Memory and Survival: The French Cinema of Krzysztof KieślowskiTaylor & Francis Group, 2000 - 144 pàgines Kieslowski's last films have indelibly marked the past decade. His cinema has renewed the representation of the human subject and emotion in film: space and luminous surface reveal the finest, most fragile impressions of states of mind and human consciousness. This study is the first to offer specific focus on Kies'lowski's last films, on his French-language cinema and its place within the broader context of French film-making. Engaging with Deleuze's discussions of the time-image, and recent work in trauma theory, Emma Wilson offers radical insights into the innovation in Kies'lowski's explorations of memory, temporality, loss and desire. A charged defence of Kies'lowski's work, Memory and Survival offers new readings of this cinema of blind chance and fleeting beauty. |
Des de l'interior del llibre
Resultats 1 - 3 de 13.
Pàgina 95
... Valentine is his Miranda . Yet she is only ever a virtual daughter . The theatrical intertext gives a sign , it seems , of the nature of Valentine's relation to the Judge , and of the role she must play . Prospero's own love for Miranda ...
... Valentine is his Miranda . Yet she is only ever a virtual daughter . The theatrical intertext gives a sign , it seems , of the nature of Valentine's relation to the Judge , and of the role she must play . Prospero's own love for Miranda ...
Pàgina 101
... Valentine is always kept at one remove both spatially and temporally . When the Judge speaks to Valentine of the affective in his life after his betrayal by the blonde woman , he explains that he has been alone perhaps because he hasn't ...
... Valentine is always kept at one remove both spatially and temporally . When the Judge speaks to Valentine of the affective in his life after his betrayal by the blonde woman , he explains that he has been alone perhaps because he hasn't ...
Pàgina 112
... Valentine . Gradually the camera moves to draw her face alone into focus and it is instantly obvious that the image we view here is a near copy ( or a source ? ) of the advertising shot of Valentine , with which Auguste has been ...
... Valentine . Gradually the camera moves to draw her face alone into focus and it is instantly obvious that the image we view here is a near copy ( or a source ? ) of the advertising shot of Valentine , with which Auguste has been ...
Continguts
La Double Vie de Véronique I | 1 |
Trois Couleurs Bleu 122 | 32 |
Trois Couleurs Blanc | 59 |
Copyright | |
No s’hi han mostrat 1 seccions
Altres edicions - Mostra-ho tot
Memory and Survival the French Cinema of Krzysztof Kieslowski Emma Wilson Previsualització limitada - 2017 |
Frases i termes més freqüents
35 mm black 35 mm colour Aleksander Bardini Antoine Doinel appears argue Blanc Bleu camera Decalogue Deleuze Deleuze's desire destiny diegesis Director Dominique Dominique's Double Vie Ewa Smal explore fantasy Film about Love film cuts film's flashback flashforwards French cinema further Godard Hiroshima mon amour identity illusion Irène Jacob Judge Judge's Julie Julie Delpy Julie's Juliette Binoche Karol Kieślowski's cinema Kieślowski's film Kieślowski's filmmaking Krzysztof Kieślowski Cinematography Krzysztof Kieślowski Screenplay Krzysztof Piesiewicz Krzysztof Piesiewicz Cinematography Le Mépris Lidia Zonn Sound literally loss Magda Mépris Metz Michał Żarnecki Production mother narrative passé past Piotr present protagonists psychic question reflected relation representation Resnais Rohmer Rouge scene screen seems seen sense Short Film shots specific spectator spectatorship survival teleology temporal time-image trauma trilogy Trois Couleurs uncanny Valentine Valentine's Vie de Véronique viewer virtual and actual virtual images visual voyeurism Weronika Żarnecki Production Company Zbigniew Preisner Zbigniew Zamachowski Žižek