Cover

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Title Page, Copyright , Dedication

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Contents

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pp. vii-viii

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Acknowledgments

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p. ix

Tracing the global legacy of a filmmaker like Krzysztof Kieślowski would be impossible for a single, isolated critic. As the editor of a volume that has drawn on the much greater expertise of the other ten contributors, I thank every one of them...

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Introduction

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pp. 1-16

This collection of essays investigates two aspects of the legacy of Krzysztof Kieślowski (1941-96): films produced after his death by other filmmakers using his scripts and ideas; and the prescient thematic, stylistic, and philosophical preoccupations particular...

Part I: The Polish Legacy

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pp. 17-80

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1. Still Alive: Kieślowski's Influence on Post-Communist Polish Cinema

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pp. 19-33

During his last public appearance, on 24 February 1996, Krzysztof Kieślowski commented on the reasons behind his self-imposed retirement from film-making, which had been officially announced earlier, during the making of the...

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2. Living On: From Kieślowski to Zanussi

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pp. 34-48

Perhaps the most nebulous but all-pervasive phenomenon that underwrites creative bonds between artists of any kind is that of influence. Yet, what or whom writers, poets, painters, or filmmakers may recognize consciously as having a formative...

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3. Turning Director: Jerzy Stuhr Does Kieślowski

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pp. 49-65

In mapping out the constellations of Krzysztof Kieślowski's legacy, Jerzy Stuhr holds a peculiar place. His career in film intersected with Kieślowski's over an eighteen-year period, and Kieślowski's influence on him has been such that critics have questioned...

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4. Form Is the Key, and Lessons in Kieślowski: An Interview with Jerzy Stuhr

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pp. 66-80

This interview was conducted in person in a two-hour session on Friday, 17 February 2006, a sunny winter day, in Jerzy Stuhr's office at the State Theater School (PWST), which is next to Krak's magnificent medieval old-town square, the biggest...

Part II: The European Legacy

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pp. 81-146

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5. After Kieślowski: Voyages in European Cinema

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pp. 83-98

This chapter explores Kieślowski's legacy in two senses. Specifically, I am concerned with his influence on two directors who worked as assistant directors on the set of films in the Three Colors trilogy. These directors, Emmanuel Finkiel and Julie Bertuccelli...

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6. Social Sense: KrzysztofKieślowski and Michael Haneke

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pp. 99-112

The deeply aestheticized humanity of Kieślowski's last, French films may seem to share little with the hostile world portrayed by Michael Haneke. But the two directors have much in common, not merely in the paths they took from home-grown television...

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7. Just Gaming? Kieślowski's Blind Chance, Tykwer's Run Lola Run,and a Note on Heaven

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pp. 113-126

Debates on the interrelationship of art and games sometimes pose the question of the degree of possible homology and conflict between those two time-based and visually oriented forms, the film and the video game. For instance, in his work on the nature...

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8. The Picture of Marriage: Godard's Contempt and Kieślowski's White

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pp. 127-146

Polish critics who decry Kieślowski's late non-Polish features on the basis of their elision of the material world, their exclusion of politics, and their aesthetic framing of suffering ignore how these films effectively engage with the larger European film-making...

Part III. The Global Legacy

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pp. 147-225

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9. Kieślowski's Visual Legacy

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pp. 149-164

Very few narrative film directors create visual worlds that are strikingly and unmistakably their own. Those directors who do create such worlds usually either have a background in photography or visual art (Von Sternberg, Kurosawa, Kubrick...

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10. Kieślowski Crosses the Atlantic

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pp. 165-185

Krzysztof Kieślowski typically discussed America through tossed-off sardonic comments laced with grudging admiration.1 Despite his cynicism, Kieślowski considered "third-rate American cowboy adventures" and various American films among his formative...

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11. Kieślowski and Kiarostami: A Metaphysical Cinema

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pp. 186-201

Kieślowski has been described as a metaphysical filmmaker on more than one occasion. That designation certainly becomes evident when his work is compared with that of other filmmakers who similarly strive to represent the ineffable features of human...

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12. The Decalogue and the Remaking of American Television

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pp. 202-225

What is the Decalogue, and what is its legacy? When critics discuss Kieślowski's 1988 series, they often discount or ignore its status as a work of television. Instead, the program is described as "ten films" or "an extraordinary cinematic...

Contributors

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pp. 227-229

Index

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pp. 231-247

Back Cover

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