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 81.
Pàgina 33
... memory , and specifically memory loss , undertaken by Resnais and Duras in Hiroshima mon amour . I have argued elsewhere that the trauma of Hiroshima mon amour is not the necessity of memory , but the possibility of forgetting.2 Duras ...
... memory , and specifically memory loss , undertaken by Resnais and Duras in Hiroshima mon amour . I have argued elsewhere that the trauma of Hiroshima mon amour is not the necessity of memory , but the possibility of forgetting.2 Duras ...
Pàgina 48
... memory and the refusal of temporal integration . Kieślowski draws us to wonder how a film may refuse or question temporal ordering and processing . Bleu is a film which explores the incommensurability of past trauma and present survival ...
... memory and the refusal of temporal integration . Kieślowski draws us to wonder how a film may refuse or question temporal ordering and processing . Bleu is a film which explores the incommensurability of past trauma and present survival ...
Pàgina 109
... memory image , fantasy and point of longing in Kieślowski's trilogy . In broader terms , Truffaut's means of evoking memory images and psychical reality offers its own inspiration to Kieślowski . In L'Amour en fuite , Truffaut playfully ...
... memory image , fantasy and point of longing in Kieślowski's trilogy . In broader terms , Truffaut's means of evoking memory images and psychical reality offers its own inspiration to Kieślowski . In L'Amour en fuite , Truffaut playfully ...
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