By Steven Woodward
Polish filmmaker Krzysztof Kieslowski died abruptly in March 1996 at exactly the second he had reached the peak of his profession and received an international viewers for his paintings with the 3 shades trilogy (1993-94). because 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, major members diverge from the common research of Kieslowski's paintings to target his legacy in movies made after his loss of life, together with these in accordance with his scripts and ideas and people made completely by means of different filmmakers.
Kieslowski's wealthy legacy is rooted in not just a really major physique of early paintings made sooner than his step forward motion pictures yet one other trilogy of flicks that he were engaged on sooner than his loss of life, numerous of that have long past directly to be produced. in addition, actors and assistant administrators concerned with Kieslowski additionally made motion pictures that increase his previous, incomplete tasks or that derive thematically and stylistically from his paintings. After Kieslowski considers Kieslowski's legacy from 3 wide perspectives-the Polish, the eu, and the worldwide. participants 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 twist of fate among his paintings and that of Jean-Luc Godard, P. T. Anderson, David Lynch, Michael Haneke, Abbas Kiarostami, and Paul Haggis. This assortment additionally strains the reemergence of Kieslowski's distinctive visible signature in motion pictures through 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.
reading Kieslowski's legacy is a manner of pondering either in regards to the special positive aspects of Kieslowski's paintings and approximately concerns which are now on the center of latest filmmaking. movie students and scholars will savor this groundbreaking volume.
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Extra resources for After Kieślowski: The Legacy of Krzysztof Kieślowski
Definitely, I am shaped by a certain way of thinking and responding, the way I am moving through the visible and invisible world, the way I work on my protagonists—all this I have learned from working with Kieślowski” (Zarębski, “Zatrzymać” 21). In the late 1990s Piesiewicz started collaborating with a younger film director, Michał Rosa (b. 1963), a 1992 graduate of the Katowice Film School. At the time of their meeting, Rosa was known chiefly for his early realistic films, such as the medium-length Hot Thursday (Gorący czwartek, 1993) and the feature Paint (Farba, 1997).
Kieślowski. Ważne, żeby iść . ). The Katowice conference, organized by the film unit TOR, Silesia Film, and the Katowice Film School, attracted several Kieślowski scholars, filmmakers, and critics who discussed the director’s legacy. ” The event consisted of film screenings, concerts featuring music from Kieślowski’s films, scholarly seminars, and informal discussions with Kieślowski’s friends and collaborators. 1 Another Polish Television channel, “Kultura” (Culture), showed all of Kieślowski’s works (including documentaries, feature films, and television plays) from 10–13 March.
2. The Katowice Film School—popular name of the Krzysztof Kieślowski Faculty of Radio and Television at the University of Silesia in Katowice (Uniwersytet Śląski, Wydział Radia i Telewizji im. Krzysztofa Kieślowskiego w Katowicach). 3. Information from Reżyser (supplement to monthly Kino) 9 (1998): 8. 4. ” 5. The main award at the 2001 Festival of Polish Films, the Golden Lion, was given to the outstanding film Hi, Tereska (Cześć Tereska), directed by Robert Gliński. 6. Silence was listed fourteenth in the monthly Kino ranking of Polish films shown at the 2001 Polish Film Festival in Gdynia.