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Przekładalne/nieprzekładalne: problem transferu kulturowego w przekładzie audiowizualnym na przykładzie francuskiego tłumaczenia Przypadku Krzysztofa Kieślowskiego

100%
Niziołek R.
Między Oryginałem a Przekładem
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2014
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vol. 23
159-168
EN
Audiovisual translation in the form of subtitles requires a very special approach in which the task of the translator is not only to transfer dialogue from one language to another, but also to establish the degree of universality carried by the film’s message and to make necessary changes to the content. Kieślowski’s film Blind Chance is full of references to contemporary Polish history as well as characteristic elements of everyday reality during the Communist era. The aim of this article is to analyse translations of selected dialogues from the film and to reflect upon the possibility/impossibility of carrying out a cultural transfer, which determines the extent to which the film is understood by foreign viewers.
2
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Kieślowski, the mysteries of screens and God

88%
Lis 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
9-18
EN
The computer seems like a privileged personage in Decalogue 1 (Dekalog, jeden, 1987/88, prem. 1989, dir. K. Kieślowski): it is used by Paweł and his father to solve mathematical questions about Miss Piggy, to calculate the durability of the ice on the pond, to know what Mum is doing, and to control domestic devices. For Kieślowski the computer is not just a gadget: Krzysztof ’s lecture describes its potential and its possible autonomy. Independent from man (the computer switches itself on), it becomes his rival: Kieślowski proposes a critical interpretation of the computer as a new idol, promising unlimited memory and knowledge. A similar preoccupation can be found in the Black Mirror series, where new technologies, existing or as yet still fantastic, are becoming more and more intrusive in the lives of their human protagonists. The computer seems also to be a rival of God, present in symbols in Decalogue 1: a sign of him is not only the metaphysical man played by Artur Barciś, but also the biblical symbol of fire and the Madonna’s tears.
3
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Intertekstualność i gatunkowość jako klucz interpretacyjny filmu. Trzy kolory. Biały Krzysztofa Kieślowskiego

75%
Fiołek-Lubczyńska B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2012
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vol. 17
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issue 3
205-219
EN
The article defines notions such as intertextuality and film genre. These notions enable the interpretation of Kieslowski’s Three Colours. White. Its reception from an intertextual-ity perspective shows its affinities with Charlie Chaplin’s productions. The hero of Biały, Karol, is a counterpart of the Chaplinian heroes. Kieślowski merges genre conventions, which is why genre theory offers another interpretative key to Three Colours. White. Its plot’s structure is built on elements of comedy, crime story, as well as drama. Thanks to Kieślowski’s convention manipulations, White shows postmodernist features.
4
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Muzyka jako nośnik „niewyrażalnego” w filmie Podwójne życie Weroniki Krzysztofa Kieślowskiego

51%
Al-Araj A.
Przestrzenie Teorii
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2015
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issue 24
261-274
EN
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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