Vol. 24 No. 33 (2018): Kieślowski Revisited (and Re-watched)

Vol. 24 No. 33 (2018)

Published 2019 March 25
Kieślowski Revisited (and Re-watched)

EDITOR-IN-CHIEF:
prof. UAM dr hab. Andrzej Szpulak; Institute of Film, Media and Audiovisual Arts, Adam Mickiewicz University, Poznań

GUEST EDITORS:
prof. UAM dr hab. Mikołaj Jazdon; Institute of Film, Media and Audiovisual Arts, Adam Mickiewicz University, Poznań
Piotr Pławuszewski, PhD; Institute of Film, Media and Audiovisual Arts, Adam Mickiewicz University, Poznań

Journal cover Images. The International Journal of European Film, Performing Arts and Audiovisual Communication, volume 24, no. 33, year 2018, title Kieślowski Revisited (and Re-watched)

Kieślowski Revisited (and Re-watched)

Mikołaj Jazdon, Piotr Pławuszewski
5-8
Kieślowski Revisited (& Re-watched)
https://doi.org/10.14746/i.2018.33.01
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Marek Lis
9-18
Kieślowski, the mysteries of screens and God
https://doi.org/10.14746/i.2018.33.02
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Joseph G. Kickasola
19-38
Inflancka Travelogue: 10 Short Essays on “Decalogue”
https://doi.org/10.14746/i.2018.33.03
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Monika Talarczyk
38-46
Krzysztof Kieślowski’s “Decalogue” as a Quality TV Series
https://doi.org/10.14746/i.2018.33.04
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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
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Francesca Parmeggiani
61-71
Kieślowski Re-read: On Reality, Realism and Cinema
https://doi.org/10.14746/i.2018.33.06
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Wojciech Otto
73-85
Krzysztof Kieślowski’s film props in the triptych “Three Colours”
https://doi.org/10.14746/i.2018.33.07
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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
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Denis Viren
109-115
Non-accidental presence. The reception of Krzysztof Kieślowski in Russia
https://doi.org/10.14746/i.2018.33.09
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Joanna Bardzińska
117-127
Kieślowski in Spain: History, Reception and Inspiration
https://doi.org/10.14746/i.2018.33.10
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Tadeusz Lubelski
129-136
Krzysztof Kieślowski’s “Camera Buff”: a revised version of “First Love”
https://doi.org/10.14746/i.2018.33.11
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Piotr Zwierzchowski
137-153
The Party in Krzysztof Kieślowski’s Films
https://doi.org/10.14746/i.2018.33.12
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Mikołaj Jazdon
155-166
To film an inconceivable reality: the manifesto of the young Kieślowski
https://doi.org/10.14746/i.2018.33.13
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Andrzej Sapija
166-178
“The Intensity of Looking” at Karabasz, 2018
https://doi.org/10.14746/i.2018.33.14
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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
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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
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Author Gallery

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197-217
Photographs by Krzysztof Kieślowski
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Notes about authors

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219-221
Notes about authors
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