cutting on the action

photography and film – facts, ideas, values

Concentrating on Kieslowski: An essay on narrative by Jacek Ostaszeweski



A paper/essay : Comprehension of Film Narrative, by Jacek Ostaszewski examines film narrative through the study of film student exam papers.

Ostaszewski was the pavement flautist in Three Colours: Blue.

My main interest is the section on Three Colours:White beginning:

In the case of the third film – Kieslowski’s Three Colours: White (1993), one of the most characteristic and at the same time, most frequent biases was overinterpretation (in Umberto Eco’s understanding) According to Eco, overinterpretation is seeking in a film the elements of minimal meaning and assigning them with maximal consequences so that they match a prior premise (or premises). The viewer’s initiative in the top-down processes is aimed at seeking confirmations for his/her hypothesis. Overinterpretation is, therefore, not the excess of interpretation, but actually, “underinterpretatation.”  Thus, we might suggest that overinterpretation is reading a film in a paranoid and obsessive pursuit that the viewer takes up.

What is symptomatic of the examined papers is the viewers’ relatively poor interest in the actual contents of the film. On the other hand, their attention is focused on the figure of Krzysztof Kieslowski as the representative of a quality art cinema. Although the viewers understand the story itself, they quickly abandon analysis in favour of judgment (valuation). As a result, they often fail to see the interesting aspects of the story itself. Few of them have noticed that the film deals with such issues as struggle for love and understanding, or that it is extremely packed with action in comparison with other films made by Kieslowski.”


#

It seems a weakness of the cognitive approach to film not to take account of the unreliability of the witness.

Eyewitness testimony research in psychology is well-established.

wiki: eyewitness testimony

Eyewitness testimony

Eyewitness testimony and memory

Eyewitness testimony from Simple psychology for A level

#

The trouble with films like Kieslowski’s is there is no way of knowing if white dresses, white chickens, white pigeon droppings or white milk have great symbolic importance in the film or are quotidian images and sounds used as aesthetic props, linking devices, homages or jokes.  This is not made easier for students of Kieslowski’s films when they realise milk appeared in Dekalog 1 (left out overnight to freeze), Decalog 6 and A Short Film about Love (delivered/collected/ spilt), Camera Buff (poured down sink) and Three Colours:White.

The Double Life of Véronique: Through the Looking Glass by Jonathan Romney:

Kieslowski denied that there were any metaphors in his films: “For me, a bottle of milk is simply a bottle of milk; when it spills, it means milk’s been spilled. Nothing more.”

This surely is the joy, excitement,  puzzle, and burden of film over prose: by their very nature images (still or moving) are both arresting, distracting and often prone to ambiguity.

The other element in film, sound, evokes Bresson’s, “A locomotive’s whistle imprints in us a whole railroad.”

#

The  limits of film are simply yet clearly put in Requiem for Kieslowski by David Winner:

In one of his last interviews, Kieslowski told the English critic Geoff Andrew about the frustrations of exploring the spiritual: Film is very materialistic. All you can photograph, most of the time, is things. You can describe a soul, but you can’t photograph it; you have to find an equivalent. But there isn’t really an equivalent. Film is helpless when it comes to describing the soul, just as it is in describing many other things, like a state of consciousness. You have to find methods, tricks, which may be more or less successful in making it understood that this is what your film is about.

Kieslowski became progessively more frustrated with what he felt was film’s inability to completely express what the filmmaker intends.

If I make a film, I can obtain maybe 30 or 40 per cent of what I tried to achieve.

#

Photographs have a high level of correspondence to the reality they record, so we tend to trust them.  For example we may know the person who has been photographed.  That is not to say a photograph reliably tells a story: a photograph of a real-life object or event can obfuscate as much as clarify, lie as effectively as tell the truth. One of the fascinations of photographs, any photographs, is the recognition that the surface  may bear no relation to the depths.  The smiling lady in a family group may not be happy, but mortified by the knowledge of her impending death from cancer which she alone knows about.

Debate goes on about whether indexicality is applicable any more with digital photo-manipulation.  It all gets a bit complicated. Is film indexical in the way a photograph is said to be? The basis of our ‘trust’ in a photograph is our belief we can draw many imaginery lines between fixed points on a photograph to their source on the object.  We don’t have to have seen the Pavilion in Brighton in person to feel confident that the photograph of it in front of us represents the building itself.  It doesn’t matter if the lens used was wide angle, created a large depth of field or was fish-eye, or whether a red filter was used to highlight the clouds and sky behind it.

#

The technical argument that film is a trick of the eye and therefore not to be ‘trusted’, is not helpful. Film is made up of frames or frame equivalents in digital video. We can trust the indexicality of individual frames in a strip of celluloid as much as we can a photograph.  It is often only when, during editing, we examine individual frames in celluloid film or the virtual frames of digital film, truths are exposed. When the footage is watched in slow motion the miniscule  movements of body or face of the person walking towards the camera can be seen clearly for the first time.  How long did the face turn to the right?  was this looking at something off-screen or aversion  of the gaze? When did the smile appear?  What was the reaction of the other person when the bottle was snatched of of his hand? Did he look at the person doing the snatching or at the cameraman doing the filming?

The strangeness of all this is that when the final cut of a film is presented at normal speed (24 fps or its digital equivalent) – which is usually all the viewer gets to see unless the editor decides to slow sequences down or use stills – the very things missing are those the director and editor have seen and found intriguing and beguiling !

#

Dan Schnieder slams Truffaut’s Day for Night because it fails in narrative terms. A poor script told poorly.  But part of the point of a film about film is to play tricks with the audience. One of those tricks is to be asking whether how the film was made overpowers the story. When the crane soars over the set, exposing the workings of the set, after repeated showings of failed shoots that we seen only in frame, nobody cares about story!  Truffaut has achieved his objective, we love film more than we love the story (or life) at that moment, as he does, but it doesn’t last. The story then takes over again and we forget the cinematography. If  it’s a good script well filmed.



January 18, 2009 Posted by | film analysis, film directors, film narrative, film theory, film [its techniques], Kieslowski, Krzysztof Kieślowski | , | Leave a comment

Film: Chronique d’un été (Chronicle of a Summer) or Every film is a Fiction





Jean Rouch’s and Edgar Morin’s Chronique d’un été: Paris 1960



When people are being recorded, the reactions that they have are always infinitely more sincere than those they have when not being recorded.

Jean Rouch

(source: Transcultural Cinema by David MacDougall [p.111])


wiki: Chronique d’un été :

Chronique d’un été (Chronicle of a Summer) is a documentary film made during the summer of 1960 by sociologist Edgar Morin and anthropologist and filmmaker Jean Rouch, with the esthetic collaboration of director cameraman Michel Brault[1]. The film begins with a discussion between Rouch and Morin on whether or not it is possible to act sincerely in front of a camera. A cast of real life individuals are then introduced and are led by the filmmakers to discuss topics on the themes of French society and happiness in the working class. At the end of the movie, the filmmakers show their subjects the compiled footage and have the subjects discuss the level of reality that they thought the movie obtained.

from French Culture:

In the summer of 1960, Edgar Morin, a sociologist, and Jean Rouch conducted an enquiry into the daily lives of young Parisians in an attempt to understand their concept of happiness. This experimental film follows, over a period of a several months, both the investigation itself and the development of its main characters. The initial question “How do you live ? Are you happy ?” very quickly raises others on a number of key issues: politics, hopelessness, boredom, solitude… The interviewees eventually meet as a group at the first showing of the film, to discuss and approve or disapprove of it ; the two co-authors are confronted with the reality of this cruel but exciting experiment in “cinema-vérité”.

in  Toronto International Film Festival

When Jean Rouch first saw Michel Brault’s Les Raquetteurs, he was amazed by the French-Canadian cinematographer’s work. A year later, as Rouch worked on Chronique d’un été, the progenitor of cinema-vérité, he became worried about the static and verbose interviews conducted by his co-director, Edgar Morin. Rouch remembered Brault’s finesse at injecting life into shots with his “walking camera” and called him to the rescue.

Brault began shooting Chronique in Paris’s Place de la Concorde, and he immediately impressed observers with his camera techniques. Perhaps for the first time in the history of cinema, a French Canadian actually taught something to his French counterparts and was recognized by the French as a master of his craft. The difference between scenes shot by Brault and those filmed by other contributors is striking. One need only compare the lengthy, stagnant dinner sequence to that of Marceline walking through Les Halles and discussing her deportation under Nazi occupation to appreciate Brault’s distinctive, dynamic approach. The truth of this scene is not to be found in words, but rather in the relationship between Marceline and the space through which she moves.

André Loiselle

There seem to only 2 YouTube examples:  {1}   and {2}

Chronique d’un été in Film Reference

Jean Rouch:Cinéma-vérité, Chronicle of a Summer and The Human Pyramid

by Barbara Bruni in senses of cinema


Chronique d’un étéindependent filmmaker Jarrod Whaley review in Oak Street Films.


Technique of Film Editing By Karel Reisz, Gavin Millar

page 301-302   We are cut short just as it gets interesting but there is enough to make us think.

Quotes:

[1]  In a number of ways even before the cutting room they had shaped their material.

[2] The problem of spontaneity and honesty comes to the fore in this film. The film allegedly puts itelf in the hands of its subject totally. Rouch and Morin are, so to speak, at the mercy of their material in a new way. The subject of the film is the actions, reactions and opinions of the people in it, unacted upon, so far as is possible, by the technique of filming it. The role of the editor, it seems is being whittled even finer. But this isn’t so. On the contrary, his position in this situation becomes even more crucial and the moral decisions he has to make even more delicate.

[3] A vérité director has to be very careful not to misinterpret real people by his organisation of the shooting and editing. It must be admitted that the technical challenges in making vérité comprehensible sometime lead the director/editor into making cuts – even at the shooting stage – which may be good cinema but poor vérité.

Film and Phenomenology by Allan Casebier

Page 145-46.

Rouch is quoted:

There is a whole series of intermediaries and these are lying intermediaries. We contract time, we extend it, we chose an angle for the shot, we deform the people we’re shooting, we speed things up and follow one movement to the detriment of another movement. So there is whole work of lies. But, for me and Edgar Morin, at the time we made that film this was more real than the truth. That is to say, there are a certain number of things happening, human facts surrounding us….which people would not be able to say any other way….it’s a sort of catalyst which allows us to reveal, with doubts, a fictional part of all of us, but which for me is the most real part of an individual.

Documentary Film Classics By William Rothman

documentary-film-classics-chapter-headings

Chapter 4 – Chronicle of a Summer is the sample chapter –  pages 69 to 97 – mirabile dictu.

Pages 73-74/ 80-81/87-88/94-95/ are left out, but this is still a good read with these pages on the cutting room floor. If anyone has this book in their collection, grateful for a copy of this chapter. You can’t buy every film book you see, and this particular one would for me mainly be for Chronique d’un ete and Bunuel’s Land Without Bread.

P. 70.

In an interview some years after making Chronicle of a Summer, Rouch reaffirmed his conviction that film has the power “to reveal, with doubts, a fictional part of us, which for me is the most real part of an individual.”  The camera is capable of provoking people to reveal aspects of themselves that are fictional, to reveal themselves as the as the creatures of imagination, fantasy, ans myth they are: This is the touchstone of the practice Rouch calls “Cinéma vérité.”

In Rouch’s view, Chronicle is not simply a documentary, because the people in the film are provoked to manifest fictional parts of themselves. And it is not simply a fiction film, because the fictions it reveals are real. Yet a fiction is also a lie.

p.86

In his useful monograph Anthropology – Reality – Cinema, Mick Easton argues that Rouch’s aim in filming is not to make people comfortable so they will reveal themselves honestly and directly to and through his camera. “In the disjunction caused bythe very presence of the camera,” Easton observes, “people will act, will lie, be uncomfortable, and it is the manifestation of this side of themselves which is regarded as a more profound revelation than anything a ‘candid camera’ could reveal.”

Cuban Cinema by Michael Chanan

Chapter 9 – The Documentary in the Revolution

p. 184 – 217

Historical overview: free cinema => cinema verita, mentioning Chronique d’un ete p. 190 – 92

Movies and Methods by Bill Nicholas

p. 279 – 285



January 14, 2009 Posted by | cinéma-vérité, direct cinema, film analysis, film directors, film editing, film theory, film [its techniques], free cinema, Jean Rouch, Michel Brault | , , , , , | Leave a comment

Film : L’Eclisse (Michelangelo Antonio)



L’Eclisse (1962) – YouTube 12 parts.

Michelangelo Antonioni’s L’Eclisse
– A broken piece of wood, a matchbook, a woman, a man

There is an enormous amount of writing on the film in this website.



January 12, 2009 Posted by | film analysis, film directors, film theory, film [its techniques], Michelangelo Antonioni | Leave a comment

FILM ESSAY: After the death of film – writing the natural world in the digital age



After the eath of Film: Writing the natural world in the digital age

by

Tess Takahashi

This essay argues that the North American cinematic avant-garde’s interest in celluloid film’s materiality goes to the heart of our culture’s current anxiety about the digital ability to seamlessly transcode, endlessly reproduce and recklessly disseminate images of all stripes. It traces the ways in which celluloid film’s capacity for registering the marks made by the artist’s hand, natural elements and accidents function as writing in the work of filmmakers Greta Snider, David Gatten, Lynn Kirby among others.




January 11, 2009 Posted by | film analysis, film directors, film editing, film theory, film [its techniques] | | Leave a comment

FILM BOOK: The Evolution of Film by Janet Harbord



The Evolution of Film By Janet Harbord

How is film changing? What does it do, and what do we do with it? This book examines the reasons why we should be studying film in the twenty-first century, connecting debates from philosophy, anthropology and new media with historical concerns of film studies.When the common frameworks for studying film – the nation, identity, representation, Hollywood industry – have ceased to yield explanatory power, how do we conceive of film’s doings? In this fresh and innovative book, Janet Harbord argues that film no longer represents or stands in for particular cultures, but acts isomorphically, showing us how the world works. Film here is action, energy, matter, moving across space to forge connections, provide encounters, and create schisms in our knowledge of others. The book brings together key thinkers of the contemporary in an innovative exchange between film and theory. Marc Auge’s concept of ‘non-place’ is brought to bear on, and disrupt, the category of national cinema. Manuel DeLanda’s notion of morphogenesis frames an understanding of film as a process of constant evolution, in which the terms of change are immanent to matter itself. And the concept of inertia, from Paul Virilio’s work, allows us to comprehend the different energies of film. Arguing that there is no higher position from which to view the present, either in theory or in film, we move blindly and yet with faith, discovering the present frame by frame. Liquid Film demonstrates how this is an intangible yet critical medium in the contemporary, mediating relationships to place, technology and thought itself.Liquid Film will be essential reading for students and scholars of film at all levels.




January 11, 2009 Posted by | film analysis, film directors, film editing, film theory, film [its techniques] | Leave a comment

FILM BOOK: Realism and ‘reality’ in Film and Media



Realism and ‘reality’ in Film and Media
By Anne Jerslev

Eleven articles by Danish, British, and American film and media researchers focus on two sub-themes: ‘Film and Realism’ deals theoretically with film realism and analyses classic films and modern Danish Dogma films; ‘Documentary Forms, Reality TV and New Media’ treats new forms of non-fiction film, TV and on the internet in a both theoretical and historical perspective.




January 11, 2009 Posted by | film analysis, film directors, film editing, film theory, film [its techniques] | Leave a comment

FILM BOOK: Image and Mind – Film, Philosophy and Cognitive Science



Image and Mind: Film, Philosophy and Cognitive Science
By Gregory Currie

Apparently a book about:

… the nature of film: about the nature of moving images, about the viewer’s relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film that have dominated discussion over the past twenty years. Professor Currie provides a general theory of pictorial narration and its interpretation in both pictorial and linguistic media, and concludes with an analysis of some ways in which film narrative and literary narrative differ.

Reviewer Robert Hopkins does not seem overly happy with it.



January 10, 2009 Posted by | film analysis, film directors, film editing, film theory, film [its techniques] | , | Leave a comment

FILM BOOK:The Cognitive Semiotics of Film By Warren Buckland



The Cognitive Semiotics of Film
By Warren Buckland

Again only a few pages, but enough to get an idea of what cognitive semiotics is and how it is placed between semiotic and cognitive film theory.

A summary elsewhere {1}:

In The Cognitive Semiotics of Film, Warren Buckland argues that the conflict between cognitive film theory and contemporary film theory is unproductive. Examining and developing the work of ‘cognitive film semiotics’, a neglected branch of film theory that combines the insights of cognitive science with those of linguistics and semiotics, he investigates Michel Colin’s cognitive semantic theory of film; Francesco Casetti and Christian Metz’s theories of film enunciation; Roger Odin’s cognitive-pragmatic film theory; and Michel Colin and Dominique Chateau’s cognitive studies of film syntax, which are viewed within the framework of Noam Chomsky’s transformational generative grammar. Presenting a survey of cognitive film semiotics, this study also re-evaluates the film semiotics of the 1960s, highlights the weaknesses of American cognitive film theory, and challenges the move toward ‘post-theory’ in film studies.

• This book advances to the next stage of cognitive film theory • It is a survey of neglected European film theorists who combine semiotics with cognitive science • An investigation into how Christian Metz’s pioneering film semiotics has reached maturation by assimilating concepts from cognitive science, pragmatics and Chomskyan linguistics
Contents

Preface and acknowledgements; 1. The cognitive turn in film theory; 2. The body on screen and in frame: film and cognitive semantics; 3. Not what is seen through the window but the window itself: reflexivity, enunciation and film; 4. The institutional context: a semio-pragmatic approach to fiction and documentary film; 5. All in the mind? The cognitive status of film grammar; Conclusion; Notes; Bibliography of works cited; Index.

#

If you’re starting at the beginning like me, How to Read Film by James Monaco covers film theory sufficiently to then get back to watching and making film. Though it is inevitable, as realisations and problems arise in praxis, one will turn to books to confirm what one is discovering or clarify the puzzles and conundrums of making and viewing film, it is important to know (which you may not…) as Mononaco says:

…film theory and criticism, two related but not identical activities that have as their common end an increased understanding of the phenomenon of film. In general, theory is the abstraction; criticism is the practice. At the lowest end of the scale, we find the kind of criticism a reviewer practices: more reportage than analysis. The reviewer’s function is to describe the film and evaluate it, two relatively simple tasks. At the upper end of the scale is the the kind of film theory that has little or nothing to do with the actual practiceof film: an intellectual activity that exists primarily for its own sake, and often has its own rewards, but doesn’t necessarily have much relation to the real world. Between these two extremes there is much room for useful and interesting work.

#

if you like me, had a science eduction, you might assume theory, as in film, would mean the same as, say, theory, as in evolution, which has some explanatory and predictive power. It is another story, but we are here in the realm of [wiki:]pseudo-science {2} {3] and Karl Popper’s falsifiability.



January 10, 2009 Posted by | film analysis, film directors, film editing, film theory, film [its techniques] | Leave a comment

Concentrating on Kieslowski: The Office



Two pieces on The Office (Urzad 1966) in p.o.v.

Kieslowski’s Grey by Laurence Green

A Visual Kafka in Poland by Ib Bondebjerg



January 9, 2009 Posted by | film analysis, film directors, film [its techniques], Kieslowski, Krzysztof Kieślowski | , , | Leave a comment

Concentrating on Kieslowski: A Short Podcast about Kieslowski



Sound on Sight

Episode 77 – A Short podcast about Kieslowski

discusses A Short Film About Love, A Short Film About Killing, and  The Double Life of Veronique.



January 8, 2009 Posted by | film analysis, film directors, film [its techniques], Kieslowski, Krzysztof Kieślowski | , , | Leave a comment

Film book: The New Wave by James Monaco



The New Wave

by

James Monaco

{GoogleBook}

pp.  1-116/ 148-158



January 3, 2009 Posted by | film analysis, film directors, film editing, film theory, film [its techniques], New Wave, nouvelle vague | , | Leave a comment

Film book: How to Read a Film by James Monaco

How to Read a film: the World of Movies, Media, and Multimedia Art, Technology, Language, History, Theory by  James Monaco

First published 1977.

3rd. edition, 2000.

{GoogleBook}

“….The one work on the subject one ought to buy as the nucleus of a library.” says the backpage. An uninterrupted first 65 pages of over 650, to make up you mind if this might be true. Looks pretty good to me.

January 3, 2009 Posted by | film analysis, film editing, film theory, film [its techniques] | , | Leave a comment

Film glossary: from filmsite.org

Cinematic terms: A Film-making Glossary

from Filmsite which is the work of Tim Dirks

This is a rather pleasing glossary because of the way he has laid it out in a three-column table, item – explanation – e.g.s

January 2, 2009 Posted by | film analysis, film directors, film editing, film [its techniques] | | Leave a comment

Concentrating on Kieslowski: The Decalogue



The Decalogue: Kieslowski’s Finest Hours

Mubarak Ali  in  The Lumiere Reader



December 30, 2008 Posted by | film analysis, film directors, film theory, film [its techniques], Kieslowski, Krzysztof Kieślowski | , , , | Leave a comment

Concentrating on Kieslowski: Peter Weir vs. Krzystof Kieslowski



The Truman Show and Three Colours Red: European vs American allegory
by Rich Swintice

Netribution Film Network

In my browser, the title  is not visible.



December 29, 2008 Posted by | film analysis, film directors, film [its techniques], Kieslowski, Krzysztof Kieślowski | , , , | Leave a comment

Film: Béla Balázs


Film art has a greater influence on the minds of the general public than any other art.

Béla Balázs



Theory of the Film (Character and Growth of a new Art)

Complete e-text . Facsimile.

Learnt about the existence of this book from Film Studies for Free. The links there would keep even the most ardent film person busy for ages.

English translation by Edith Bone. !952.


Wiki:Béla Balázs


Revealing the Soul: Balázs and the Close-Up [9.29.03]
By Britta Blodgett


Grand Hotel

Screenplay by Béla Balázs



December 28, 2008 Posted by | Béla Balázs, cinematography, film analysis, film directors, film theory, film [its techniques] | , , | Leave a comment

Film: featuring film blog Film Studies for Free





Catherine Grant writes in  Directing Cinema


and links to almost everything about film in Film Studies for Free



December 26, 2008 Posted by | film analysis, film directors, film theory, film [its techniques] | | Leave a comment

Film books: 2 GoogleBook reviews


The Material Image: Arts and the Real in Film

By

Brigitte Peucker

Intro. begins straight away with wiki:kracauer‘s Theory of Film: The Redemption of Physical Reality (1960). Benjamin, Michael Fried on Courbet’s realism, Plato’s cave, rapidly follow by pages 5/6. This introduction is 16 pages, with all but the last page GoogleBooked. Malhereusement.


Chapter 1 of Siegfried Kracauer: An Introduction by Gertrud Koch.


The Salaried Masses By Siegfried Kracauer is GoogleBooked as well. It is of film interest because he also tackled the roots of nazism through a study of film in the Weimar Republic in From Caligari to Hitler: A Psychological History of the German Film.


Siegfried Kracauer: An Introduction by Gertrud Koch


German Essays on Film
Edited by Richard W. McCormick and Alison Guenther-Pal


The Historical Film: History and Memory in Media
Edited by Marcia Landy

Projecting a Camera: Language-Games in Film Theory

By

Edward Branigan




December 23, 2008 Posted by | film analysis, film directors, film theory, film [its techniques] | , | Leave a comment

Concentrating on Kieslowski: The Double Life of Veronique`



Revisited this film last week for about the 6th. time since buying the DVD three years ago. Some films you can rewatch regularly, some only after a reasonable interval. For me, TDLOV comes into the former category. Also there is the thing about different styles of viewing. This time, I let the whole thing flow over me: quite a few of the little details registered in a way that a fully-alert viewing might have missed.

For criticism/analysis I’m relying on a compilation of what others think. These are not in any particular order of merit, though they might be annotated and re-jigged later.

Later, too, comments on some feature or other – more than likely cinematographic rather than in terms of plot or narrative – might venture forth from the little grey cells and be recorded. For now, stum.

What We Talk About When We Talk About Fate: A quick thought on a darker reading of The Double Life of Veronique
March 2007 post from blog “The Ongoing Cinematic Education of Steven Carlson”.


The Double Life of Veronique – #359
from Jamie S. Rich’s Criterion Confessions, which links to The Criterion Collection The Double Life of veronique page: handy because there is a short very clear video including part of veronik’s iconic “crystal ball” train shot. It turns out to be a clear plastic bouncy-ball, not glass. If you read meanings into everything in Kieslowski…..well read Comprehension of Film Narrative by Jacek Ostaszewki.


The Double Life of Veronique
Review by Independent Film Review critic Todd Conrad.


The Double Life Of Véronique
A short review by Scott Tobias in A.V. Club, succinctly pointing to the core.


The Double Life Of Véronique
Ion Matea. 2006.


Doubled Lives and Inversions: The two-way mirror that is Véronique

S.L. Deefholts

The Double Life of Veronique: Kieslowski and Pure Emotion
Kevin Pearson in Alternate Takes


The Double Life of Véronique
Jenny Dediny in Not Coming to Theater Near You


The Double Life of Veronique
Roger Ebert. 1991.


The Double Life of Veronique: Through the Looking Glass

By

Jonathan Romney

Essay  in  The Criterion Collection.


Soul Sisters

post by Glenn A. Buttkus in blog Tacoma Film Club Annexe


The Double Life of Veronique:

Buffalo Film Seminar Spring 2008


On the dialectics of filmic colors and red : Three Colors: Red, Red Desert, Cries and Whispers, and The Double Life of Veronique.

Film Criticism, Spring 2008, Paul Coates.


Almost all the reviews resort to some form of “….what Kieslowski believes…” in the face of not being able to articulate meanings for the film in its own right. Useful words of Ostazsewski, here referring to Three Colours: White, but more widely applicable:

According to Eco (i.e. Umberto), overinterpretation is seeking in a film the elements of minimal meaning and assigning them with maximal consequences so that they match a prior premise (or premises). ….Overinterpretation is, therefore, not the excess of interpretation, but actually, “underinterpretation”. …..viewer’s relatively poor interest in the actual contents……..On the other hand, their attention is focused on the figure of Krzysztof Kieslwski as the representative of a quality art cinema.




December 21, 2008 Posted by | film analysis, film directors, film theory, film [its techniques], Kieslowski, Krzysztof Kieślowski | , | Leave a comment

Concentrating on Kieslowski: more links



Episode 28 – B Color Me Kieslowski Naked Lunch radio

60 min. plus radio discussion of Three Colours with guest Eduardo Lucatero.

Krzysztof Kieslowski: Prophet of Secular Humanism in the New Europe

Karl J. Skutski

Presented at the “Rediscovering Polish Cinema Conference: History, Ideology, Politics”, University of Lodz, Lodz, Poland, October 23, 2006

Why Łódz Matters:  Red, White and Blue director’s monochrome homage to Polish city

By Deborah Ostrovsky

Krzysztof Kieslowski’s Eurovideo

Chapter 4  of  The World is Watching by Dennis Redmond

51 numbered pages

Straight text file of the same chapter.



The Three Colors Trilogy:A Viewer’s Guide to Kieslowski’s
Blue, White & Red

By Jen Johans



December 21, 2008 Posted by | film analysis, film directors, film [its techniques], Kieslowski, Krzysztof Kieślowski | Leave a comment