After Kieślowski: The Legacy of Krzysztof Kieślowski

Index

Index abstraction: Iñárritu’s use of, 183n. 15; Kieślowski’s use of, 176 absurdity: in The Big Animal, 60, 79; in Polish literature, 79, 80n. 7 accident: and design, 203, 205, 206–10, 212; in drama, 204 actors, Kieślowski’s handling of, 153–54 Adamek, Witold, 158–59 Adaptation (Jonze), 170 Adar, Shulamit, 88 agnosticism: Kieślowski’s, 4, 11, 36, 210; in television serials, 222 Akinnuoye-Agbaje, Adewale, 216 Alfred Hitchcock Presents (television anthology), 223n. 1 Alfyorova, Irina, 55 Allen, Woody, 170 Altman, Robert: narratives of, 12; use of improvisation, 155; use of network model, 173 amateurs, Kieślowski’s use of, 68, 69 Ambrose, Lauren, 208 Amiel, Vincent, 61; on representation, 145n. 12 Amores Perros (Iñárritu), multivalent structure of, 178 Anderson, Paul Thomas, 12; Kieślowski’s influence on, 161; use of possibility, 175. See also specific works of And Life Goes On (Kiarostami), 196 Andrew, J. Dudley: The Major Film Theories, 39 Angel Eyes, cinematography of, 158 antirealism, in postmodernism, 189 anxiety, influence of, 6, 35–38 Aristotle, on politics, 193 Arnheim, Rudolf, 117, 118 Arriaga, Guillermo, 161, 162 art: post-Schillerian theory of, 114; presence in, 134; relationship with games, 113–14; technology-based, 162 art direction, Kieślowski’s, 12, 151. See also cinematography artists: in Contempt, 132–33; creative bonds among, 34 Ashes and Diamonds (Wajda), 79 Asimov, Isaac: “The End of Eternity,” 169 Aujourd’hui peut-être (Jean-Louis Bertuccelli), 83, 84 Babel (Iñárritu): abstraction in, 183n. 15; existential possibility in, 178 Bailey, Derrick Sherwin, 133, 134 Baka, Miroslaw, 217 Ball, Alan, 206, 222 Band of Outsiders (Godard), 145n. 13 Baranowski, Henryk, 209 Barciś, Artur, 31 Bardot, Brigitte: in Contempt, 128, 129, 131, 133, 136, 144n. 7 Basinger, Kim, 129 Bazin, André, 13; on cinematic image, 131; on cinematic love, 200; 231 Page numbers in italics refer to illustrations 232 I n D E x Bazin, André (continued) on realism, 188–89, 192; on the sacred, 188; on truth, 189 A Beautiful Mind (Howard), 170 Becker, Wolfgang, 70, 93 Bee Season (McGehee and Siegel), 14, 15n. 2 Before the Sunset (Zgliŋski), 28 Beniger, James, 181 Benny’s Video (Haneke), 107 Bergman, Ingmar, 21; early films of, 149; metaphysics of, 138; televisual works of, 202 Bertolluci, Bernardo, 149 Bertuccelli, Jean-Luc, 83, 84 Bertuccelli, Julie, 8, 9; documentaries of, 88; Kieślowski’s influence on, 83– 84; on lying, 94; work with father, 84. See also specific works of Biedrzynska, Adrianna, 211 The Big Animal (Stuhr), 6–7, 28, 52, 61, 74; absurdity in, 60, 79; authorial qualities of, 63n. 12; cinematography of, 59, 60; critical reception of, 64n. 17; Kieślowski’s influence on, 54, 58–61; location of, 63n. 16; realism in, 60; script of, 58, 59, 60, 78; Stuhr in, 59; ticket sales for, 63n. 5; trial scene of, 59, 63n. 13 Binoche, Juliette, 9; in Bee Season, 14; in Blue, 14, 52, 155, 199; in Hail Mary, 131; in Haneke’s films, 100, 101, 103, 111; Kieślowski and, 100 Black Hawk Down (Scott), 12; cinematography of, 156, 157–58 Blanchett, Cate, 141, 143, 178 Blanchot, Maurice, 38 La Blessure (Klotz), 91 Blind Chance (Kieślowski): artificiality in, 115; authority in, 124–25; binary situations in, 122–23; characters of, 56; conditional story-telling in, 191; contingency in, 8, 14; critical reception of, 2; death in, 116, 120; existential possibility in, 172; fantasy in, 116, 120; fissiparousness of, 122–23; forking-path narrative in, 169; four versions of, 116–17, 122–23, 126; gaming aspects of, 117, 119–20; and Heaven, 10; logical oppositions in, 117; and Love Stories, 6; modernism in, 114, 124–25; multivalence in, 166; narrative strategy of, 144n. 6; opening scream in, 115, 116, 117, 118; possibility in, 179; pre-story of, 124; reality in, 115, 116; repetitions in, 10, 123–24; risk in, 86–87; and Run Lola Run, 9–10, 113; spatiality in, 123; Stuhr in, 51; temporality in, 123, 124 Bloom, Harold, 6; The Anxiety of Influence, 35; model of artistic influence, 34, 35, 38–39, 44–45 Boganim, Michale, 91 Boogie Nights (Anderson), 161 Bordwell, David, 12, 166, 171, 175; on forking-path narrative, 183nn. 9– 10; on network films, 167, 168, 180 The Bothersome Man (Lien), 14 Boym, Svetlana, 97; The Future of Nostalgia, 91 Boys Don’t Cry (Lubaszenko), 30 Branigan, Edward, 171 Bresson, Robert, 2, 188 Broche, Brigitte, 161 Buache, Freddy, 88, 89, 90, 95; Vingtcinq ans de cinéma français, 84...