- Taschenbuch: 304 Seiten
- Verlag: Danusia Stok; Auflage: Main. (11. Juli 1994)
- Sprache: Englisch
- ISBN-10: 0571173284
- ISBN-13: 978-0571173280
- Größe und/oder Gewicht: 13,3 x 1,8 x 21,6 cm
- Durchschnittliche Kundenbewertung: 1 Kundenrezension
- Amazon Bestseller-Rang: Nr. 316.903 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Kieslowski on Kieslowski (Englisch) Taschenbuch – 11. Juli 1994
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"Kieslowski is frequently cryptic in his responses to journalists, refusing to respond to questions about the meaning of a particular film. But in [this] fascinating new book, he reveals a little more of himself, and while his pessimism sometimes surfaces in odd, self-deprecating ways, the artist's warmth trickles through, too . . . Throughout the book, Kieslowski's practical observations about filmmaking suggest a concern for young filmmakers, an acute mind, a somewhat sad disposition, and a profound skepticism that nevertheless cracks open in the face of art, revealing a man capable of brilliant insight and poetic vision . . . An engrossing read for film buffs, students, or anyone interested in the cultural history of Eastern Europe."--" --" "Stok has done a fine job of translating Kieslowski's Polish into idiomatic English without losing his personal tone of voice." --"Sight & Sound"
Krzysztof Kieslowski's films were brought to the attention of the international audiences by "Decalogue". Since then his reputation as a world-class film-maker has been firmly established with "The Double Life of Veronique" and "Three Colours", showing a move away from his documentary roots towards a more intimate and even spiritual style of film-making. In the discussions in this book, the director comments on each of his films in turn, describing the circumstances of his life while they were being made - occasionally under great pressure from the censors - and his subsequent life.Alle Produktbeschreibungen
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The portrait of Kieslowski that emerges is of an overwhelmingly modest, considerate, private, and above all *humane* human being, self-deprecating to the extreme even after his international success as a director. He dismisses his vocation as the worst job in the world, hilarious (issuing directions via microphone and speaker, freezing, to a half-clad Grazyna Szapolowska atop a makeshift tower at 2am) and insignificant(his frustrating administrative experiences as a member of the Polish filmmaking guild). However, you realize that the poignant messages that come through in his films are the result of a unique personal/private sensitivity; he tries to articulate the manner in which outside events touch the individual, and hopes to touch the individual in the audience through his work. You can't reproach him for insisting that "you will never know what is deep inside me, no one will ever know, the experience is mine alone.Lesen Sie weiter... ›
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The portrait of Kieslowski that emerges is of an overwhelmingly modest, considerate, private, and above all *humane* human being, self-deprecating to the extreme even after his international success as a director. He dismisses his vocation as the worst job in the world, hilarious (issuing directions via microphone and speaker, freezing, to a half-clad Grazyna Szapolowska atop a makeshift tower at 2am) and insignificant(his frustrating administrative experiences as a member of the Polish filmmaking guild). However, you realize that the poignant messages that come through in his films are the result of a unique personal/private sensitivity; he tries to articulate the manner in which outside events touch the individual, and hopes to touch the individual in the audience through his work. You can't reproach him for insisting that "you will never know what is deep inside me, no one will ever know, the experience is mine alone."
The only thing I felt was missing from the book was Kieslowski's final pronouncement on the Blue/White/Red series, since the final interviews were conducted while he was still editing. Also, it does not answer every single question you have about his films - what does the hunchbacked old woman who creeps through Veronique and the Trilogy signify? What does Veronique's clear rubber ball mean? At times, I realized that Kieslowski's narrative and symbolic intentions were really much simpler than what I had imagined to be. In all, this book is not the terminus in your quest to discover the essence of Kieslowski, but provides a heartwarming, personal portrait to base further navigations on.
However, there's a wealth of insight and information in this book, about KK's films, the art of cinema in general, Poland and its history, and the ideas that animated KK throughout his career. If you have yet to discover such great films as "The Decalogue", "The Double Life of Veronique", and "Blind Chance", reading this book will whet your appetite. If you already know them, you'll gain further insights. And this book is just a great read, almost like a first-person confessional novel in its style. Stories like the one about how Kieslowski feigned insanity to avoid military service make it entertaining even if you don't care about movies!
The late Polish filmmaker is up to the challenge, delivering his characteristic frankness nestled within the pages of this short retrospective work, narrated in his own words, and magnificently edited (translated, too?) by Danusia Stok.
The book is tailor-made for "idie" filmmaking buffs, and supplies a glimpse into the enticingly magical personality which was Kieslowski's. Eschewing a typical rote autobiographical style, Kieslowski divulges key details about himself via the device of his extensive filmography -- revealing things about his thinking process and the high value he places upon delicate human emotionality through a step-by-step examination of his long filmography.
Spanning his early years as a prominent documentary filmmaker during the stifling years of Polish Communism and state censorship -- especially during the imposition of Marshal Law in Poland during 1980-1 when Kieslowski couldn't work for half a year -- and ending with his magnificent trilogy "Barwy" (Three Colours: Blue, White, Red), we're subjected to a feast of Kieslowski-isms regarding his thoughts pertaining to such diverse notions as:
** casting for acting talent.
** Kieslowski's penchant for making his ENTIRE crew a part of the idea-generating process for his films.
** the nature of artistic filmmaking in Europe compared to commerical filmmaking in the US.
** the demands of time on a filmmaker's personal life.
** the differing range of skills between Western and Polish filmmaking crews.
A right pity Krzysztof Kieslowski is no longer with us to share to a burgeoning generation of up-and-coming filmmakers what might very well some none-too-optimistic viewpoints on the state of today's "international" filmmaking.
The book is written in Kieslowski's typical unassuming style -- par for the course from the Polish master. The late director doesn't bowl you over with how much he knows about film history, or about the complicated craft of filmmaking. Kieslowski doesn't tell you that he's better than you or me. Rather, through a detailed accounting of his past achievements, Kieslowski's emphasis is always upon that which is most human: the wellspring of all his works, and the central reason why filmmakers must indeed make films, in his esteemed opinion.
Still, I found the book ended suddenly.
Not shockingly so, just that the work might have gone on for much longer than its seemingly scant 227 pages. There's so much to know about this magnificent paragon of the film community, and if anything, it will be a primer for further reading on the man, the legend, and his favourite subject: films.
-- ADM in Prague
I appreciated every page of his life story, as he tells it so that his personal story as a director - from his childhood through filmschool, his first films right to the Three Colours trilogy - is combined with the situation in Poland, with the Communist times, the censorship, the hopes and the fights with the system, the fears, the communication with the public through hidden messages, and the victories when succeeding to outsmart the censors.
All wrapped up in one, sprinkled with wit and natural story-telling style, the book is all you ever wanted to know about Kieslowski and the background of his life and filmmaking.
In the interviews throughout the book, he not only talks about the films, he also explains why he had to do them the way he did - both, the story and the style - about his personal beliefs, about his life and work in the Communist Poland (in which I could see similarities with the former Czechoslovakia, where I was born, as well), and about how it shaped his views.
Real reading pleasure, educational and entertaining, this book is one of the best I have read lately! And, I believe it gives another dimension in understanding of his films as well.
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