By Steven Woodward
Polish filmmaker Krzysztof Kieslowski died all of sudden in March 1996 at exactly the second he had reached the peak of his occupation and won a world viewers for his paintings with the 3 colours trilogy (1993-94). on account that his loss of life he has been hailed as one of many maximum and so much influential administrators of all time, increased to the elite of global cinema along Jean Renoir, Robert Bresson, Federico Fellini, Yasujiro Ozu, Max Ophüls, and Andrei Tarkovsky. In After Kieslowski, prime members diverge from the common research of Kieslowski's paintings to target his legacy in motion pictures made after his dying, together with these in line with his scripts and concepts and people made completely via different filmmakers.
Kieslowski's wealthy legacy is rooted in not just a really major physique of early paintings made ahead of his step forward movies yet one other trilogy of flicks that he were engaged on sooner than his dying, a number of of that have long past directly to be produced. additionally, actors and assistant administrators concerned with Kieslowski additionally made motion pictures that increase his previous, incomplete initiatives or that derive thematically and stylistically from his paintings. After Kieslowski considers Kieslowski's legacy from 3 vast perspectives-the Polish, the ecu, and the worldwide. members hint his direct impression on filmmakers in Poland and Europe, together with Jerzy Stuhr, Krzysztof Zanussi, Emmanel Finkiel, Julie Bertucelli, and Tom Tykwer, in addition to issues of thematic accident among his paintings and that of Jean-Luc Godard, P. T. Anderson, David Lynch, Michael Haneke, Abbas Kiarostami, and Paul Haggis. This assortment additionally lines the reemergence of Kieslowski's distinct visible signature in motion pictures via Ridley Scott, Santosh Sivan, John Sayles, and Julian Schnabel, and his hugely unique use of tv serial-narrative shape that's echoed in not less than significant American tv sequence, HBO's Six toes below and ABC's misplaced.
studying Kieslowski's legacy is a fashion of pondering either concerning the precise good points of Kieslowski's paintings and approximately concerns which are now on the middle of up to date filmmaking. movie students and scholars will savour this groundbreaking volume.
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Additional resources for After Kieślowski: The Legacy of Krzysztof Kieślowski
Kino 3 (1997): 6–9, 50. Rudziński, Kamil. ” Kino 10 (2001): 25. Sobolewski, Tadeusz. ” Kino 9 (2005): 94. ———. ” Polish Cinema in Ten Takes. Ed. Ewelina Nurczyŋska-Fidelska and Zbigniew Batko. Łódź: Łódzkie Towarzystwo Naukowe, 1995. 123–37. ———. ” Kino 3 (1997): 94. Stok, Danusia, ed. Kieślowski on Kieślowski. London: Faber and Faber, 1993. Zarębski, Konrad J. “Ciągłość” [interview with Michał Rosa]. Kino 10 (2001): 23–24. ———. ” Kino 10 (2005): 72. ———. “Zatrzymać się w ciszy” [interview with Krzysztof Piesiewicz].
Indd 36 1/16/09 10:34:47 AM Living On: From KieŚlowski to Zanussi ence from the past and take us back explicitly to the Cinema of Moral Anxiety: “In the 70s in Poland we made many films examining moral standards of Polish Communist society. I thought we should apply the same approach to the modern society of Free Poland” (Privett 1). He goes on to say that the people who used to see his films during the earlier period had stopped going to the cinema, since admissions were too expensive, so the impetus behind the television format was largely because he wanted to reach these people in their homes.
As Jessie Labov writes, “Kieślowski was stepping outside of the accepted arena for cultural production, in order to gain access to the artistic freedom that the late 1980s promised” (127). This is also an appropriation of a medium previously associated with the antithesis of a questioning moral conscience. Indeed, both Kieślowski and Zanussi are reinvesting television with the ability to recognize moral concerns and choices, rather than disguise them, as in the propaganda machine it was seen previously to be.