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Muzyka jako nośnik „niewyrażalnego” w filmie Podwójne życie Weroniki Krzysztofa Kieślowskiego

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Al-Araj A.

Przestrzenie Teorii

2015

issue 24

261-274

In this article I try to interpret the music aspect of Krzysztof Kieslowski’s famous movie The Double Life of Véronique (1991, music: Z. Preisner). The director, whose works are full of allusions to music and generally to art, always paid special attention to the sound of his movies. The Double Life of Véronique, though not the last “fruit” of the cooperation between Kieslowski and Zbigniew Preisner, is the best illustration of this fact. The musical elements permeate almost all aspects of this work, from the plot to the structure of the movie (the use of the leitmotif technique), and correspond closely to the action. The key importance of music is illustrated by a description of what I consider to be the film’s three most significant scenes: two from the “Polish” and one from the “French” part of this work.

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1 Przestrzenie Teorii

1 2015

1 Al-Araj A.

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Muzyka jako nośnik „niewyrażalnego” w filmie Podwójne życie Weroniki Krzysztofa Kieślowskiego