, Bob Fosse, and Carlos Saura, among others, and recently by Alejandro González Iñárritu. Krzysztof Kieślowski and Agnieszka Holland in their films representing moral anxiety cinema used the formula of the backstage film to talk about disillusionment and to question the idea of an ensemble. They suggested that their films should be read not as a criticism of the institution of theatre, but as universal social metaphors.

10

To film an inconceivable reality: the manifesto of the young Kieślowski

32%

Jazdon M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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vol. 24

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issue 33

155-166

EN

In his master’s thesis, Documentary Film and Reality, Krzysztof Kieślowski 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 of ‘the dramaturgy of reality’, one of the methods for factual filmmaking he intended to put into practice, but also such ideas as the relation between film and literature, between documentary film and ethics, and the difference between reportage and documentary filmmaking. These concepts had an influence on his documentary filmmaking andled him to develop other concepts and methods for documentary filmmaking. From the perspective of Kieślowski’s creative oeuvre, the thesis Documentary Film and Reality reads as a manifesto by the young filmmaker.

11

Kieślowski in Spain: History, Reception and Inspiration

32%

Bardzińska J.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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vol. 24

|

issue 33

117-127

EN

The films of Krzysztof Kieślowski 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 Morales of Wanda Films. In 1988, A Short Film About Love was presented at the San Sebastián Festival, where it won the Special Prize and the FIPRESCI Prize, and caught the attention of Spanish critics. To this day, Kieślowski remains the Polish director best-known to the Spanish – as was made clear in 2016, by the numerous events and screenings marking the 20th anniversary of his death. There can be no doubt that, in the homeland of Buñuel, no other Polish director evokes as much enthusiasm. Considering the Spanish reaction to the maker of the Three Colours, this article focuses on the distribution of Kieślowski’s works in Spain, as well as the director’s presence at the Spanish Festivals. Further subjects of analysis are reviews by Spanish critics and the state of research into Kieslowski’s creative output in the Spanish language, as well as the release of his films on DVD and Blu-Ray. The above focus on festivals, the attitudes of critics, and the popularity among the Spanish viewing public is supplemented by a study of the impact of Kieślowski’s output on the work of Spanish directors, as well as efforts to discern the direct influence of the former’s films in offering the latter inspiration.

12

Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship

32%

Dąbrowski R.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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vol. 24

|

issue 33

87-107

EN

Krzysztof Kieślowski 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 their aesthetic dimensions, in particular, their cinematographic style. Both directors also created films deriving from their private experience, often creating characters on screen who seem to be in some respect their alter egos. This articles deals with various similarities between the cinema of Kieślowski and Bergman.

13

Cosmopolitanism, Migration In View Of Krzysztof Kieslowski’s Idealism

32%

Falkowska J.

Polonia Journal

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2019

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issue 10

127-142

PL

W artykule Kosmopolitanizm, migracje w świetle idealizmu Krzysztofa Kieślowskiego Janina Falkowska przygląda się pojęciu „kosmopolityzm” w kontekście późnych filmów Krzysztofa Kieślowskiego. Biorąc pod uwagę idealistyczne założenia kosmopolityzmu i jego późniejsza „degeneracje” w kierunku kolonialistycznego spojrzenia na „innych”, autorka szczegółowo analizuje film Biały Kieślowskiego, który ujawnia wewnętrzne sprzeczności i niejasności w idealistycznym podejściu do idei kosmopolityzmu i równości.

EN

In the article “Cosmopolitanism, migration in view of Krzysztof Kieslowski’s idealism” Janina Falkowska explores the idea of cosmopolitanism in the context of Krzysztof Kieslowski’s last films. She takes into consideration the idealistic tradition of cosmopolitanism and its later “degeneration” in the direction of the colonialist perspective; the author analyzes the film Bialy (White) which reveals internal contradictions and ambiguities in its idealistic approach to the ideas of cosmopolitanism and equality.

14

Scenariusze i listy dialogowe „Dekalogu” Krzysztofa Kieślowskiego jako teksty kultury na zajęciach z cudzoziemcami

32%

Jelonkiewicz M., Warszawski U.

Acta Universitatis Lodziensis. Kształcenie Polonistyczne Cudzoziemców

|

2011

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vol. 18

PL

Projekcja filmu, jego omówienie, streszczenie fabuły i analiza problemów przedstawionych w scenariuszu to ważne elementy edukacji kulturowej i językowej cudzoziemców w procesie poznawania języka i kultury obcego kraju. Szczególnie ważne jest prezentowanie filmów znanych reżyserów, których artystyczne dokonania gwarantują silne przeżycia i emocje, a przy tym wysoki poziom artystyczny. Do takich reżyserów należy Krzysztof Kieślowski. Jego filmy należą dziś do kultowych, są znane w kraju i za granicą. Lektura scenariuszy może być dopełnieniem projekcji filmowej i stanowi połączenie zajęć kulturowych z nauką języka.

EN

Film screening, discussing it, summarizing the plot, and analyzing the problems presented in the screenplay can be important elements of teaching language and culture to foreigners. It is necessary to show films by the directors who guarantee high artistic level. Krzysztof Kieślowski surely is such a director. His films are considered cult films in Poland and abroad. Reading of his screenplays can be an additional element of a class based on a film screenings. During such a lesson, we can put cultural education together with teaching the language.

15

Dokumentalne etiudy szkolne lat 50. i 60.

28%

Mąka-Malatyńska K.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2017

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vol. 21

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issue 30

EN

The subject of the article are the poetics of films made in the Lodz Film School in the first years of its existence. Analysis of selected films allows us to trace the metamorphoses of documentary forms which were sometimes parallel to changes being observed in mainstream documentaries, sometimes preceding them, sometimes imitating them. Documentary school films from this period illustrate one of the most important phenomena in the history of Polish documentary cinema: the transition from a persuasive document to an observation film whose poetics are the basis for defining the documentary in Poland.

16

Kieślowski versus Pawlikowski. „Podwójne życie Weroniki” i „Zimna wojna” jako opowieści o świecie dwudzielnym

26%

Morstin A.

Kwartalnik Filmowy

|

2018

|

issue 103 Młode kino polskie - konfrontacja pokoleń

79-90

PL

Na czym polegało u progu lat 90. „zjawisko Kieślowski”, a na czym dziś, po 28 latach, polega „zjawisko Pawlikowski”? Co łączy te dwie odsłony sukcesu polskiego kina na Zachodzie, a w czym są one od siebie odmienne? O ile Paweł Pawlikowski dokonał w „Zimnej wojnie” estetyzacji okresu PRL, o tyle Krzysztof Kieślowski pokazał w „Podwójnym życiu Weroniki” ostatnie chwile tego systemu. Film ten, oglądany dzisiaj, ujawnia wymiar nie tyle metafizyczny, ile kulturowy, i jest ciekawym tekstem artystycznym z geografii mentalnej. Dlatego też tekst Morstin koncentruje się na dwudzielności świata przedstawionego w „Podwójnym życiu Weroniki” i „Zimnej wojnie”. Pawlikowski obiera odwrotny kierunek niż czynił to Kieślowski w swych późnych filmach, bo jako twórca „Zimnej wojny” z Zachodu wraca na Wschód, który jest dla niego niezmiennym źródłem inspiracji. Autorka próbuje zatem opisać dwie twórcze strategie konfrontacji z Zachodem jako przestrzenią mentalną, z którą każdy z reżyserów na swój sposób się mierzy. Poddaje w tym celu interpretacji „Podwójne życie Weroniki” i „Zimną wojnę” jako filmy, których bohaterowie po wschodniej, polskiej stronie doświadczają poświęcenia, śmierci i sacrum, zaś po stronie zachodniej – wolności, sukcesu, ale też frustracji, tęsknoty i samotności. W obu filmach muzyka jest przepustką do lepszego świata, środkiem w rytuale przejścia ze wschodu na zachód Europy.

EN

What was the “Kieślowski phenomenon” at the beginning of the 1990s, and what is the “Pawlikowski phenomenon” today, 28 years later? What links these two examples of success of Polish cinema in the West, and how are they different from each other? While Paweł Pawlikowski aestheticized the communist period in the “Cold War”, Krzysztof Kieślowski showed the last moments of this system in “The Double Life of Veronique”. This film, watched today, reveals a dimension not so much metaphysical as cultural, and is an interesting artistic text in mental geography. That is why Morstin in her text focuses on the bipartite world presented in “The Double Life of Veronique” and the “Cold War”. Pawlikowski takes the opposite direction to Kieślowski in his later films, because as the maker of the “Cold War”, he turns from the West to the East, which for him is an invariable source of inspiration. The author tries to describe two creative strategies of confrontation with the West as a mental space with which both of the film directors deals in their own way. For this purpose, she interprets “The Double Life of Veronique” and the “Cold War” as films whose heroes on the Eastern, Polish side experience sacrifice, death and sacrum, while on the Western side – freedom, success, but also frustration, longing and loneliness. In both films, music is a pass to a better world, a kind of means in the ritual of transition from East to West of Europe.

17

Dokumentarzyści i krytyk. Zygmunt Kałużyński a dokumentaliści „nowej zmiany”

26%

Jazdon M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2017

|

vol. 20

|

issue 29

15-46

EN

The article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers.

PL

The Documentarians and The Critic, Zygmunt Kałużyński and Documentary Filmmakers of „The New Change” The article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers.

18

“Ledwosz, where is the key?”, or people and animals in Iwona Siekierzyńska’s short student film “Missy”

23%

Przybylski K.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2018

|

vol. 24

|

issue 33

185-196

EN

Iwona Siekierzyńska 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 triggers the situation that caused her infatuation. This brief and accidental contact with the priest turns out to be a breakthrough experience for the teenage girl looking for love and attention. It means her entering the adult world in which it is easy to miss a crucial moment, or hurt somebody’s feelings quite unconsciously. The young girl’s experience of the brief encounter will remain in her forever. The relation between the female character and her dog from the short film was the inspiration to consider the similarities between Missy and Three Colors: Red, by Krzysztof Kieślowski, who was the artistic supervisor of Siekierzyńska’s film. In both films it is a dog that initiates the process resulting in metaphysical experience for the main characters.

Refine search results

Krzysztof Kieślowski (1941 – 1996)

The Party in Krzysztof Kieślowski’s Films

Krzysztof Kieślowski’s film props in the triptych “Three Colours”

„Ciągle żywy”. Wpływ Kieślowskiego na kino polskie w czasach postkomunistycznych

Narracja filmowa – funkcja terapeutyczna. Kilka słów o Amatorze (1979) Krzysztofa Kieślowskiego

Inflancka Travelogue: 10 Short Essays on “Decalogue”

"Night with the General" - a Democratic Documentary

Affirmation, Acceptance and Rejection: Polish Contemporary Documentary Filmmakers and their Relation to Poland’s Documentary Film Tradition

Film zakulisowy jako gatunek i zwierciadło społeczne

To film an inconceivable reality: the manifesto of the young Kieślowski

Kieślowski in Spain: History, Reception and Inspiration

Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship

Cosmopolitanism, Migration In View Of Krzysztof Kieslowski’s Idealism

Scenariusze i listy dialogowe „Dekalogu” Krzysztofa Kieślowskiego jako teksty kultury na zajęciach z cudzoziemcami

Dokumentalne etiudy szkolne lat 50. i 60.

Kieślowski versus Pawlikowski. „Podwójne życie Weroniki” i „Zimna wojna” jako opowieści o świecie dwudzielnym

Dokumentarzyści i krytyk. Zygmunt Kałużyński a dokumentaliści „nowej zmiany”

“Ledwosz, where is the key?”, or people and animals in Iwona Siekierzyńska’s short student film “Missy”