Table of Contents
Kieślowski Revisited (and Re-watched)
| Kieślowski Revisited (& Re-watched) | |
| Mikołaj Jazdon, Piotr Pławuszewski | 5-8 |
| Kieślowski, the mysteries of screens and God | |
| Marek Lis | 9-18 |
| Inflancka Travelogue: 10 Short Essays on “Decalogue” | |
| Joseph G. Kickasola | 19-38 |
| Krzysztof Kieślowski’s “Decalogue” as a Quality TV Series | |
| Monika Talarczyk | 38-46 |
| “The way up is the way down”: Curzio Malaparte’s “Il Cristo Proibito” and Krzysztof Kieślowski’s “Three Colours: Red” | |
| Paul Coates | 47-59 |
| Kieślowski Re-read: On Reality, Realism and Cinema | |
| Francesca Parmeggiani | 61-71 |
| Krzysztof Kieślowski’s film props in the triptych “Three Colours” | |
| Wojciech Otto | 73-85 |
| Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship | |
| Radosław Dąbrowski | 87-107 |
| Non-accidental presence. The reception of Krzysztof Kieślowski in Russia | |
| Denis Viren | 109-115 |
| Kieślowski in Spain: History, Reception and Inspiration | |
| Joanna Bardzińska | 117-127 |
| Krzysztof Kieślowski’s “Camera Buff”: a revised version of “First Love” | |
| Tadeusz Lubelski | 129-136 |
| The Party in Krzysztof Kieślowski’s Films | |
| Piotr Zwierzchowski | 137-153 |
| To film an inconceivable reality: the manifesto of the young Kieślowski | |
| Mikołaj Jazdon | 155-166 |
| “The Intensity of Looking” at Karabasz, 2018 | |
| Andrzej Sapija | 166-178 |
| In the clutches of melancholy. Interpretive analysis of Gilles Renard’s student film “Late Afternoon” | |
| Franciszek Drąg | 179-184 |
| “Ledwosz, where is the key?”, or people and animals in Iwona Siekierzyńska’s short student film “Missy” | |
| Krystian Przybylski | 185-196 |
Author Gallery
| Photographs by Krzysztof Kieślowski | |
| . . | 197-217 |
Notes about authors
| Notes about authors | |
| . . | 219-221 |
