Tom 24 Nr 33 (2018): Kieślowski Revisited (and Re-watched)

Tom 24 Nr 33 (2018)

Opublikowany 2019 marca 25
Kieślowski Revisited (and Re-watched)

REDAKTOR NACZELNY:
prof. UAM dr hab. Andrzej Szpulak; Instytut Film, Mediów i Sztuk Audiowizualnych, Uniwersytet im. Adama Mickiewicza, Poznań

REDAKTORZY GOŚCINNI:
prof. UAM dr hab. Mikołaj Jazdon; Instytut Film, Mediów i Sztuk Audiowizualnych, Uniwersytet im. Adama Mickiewicza, Poznań
dr Piotr Pławuszewski; Instytut Film, Mediów i Sztuk Audiowizualnych, Uniwersytet im. Adama Mickiewicza, Poznań

Kieślowski Revisited (and Re-watched)

Mikołaj Jazdon, Piotr Pławuszewski
5-8
Kieślowski Revisited (& Re-watched)
https://doi.org/10.14746/i.2018.33.01
PDF (English)
Marek Lis
9-18
Kieślowski, the mysteries of screens and God
https://doi.org/10.14746/i.2018.33.02
PDF (English)
Joseph G. Kickasola
19-38
Inflancka Travelogue: 10 Short Essays on “Decalogue”
https://doi.org/10.14746/i.2018.33.03
PDF (English)
Monika Talarczyk
38-46
Krzysztof Kieślowski’s “Decalogue” as a Quality TV Series
https://doi.org/10.14746/i.2018.33.04
PDF (English)
Paul Coates
47-59
“The way up is the way down”: Curzio Malaparte’s “Il Cristo Proibito” and Krzysztof Kieślowski’s “Three Colours: Red”
https://doi.org/10.14746/i.2018.33.05
PDF (English)
Francesca Parmeggiani
61-71
Kieślowski Re-read: On Reality, Realism and Cinema
https://doi.org/10.14746/i.2018.33.06
PDF (English)
Wojciech Otto
73-85
Krzysztof Kieślowski’s film props in the triptych “Three Colours”
https://doi.org/10.14746/i.2018.33.07
PDF (English)
Radosław Dąbrowski
87-107
Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship
https://doi.org/10.14746/i.2018.33.08
PDF (English)
Denis Viren
109-115
Non-accidental presence. The reception of Krzysztof Kieślowski in Russia
https://doi.org/10.14746/i.2018.33.09
PDF (English)
Joanna Bardzińska
117-127
Kieślowski in Spain: History, Reception and Inspiration
https://doi.org/10.14746/i.2018.33.10
PDF (English)
Tadeusz Lubelski
129-136
Krzysztof Kieślowski’s “Camera Buff”: a revised version of “First Love”
https://doi.org/10.14746/i.2018.33.11
PDF (English)
Piotr Zwierzchowski
137-153
The Party in Krzysztof Kieślowski’s Films
https://doi.org/10.14746/i.2018.33.12
PDF (English)
Mikołaj Jazdon
155-166
To film an inconceivable reality: the manifesto of the young Kieślowski
https://doi.org/10.14746/i.2018.33.13
PDF (English)
Andrzej Sapija
166-178
“The Intensity of Looking” at Karabasz, 2018
https://doi.org/10.14746/i.2018.33.14
PDF (English)
Franciszek Drąg
179-184
In the clutches of melancholy. Interpretive analysis of Gilles Renard’s student film “Late Afternoon”
https://doi.org/10.14746/i.2018.33.15
PDF (English)
Krystian Przybylski
185-196
“Ledwosz, where is the key?”, or people and animals in Iwona Siekierzyńska’s short student film “Missy”
https://doi.org/10.14746/i.2018.33.16
PDF (English)

Author Gallery

. .
197-217
Photographs by Krzysztof Kieślowski
PDF (English)

Noty o autorach

. .
219-221
Notes about authors
PDF (English)