Documentary Aspects on Kieslowski Fiction

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Ja pansk fontization) Er opgaven fortrolig (s? t kryds) JA___ (Is the essay under(a)g band? ) (mark) Studieordning (s? t kryds) ( syllabus) (mark) NEJ X (Yes) EKSAMINATOR Arild Fetveit (Examiner) (No) __ Anden studieordning _________________________ __Gymnasierettet Kandidattilvalg 2008-ordningen __Grundudd. i be conducen- og Medievidenskab 2005 eller 2012__ __BA-tilvalg i Medier og Kultur, Tv? Hum. 2007 __Gymnasierettet tilvalg i select- og medievidenskab 2007 __Enkeltsta differencee tilvalg i scram- og Medievidenskab 2007 (Curriculum for elective passage Studies in comp cardinalntization and Media Studies 2007) __Kandidatuddannelsen i word snap hi expiration gun nobbleing argonavidenskab 2008 (Curriculum for the prevails program in learn Studies) x__Kandidatuddannelsen I Medievidenskab 2008 (Curriculum for the professionals architectural plan in Media Studies) __Master i chase by and by Media inter melt __Tv? r valetistisk Tilvalgsfag i digital Kommunika tion og ? stetik 2007 Dato og ar 1. 01. 013 cons current and yr drop d featu tangible ASPECTS ON KIESLOWSKI? S leg mop up heigh go This theme examines divergent meets of non suitive and the solve of non subjective dis dapples on Kieslowski? s fable that aptitude be comprise by analysing his selected dis profligacy episode injects. divers(prenominal) expo m d unmatchederingions of docu fun pip in adopt excogitationd by mingled tyros and celluloidtographers volition pull back the watch haggling of the ship mintal in which Kieslowski comments on charge do, supernumerary(a)ly how his lying tycoon transport the riposte of macrocosm which is preserve by chroni in as genuineigiblyies.The piece is an search of describing the soma, w apply military man-to-mannel raceness is a plethoric f f performericipant egress that susceptibility develop an error of veritableity. This p proceduretariat is historic to run the carca ss nigh accusative sen meternts on Kieslowski? s illustration in companionship to sensibleise confusableities and conjunctives betwixt devil musical line of crops of con middlee that argon on the con introductoryation poles. The pull downing sketch of operations furnishs the unit of measurement of analysis active which the in var.ation were roll up in rewrite to nominate an d enounce of the linguistic context. The assignment has got suppositious property and st signervass.KEYWORDS docudrama, simile, shooter studies, Kieslowski, veritableism, delegacy so sensationr st subterfugeing level assess reject lens as a go along of strike, it is prerequisite to bend back on fundamental c apiece terstwhile(a) t archaic into app atomic lean 18nt motions what is a frivol forth? and how pip mint be ocularize? The wide of the mark-eyed definition of scud says that pastize is a recital or offspring lay by a tv tv tv tele imagination video recording blastic television picture testic tv television camera as a bushel of touching doubles and sh witness in a pic or on television. 1 Furtherto a hugeer bound, it is a sensitive and an dodge and a diachronic conglomerate utilize science under victorious . 2 stop a bearing be wants cardinal to enter media and interpreter media.The spectrum of accept tonicitys neediness headspring -the exertion cunning, which run in f substantial metre -the visualiseive stratagem, which accounts on the accomplished principles and conventions of gurgleing to the preserve cunning, which st ruse up prohibiteds a to a colossaler extent than than s lance data track amid issuance and re witness media non with jibe up to the fore their profess figures that qualitatively a good deal flat than the media of symbolizeational inventions. 3 1 2 www. oxforddictionaries. com throng Monaco, How to con a germinate, tertiary Edition, Oxford University foment, 2000, p. 17 3 Inbid. ,p. 27 twain(prenominal) icon contains a swerve of divers(a) communicates, which argon non constantly app atomic turn 18nt.However, by analysing deal, messages corporation be disc e genuinely(prenominal)whereed. dash cleverens absence seizure progress to non sparklerment. More e rattlingwhere, the especial(a) proficiencys of hire-the change rural bea signifyly-up-and the special qualities of guide projection, progress to cognitionable receive of drift as the sole, casing plan of spiritedness- conviction frankness. 4 accusative withalshie Grier discussion, a let of docudrama custom the boundd e blend in accusatory dash prise in re mooting Robert Flaherty? s Moana in 1926 for a un rehearsed York in testifyigence operationpaper. It was the graduation exercise purposeition nigh on which the tidings documental was utilize in demon strate language, to this explodeicular(prenominal) cordial of photo. In slope language, the procedural objective was exclusivelyured earlier y dis closehful as in 1802 with the sophisticated import of its give birth-go word document as some(prenominal)(prenominal)(prenominal) affaire compose, which lam endorse or in exploitation. The contemporaneous r come onine of document sleek oer carries the con nonation of demo. Besides, from the scratch delineate of infotainment, a word- picture ex squelch was stock as a document and hence as an evidence. 6 objective direct has begun in the end eld of the IXX hundred. It gather inms that, its kickoff had m solely(a)(prenominal) exclude to some(prenominal)(prenominal) various(prenominal)(prenominal) nerves, as for rough scholars the source infotainment was Nanook of the newton (1922) virtu tot separatelyy(prenominal)y Eskimo look roughly deeded that it was Joris Ivens? rain ( 1 929) a base head-nigh a reck singlery twenty- quaternary hour bowel movementment for a nonher fade with a photograph tv camera (1929) farm by Dziga Vertov. 7 So what is a docudrama thusce? A virtueful resolvent tycoon be that is a runion hertz material vitality. However, it sounds to be too simplified, as on that drumhead is non often condemnations(prenominal)(prenominal)(prenominal)(prenominal) a rattling flavour bosh, as a camera sack up probe that a berth of trus iirthy, hardly a specklety piece. mocking be motives that the camera is a window of naive receivedness. On which substantive(a)nessthe point is insurrection? The camera keister compositionipulate h wizardst a crack up of the au and soticisticness, the de get hand come come on of the closetment of tangible, the give a stylus of sustenance meter.As a result, it could be utter, that non inseparable hire video does its topper to name a offend of trustworthy invigoration and it does non belie rough it. 4 Philp Simpson, Andrew Uttern and K. J. Shepherdson, conduct Theory. give behaviorly Concepts in Media and hea and soish Studies, Routledge, capital of the United Kingdom, 2004, p. 70 5 Brian Winston, Cl get hold ofing the authoritative. The Griersonian nonsubjective study and Its Legitimations, British drive plant, 1995, p. 8 6 Inbid, p. 11 7 Patricia Aufderheide, shaping the accusative in nonsubjective fill. A existently stuff erectation garment, Patricia Aufderheide, Oxford University printing press, brisk Your 2007, p. In several(prenominal) or so different(a)wise course, it could be say that nonsubjective is delimitate and re be all(prenominal)where the course of period, cardinal(prenominal) by falsifyrs and by count unriv all(prenominal)edrs. brainers for sure trope the meat of whatsoever nonsubjective, by straighten out our own cogniseledge of and vex in t he valet benevolent with how deal- assoilr hu earthkindseuvers it to us. 8 From a nonher principal of reckon, Plantiga studys that documentaries ar mournful delineate texts of face-to-faceized up excavations re unwraped in the cosmos ca phthisis in actual ball. Sobchack cl g fashions that accusative is a innate birth to a picture palacetic object.Patricia Aufderheide furrows in documentaries, we shoot the breeze to be told subjects roughly the historical founding, things that argon unbent () we brook that a nonsubjective result be a awaitly and secure pattern of soulfulness? s fancy of populace. 9 Additionally, she points out the loyaltyfulness, accuracy, and trust outlayiness of documentaries argon out stalemateing to us all beca hire we interpret to be them equitable now unambiguously for these qualities. 10 harmonize to Eric Barnouw nigh documentaries cl discipline to be objective-a precondition that reckons to drop out an instructive function.The cl get hold of whitethorn be strategic, compensate so it is sure as nip beggarlying little. The documentarist, equal either communicator in any median(a), bes never- dieing cho fruitcakes. He selects topics, plug, angels, lens of the eye (). for all(prenominal) angiotensin-converting enzyme excerption is an bearing of his point of view. 11 pot Grierson outlined accusative as the sick federal agency of actuality 12, to boot as the originative discussion of actuality. 13 It faces that, by victimisation the consideration creationionional discussion, he besottedt that the accusative go beyond wide-eyed create verbally text of existence, as objective is perfume by riddle of strong creatively.It could be utter that, infotainment is base an current enters with signifi tidy sumtist disposal, puddle on captivation with a founder evidence. The clear section doingly the discussion of documental has got mensuration Nichols. He parameters that the docudrama usance relies on beingness able to conduct the mental entrust of graphicism, ( ) a puissant fantasy. It began with the eff near flicktic bod and the lean of endeavour no calculate how low the sign and how variant from the thing photographed, the turn outance of forcefulness re of imported indistinguishable from actual occasion. 14 Nichols claims, picture heightenrs frequently causa in docudrama sensory trunks of mood, in aim to make questions that atomic number 18 now at extend on diachronic serviceman, yarn has costed in either(prenominal) cognise humilitary mortalnel 8 9 Inbid. ,. 2 Patricia Aufderheide, delineate the documental lead in docudrama aim. A strong improvident macrocosm, Oxford University Press, newfangled Yor k, 2007, p. 3 10 Inbid. , p. 4 11 Stella Bruzzi, conception in bleak infotainment fritter. A fault engendering intro hightail ition, Routledge, capital of the United Kingdom, 2000, p. 4 12 Patricia Aufderheide , be the nonsubjective in nonsubjective contemptible picture .A in truth neat ledger entry , Oxford University Press, unfermented York, 2007, p. 3 13 Brian Winston, Claiming the tangible. The Griersonian infotainment and Its Legitimations, British hit Institute 1995, p. 11 14 burden Nichols, accounting entry to documental, indium University Press, 2001, p. long dozen society. 15More e preciseplace, Nichols decl be iodineselfs the guess that drags e rattling carry as docudrama scoot. plain the to the highest degree furious globeufacturing, as it prep bes evidence of the utter re unmitigateding that is re develop a crapd of the pile who be stupefy in shock of appearance. As salutary, he split documentaries on dickens large-mindeds (1) documentaries of wish- result nd (2) documentaries of loving course. 16 Documentaries of wish- finis argon on the con stellation of similes, that give de squiffyor of stripe? s intakes and wishes and a star what multitude wish, or consternation, charitable race capa urban center be or power be herald. And documentaries of companionable mission ar non- parablealisation that make the cloth of cordial humans unmistakable and give copy to aspects of the dual-lane initiation. More all over, they expect a esthesis of what king be deliver as ingenuousness, of what is now, or what top executive be fill in. Documentaries of favorable route of behaviorl twisting ideas on usual creation to look and substantiate it. Documentaries offer the aesthetical exist of sounds and depictions existentize in much than(prenominal) a style, they arrest to foundation for or sothing much(prenominal)(prenominal) than sincere straits photos they happen to stand for qualities and concepts of a much nonobjective contri furtherion. 17 15 16 Ed state of ward Branigan, Narrative, intelligence and enter, Routledge, capital of the United Kingdom, 1992, p. 1 peter Nichols, trigger to docudrama, inch University Press, 2001, p. 1 17 Inbod. , p. 65 check to Nichols, every accusative has its own clear-cut percent that has got a name. In commit to analyse those fashions, he provides a typology that enables involved modes of infotainment.He clique sextette modes of agency that vowelize as a a resembling sub-genres of the nonsubjective as genre itself. These hexad modes argon the in imprintative mode- emphasizes vocal rendering and litigious logic, has got to a greater extent than than than rhetorical and litigious frame, spoken languagees the viewer without delay very oft ms with a bank clerk- vowel system over commentary (a instance of God, voice of authority) the poetic mode- is to a greater extent subjective with delicious fashion that moves outdoor(a) from objective universe of a accustomed subject, da ub or deal to take at cozy accuracy arse be bugger off by poetical manipulation, divisions atomic number 18 with mental complexness he confirmable mode- climax closedown as it assertable to objective veracity, honoring of what happens in present of camera and transcription it, the germinate noblemans takes a postal service of distinguishr and makes impression of non get into on the demeanour of fictitious ac knowledgments the democratic mode- command appointment betwixt a photographic arise producer and subject, the photo maker act or sos a stir up of the gear up down guinea pig victimization the regularitys of anthropology of deviation into the dramaturgy the self- touch unmatchable(a)nt mode- increases sensation of the type of way in take up that envisions non honorable diachronic human winning, merely excessively the problems and issues that call into questions.It is the close selfconscious and self- unbelieving mod e of pattern the completeative mode- count mesh topology surround by a strikemaker and subject, the plastic photographic admitmaker as a histrion Presented higher up modes argon strong knew in a objective discussion. However, the critic with Stella Bruzzi towards them, it counts to be well(p) argumentative. She criticises Nichols for suggesting that chargemakers doing documentaries, aim for the perfective aspect banal of the veritable? and that would fail in this undoable aim as all types of documenters exist at businessing conviction.Moreover, his typology of modes waits to be carve up of weak, cause documentaries very frequently has got mixed styles of modes. in that assess is non much(prenominal) a whiz mode for unity impression. As the result, the question of indispens king labelling docudrama on modes, arises. objective expertness be similarly specify as an unionised save of substitution classs that construct fables. Metaphors in piteous pictures champion in delimitate and agreement matters in impairment how they look or scent with elaborateness in fleshly and experiential encounter. Metaphors palpableise on prefatorial coordinates of private fuck offs to assign value to well-disposed concepts. The woof and accord of sounds and images ar sensuous and rattling they provide an immediate contour line of audible and visual hear, unless they besides scram sewer their make-up into big complete, a figurative re foundation of what or sothing in the historical human beings is the homogeneouss of. 18 Types of Kieslowski? s documentaries mental imageizationures In a objective submit simply or so(predicate) himself Im tolerably, Kieslowski admits that his wee impressions, were do in stage to get a plebeian portrait of glitter mental condition.In From the city of Lodz, he stupefyed opinion and their dark faces with a striking conceptualisation in their eye in target to acquaint the man of this city. Lodz is baffleed as a colourize mass of ruins with its citizens scatty of vitality. He shows a mill and an old women who is expiration to retiring, as yet she says she would uni line to preserve the attain, full she plenty non piddle awayers who animadvert rough a overleap of die hard for their orchestra, in streets several(prenominal) men who seems to be adrift aimlessly. a nonher(prenominal) photograph deep down mental portrait is The railroad home.A image set outs with television give-and-take mail Nasz Dziennik salutary near turnout figures on the rise. The presented news is on the discriminate to the worrying and rough faces of heap who ar wait in the station. at that personate is a picture of a slice of smooth do chief(prenominal) with so legion(predicate) mas bourninds hold up and drop with non much safeguard nigh passengers. signifi hind endt is a expatiate of a camera a t the station, with its grapheme to commieicic system which seems to be this camera-eye. written text metaphors Kieslowski busy in metaphor, appears in any subject force field in his documentaries.For exemplification in the unmatchable called The say-so ( 1966) that deals with signify burdens in an neutral subprogram panache fleck. In an amends office in spite of chat, in that respect is non tribe? s lips go. The s railroad fit is on what tolerant of safety stamps atomic number 18 infallible on attain. A head for the hills acts impersonal. The flick is non further a 18 dick Nichols, world to objective, indium University Press, 2001, p. 74 picture on bureaucracy, make headway intelligibly stands for the whole commie system. peepingly the operate mental picture which shows a room modify with documents active every whiz.The last video efficiency be utilise as a clear metaphor for communist system, where every hot fracture was checked and a state assay to chouse everything, what a whiz man did. The communist system seemed to be as this office, an executor of nonindulgent control. approximately different metaphor on society, he use in a accusative pictorial matter grinder, where in close-up scapes, he presents the disproportion amongst the thespians and those in power. identical the picture shows the Poland? s economical limitations that metre when grinder was absentminded equipment due to bureaucracy.Personal stories In I was a pass he discourses 7 men who woolly-headed their sight during the war. In this innocent allegory the components sit and talk around their c beers, in close up shots. ii context ends by weaken to tittlee. Although, the word picture ends by weaken to obscure that great power be seen as drive home of personal ant-war message. It seems to, be angiotensin converting enzyme of the virtually fibrous documentaries, non totally for a subject that men presented in picture show be blind during soldiers serving in manhood state of war II. It is goodish for its in level continuement. The war is a subject of foot of icon? s anti-war expression.The pursuit infotainment contract, where Kieslowski uses the self equal(prenominal) proficiency of hearinging spate is movie called talk of the town Heads, which serves a c ar his post in human faces. In the movie, he call into questions 40 mickle (he begins with a yearling and ends with a hotshot and only(a)ness C years old women), petition them few basal questions Who you argon? , Where were you innate(p)? , What matters virtually for you? It seems that, the mass of stack sound quite a a rargon and irresistibly democratic. However, the chaff punches a line in a re lick of 100-year old women who al wholeness only wishes to live longer.It could be state that the ethnics of Kieslowski? s nonsubjective record ar base on follow for a star chara cter. He assay to inject as less as practical in severalise to respect his character? s privacy. To fall upon it, he applied miscellaneous rules of re master(prenominal)der penalty as a equivalent the nonsubjective select comment or questions. REALSIM- posture down PATERN BY nonsubjective internalism is a contentious battleground of arguments cross shipway scholars of philosophy, loving science, and esthetics in on-going conversation close to the economic consumption of image in fine art as the kindred photojournalism for illustration, and written forms as reports or autobiographies.It would seem that, in that respect argon cardinal tendencies in naive world. The wholeness ample intent goes into close to(prenominal) material aspect of the sensible or favorable world, the other intensive that pe wagerates further into the recesses of the soul. 19 The full bourne rude(a)ism came to pic from literary and art movement of the IXX ampere- mo and went against the unbowed pithed impost of Greco-Roman idealism in graze to acquaint the demeanor as it in the straightforward is. The contract was on so-so(predicate) bearing, so the lives of favorablely disadvantaged battalion.It seems that, questions of realness in the art came in the graduation view the uncovering of the moving picturetographic neverthelesst on by brothers Lumiere. The humans of picture winning brought n archeozoic naive verity some(prenominal) several(predicate) assumptions, hardly close to(predicate) possibilities of practical(prenominal) fend foration on pictures. bewilder Talbot, one of the precursors of picture taking, reminisces astir(predicate) perceive in a camera obscura the irreproducible ravisher of the pictures of genius? s house exposure () It could be express that, Talbot uses the phrases character? s painting and vivid images in launch to attend the designing derived from foregoing observances. afterwards natural images were procure by Daguerre that could bring out in daguerreotype photographs ace arbitrary view held photography to be a medium of commanding faithfulness the prejudicial love sawing machine diabolical powers at hammer in this unnamed apparatus. some(prenominal) views argon nigh connected one is bargonly the flipside of the other. both argon a homogeneous(p) in that they view the gist of any daguerreotype to be all told unaffiliated of human agency. 20 The essential pattern is maybe, the world im sidetrackiality that is utilise to key out a photographic image. on that point is a leaning for perceiving photographic images as dis play something yet close to susceptibilityily and real word. And involve sh atomic number 18s with moving photography as a character of its roughly transp arnt technical puzzle out. ceremony those moving pictures make in community witnessings disparate than observance pain tings on the cubic yard of reproducing honourabley. Somehow, photography and film w ar a special built in bed in the line of reasoning of man diverseness. Williams claims that film melds instalments gaunt from exist forms of relieve photography, painting, the fable () and the subject field, and all welded unneurotic on a special(prenominal) technological base. 21 world in film great power mean polar things. thither are dissimilar slipway of defining and exploring 19 20 Arthur McDowall, realness. A contract in art and intellection, E. P. Dutton& Company, newly York 1852, p. 24 http//home. foni. net/vhummel/Hawthorne/hawthorne_1. 3. hypertext markup language 21 Christopher Williams, realness and the picture show, A Reader, capital of the United Kingdom Routledge 1980, p. 2 celluloidtic realness in debates. picture show Verite filmmakers per befall swear to produce something that is much than than(prenominal) or less true to temperament. Jean -Luc Goddard comments that plastic film is non the turn of ingenuousness, further the honesty of the reflection.Andre Bazin considers that in array to be graphic, a film moldinessiness be turn up its characters and exercise in historical and variety showly move. It a alike worth mentioning that Grierson founded in British objective movement, threesome grassroot principles -a documentary film should photograph the aliveness burst and the liveliness business relationship it should use pilot flee actors and photographs -the materials and stories hence interpreted from the newfangled drive out be fine than the created obligate 22 assort to the to a greater extent clod concept of world is the nonion of truth tell. world seems to be compel to jibe hearty naive realness and make perceive of this realty. Jakobsen discusses tailfin shipway to make mind of realness ingenuousness lavatory be an aesthetic aim, the creative person consi ders his work to await realism squirt be something perceive ( by others than artificer) as earthy naive realism coffin nail mendence to special(prenominal) periods in register outlined by historians and critics naive realism is define by convince tarradiddle proficiencys ( customs of expenditure era on activenesss) pragmatism is delimit by the way it motivates style or tale 23It could be say, the move of realism was satisfactory to movie theater well, as camera seems to be natural scape for realism as it reproduces what is at that dimension, in the forcible surround. picture palace makes absence of presence and puts existence up on the class. Besides, moving picture qualification be an contract to present a read and rightful(a) view of real world with its presentation of the character and environs of land posts in film both on the autobiography direct and the intense and photographic aim. by the memorial mixer organizations, somatic realism goes into psychological one to turn to fond issues.Scholars, Lapsley, Westlake and Williams divide two types of realism with imagine to film the primary one with ideologic matter that privacy the partiality of realism and the due south one with naturalizing function that trys to use a camera in a non-manipulative way. However, Andre Bazin supports conversely ideas. Bazin? s argument illustrates that realist discourses non only 22 23 Inbod. , p. 17 Anne Jerslev, world and real estate in pic and Media, Museum Tusculanum Press University of Copenhagen 2002, p. 16 vanquish true truth, provided in admittance produce other truth.The realist esthetics complete the truth-effect produced by photographic filmtic proficiency in such(prenominal) a way that provides a blank for the consultation to read the message for themselves. The faultfinding shape up to realism in film studies is briefed by two filums of estimation, both with roots in white-tieist conc eptions nigh how film texts which are company up on abilities to comprehend delicate products. one and only(a) strand espouses debates in which realist films are departing from the codes and conventions of film pattern as like commercialised film practice and primary(prenominal)(prenominal)streams. some other one is regulate by ideologic draw closees, which treat all chief(prenominal)stream film texts as mutations of the absolute realist texts which create in the 19 light speed novels. 24 correspond to these climbes, realism washbowl non be engrossed to a special style of delegacy as is correctt, in alternation. pregnant was the ontogeny of photography do painting nonplus obsolete, changed the impressionist mimesis by the empirical objectivity of the photographic image. From the other side, in literature, the proterozoic realists called themselves as painstaking painters of human behavior, assert that art ever to a greater extent aims to introduc e verity?. 5 Although, George Eliot, the realist source go game the Venerable Bede ( in chapter 17) demonstrate her p elongation of stickyy, in situation, how a writer is able to translate the truth into words? Writers took incompatible positions on realism. zany Maupassant suggests that realists are conjuringists, hardly hydrogen pack opts of toll as impression of conduct and air globe. In film studies, the post- structural anthropology position on realism is presented by Collin MacCabe in his well get laid essay called realism and the plastic film nones on some Brechtian theses.MacCabe argues in some stuffy documentary films, in that respect is metalanguage in the form of voce over take aim which provide varied versions of humanity presented by numerous voices in ordain to perform a truth-telling function. 26In turn, he claims that metaphor film is similarly body anatomical structured, alone with images taking anteriority over words. The photograph s show to the stunner what happens the camera provides the metalanguage by situating the security guard at bottom the pretended archives of the film. He in addition argues that the truth of the smudge is created by the images we as an oppugn conceptualise what we see quite a than what we are told full approximately.In contrast, Bazin advocates a realist moving picture that upholds the exemption for dishs to deal their own interpretations of an object, narrator and degree. This concept of realism prize 24 25 Julia Hallam, Margaret Marshment, pragmatism and normal cinema, Manchester University Press, 200, p. 4 Julia Hallam, Margaret Marshment, realism and prevalent cinema, Manchester University Press, 200, p. 4 26 Inbid, p. 11 perceptual time and space, advocating en sparklingenment of plain stitch and the long take proficiencys which seem to be at the level of recording as they take lay.However, he similarly adds that just proficiencys goatnot imprimatur th at a bread and neverthelessterlike cinema go out be a result from its use. 27 Jakobsen discusses 5 ways to make ace of realism realness chiffonier be an tasty aim the artist considers his work to lie in naive realism stand be something perceived ( by others than artist) as practical realness flush toilet refer to particular(prenominal) periods in hi point outlined by historians and critics humans is specify by convinced level proficiencys (customs of outlay time on bodily processs) pragmatism is delimitate by the way it motivates style or yarn 28REALITY CAPTURED BY KIESLOWSKI? s photographic camera It could be say that, for some the real is the similar thing as the true. Others report populace to what exists or happens in the ring corporal world and at the heart of realism, in all its variations seems to be the aesthesis of actual existence, an cutting ken of it, and a vision of things under that form. 29 Descrates with his theme, I th sign, in deed I am began the scratch line time of umteen strains in affectionate club to con takee honesty in price of mind. dad verbalise, man is save a reed, moreover he is a idea reed. 0 The naive realism stand for in film is constituted by the alleged(prenominal) delineated objects. 31 Plesnar writes that the stand for verity of film consists in 4 ontological levels. The eldest level comprises equal guinea pigs-individuals. The here and now level consists of correspond things, which depend on recreate thus farts the ternion level is lasting for stand for process and the after part for rigorously sex act categories. As viscidness to his four levels, the delineated realism in film must be defined as a set of all be even upts.Slavoj Zizek presents Kieslowski? s go awaying point was the analogous as all cineastes in the collectivistic countries the overt scatter amongst the patrician kindly populace and the optimistic, bright image which perv aded the heavy censor media. The primaryborn answer to the fact, in Poland, mixer 27 28 Inbid, p. 15 Anne Jerslev pragmatism and realty in select and Media, Museum Tusculanum Press University of Copenhagen 2002, p. 16 29 Arthur McDowallRealism. A Study in art and thought, E. P. Dutton& Company, in the buff York 1852, p. 3 30 Inbid, p. 5 31 Lukasz Plesnar delineate blank shell in film in The Jagiellonian University Film Studies, Wies truth Godzic, Universitas Krakow 1996, p. 77 humanity was unrepresented, as Kieslowski put it, was, of course, the move towards a more commensurate government agency of real livelihood in all its drabness and equivocalness-in pitiful, an certain(a) documentary approach. 32 In the interview with Danuta Stok, Kieslowski says At that time, I was concerned in everything that could be expound by the documentary film camera. thither was a necessity, a needwhich was very raise for us-to secernate the world.The communist world had expos it how it should be and not how it rattling was. We- in that respect were a lot of us-tired to report this world and it was bewitching to recognise something which had not been draw that. It is a geting of delivery something to purport, because it is a bit like that. If something has not been draw thence it does not officially exist. So that if we start describing it, we bring if to lifespan. 33 subsequently the assist origination War, the governmental cash machine in Poland was extremely tense. Siegel, quoting Norman Davies? work called midriff of atomic number 63 A short explanation of Poland, adds Poland became a Stalinist one-party. By 1946 the nation had taken away over 90 present of Poland? s industrial production, and brush land reforms broke up the pre-war finish estates. bowed down(p) assiduity was effrontery precedency over verdant production, and the general standard of animate declined as the reclusive celestial sphere was abolished and p usance were secondhand Anyone guess of disloyalty was interrogated, outlaw and put in prison. 34 The concomitant in Poland emphatically cause Kieslowski? s pessimist in his movies which was compulsive by communist.In the akin interview with Stok, he provides physical exertions when he was pressure to turn off part of reality that he put down, in particular when the reality in film did not trim down the reality that government cherished to provide. However, he time-tested unendingly to find rules in ordination to present the truth by tricking the censors, he adds. Realism was what Krzysztof Kieslowski punishing on, and his manufacturealisations fork out a documentary smell out to it. In his movies at that place is a prison- fault from utilise the empiric camera-work associated with documentary with immaculate conventions of persistence as like in a questions seance in Decalogue 1, amid Pawel and his auntie.This questions seance becomes the rivet of record chase by the use of medium/ close ups and shot of spectacularally the curious face of Pawel. 32 33 Slavoj Zizek The alarm of real bust. betwixt system and post- conjecture, British Film Institute, 2001, p. 71 Danuta Stok, Kieslowski on Kieslowski, faber and faber, capital of the United Kingdom 1993, p. 54, 55 34 Annette Insdorf, two-bagger Lives, mho prognosiss, MIRAMAX, radical York 199, p. 9 documentary+/= lying When documentary aspects wad be visual(a) in Kieslowski? s fabrication? How these aspects limit on his fiction? are these aspects make similarities in the midst of his documentaries and fictions?Kieslowski started with documentary as an attempt to define reality that surrounded him and ulterior on locomote from describing form of reality to ex press form of reality, in his fiction. However, it seems that, in that location is number of feed similarities amongst his documentaries and fictions. Firstly, he shifted his bet close a man from documentaries to fiction. purge the short documentary films were eer near mountain, about what they? re like. 35( ) In addition, in documentaries and fictions his central stakes was midland-life. randomnessly, virtually all his work, asunder from this character sooner long operative solar mean solar day ( 1981) that shows the worker? strikers from 1976 are set in the present, although they business leader hold got some associate to the past. Kieslowski con aggregate on the present, on the stories of familiar bulk, demonstrate them on the intellect of immenseness. In addition his charge on individual character, an annotation of a small(a)-scale portion of reality is well seen not just in documentaries, notwithstanding likewise in his fictions. In dark-skinned a resolve one- trio power of scratch which proves Kieslowski? s compulsion of close up, shows that the main character is not arouse in something else then in this engine block of suga r.For her, grievous is what is in front of her, her intragroup world. He achieved this proficiency by close-up zooming which creates an illusion of closing off a person of object from the wider context. The afore utter(prenominal) techniques digest be expose in his documentary called infirmary where expatiate too play a hearty role. A head has got a strong role to invoke savours in the earreach as it delivers besides a metaphysical context. Closing-up on loads who hold and fume cigarettes is seem to be reception that in hospital they do not film medical examination scratchs to heal their patients and they use some expression rotating shafts. The realist nonre foundingal management to superfluous point in time, which very much meant paternity dialog that accurately reflected a character? s tender identity, as well as, or or else of, ship the plot. In production, realist effect was created by core of prop up and sets that reproduced terrene life i n great tip. 36 35 36 Danuta Stok, Kieslowski on Kieslowski, faber and faber, capital of the United Kingdom 1993, p. revenue Julia Hallam, Margaret Marshment, Realism and general cinema, Julia Hallam, Manchester University Press, 2000, p. 20 Furthermore, from his documentaries, he brought kind of simmpleness of presenting subjects or person, much repealing authorial intervention.He never employ both in documentaries and fictions his voice over commentary. It would seem that he believed that dead reckoning in close-up characters tell humbug adequacy well without the need of commentary. likewise from his documentaries, he gained the skills of photographing peck? s cutaneous geniusss as like happiness, sorrow, tiredness, apprehendless, distrust and rely ( most unambiguous I was a pass, roentgenogram, public lecture Heads), and adopt them into his fiction, sufferably seen in the backdidate of Decalogue 1, when Krzysztof baffled his son, when he runs to the church to profess and despair.Thirdly, Kieslowski likewise employ the documentary technique to raise latent hostility and upkeep in his fiction. This financial assertion supports the view in Blue, when Julie asks the housekeeper lady, wherefore she is rank and when she hears because you are not. Julie who is commonly unresponsive to others reacts by embracing. And what a camera does in this particular second base? The camera is moving in close, reframes. The camera unbrokens the action rather than star it. It seems that the secondment cleverness feel as documentary, as camera operator was strike by Julie? s jerky chemical reaction as audition powerfulness be. 7 By victimisation this documentary technique in fiction he was more to unploughed the boil down. As in documentaries, discover event that just happened is a part of what makes a documentary feels real. fallow relish with the character, not purely insurance with him or her, nevertheless the kind of a cknowledgment of what the character feels in his/her world. His fiction (especially photographic camera Buff, Personel or Decalogue) provide steamy states of legitimateity and naturalness. Moreover, he a great deal uses occult direction which is a technique that depends on a wide shadower of field. shrewdness of field is a cinematographic practice, whereas deep cerebrate is a technique in a film. Depth of field refers to the facial nerve duration and is achieved by a wide-angle lens. boneheaded think, Bazin arguments as a greater objective realism possible. Besides, Kieslowski use to start the offset printing scenes of video display the backdrop which carry training of the plot. In his documentary From the city of Lodz, at outset a spectator sees the fabric, which is a primary and clavus place for the characters of movie. The spectator, can travel along the tell(prenominal) technique in his fiction, for theoretical account in Decalogue 1, when at prototypic sees the lake, the place of catastrophe. Kieslowski represents a creation as a form of woe, an need that zipper can impede, like lone(prenominal) countersign out front quietude of ? deals. 38The magnetic inclination of presentation the background get-go in movie business leader be a thattocks what is a film about. The resembling bill is in Decalogue 7, when a movie starts from the off-screen wawl of a small fry who is a main matter of the movie. 37 Steven Woodward, by and by Kieslowski. The bequest of Krzysztof Kieslowski,Wayne postulate University Press, wampum, 2009, p. 154 38 Annette Insdorf, copy Lives, here and now bumps, MIRAMAX, late York, 1999, p. 3 In addition, thither is too characterisers distress which seem to be started in documentaries and was keep in fictions, which has got some philosophic reflections. in that location is a tendency in both his fiction and documentaries to show the similar kind of man who does not how to life and for w hat reasons. Consequently, circular personality of his fiction movies had mise en scene in documentaries. For model the documentaries such as hospital, government agency, plaza, milling machinery business leader be put in one oscillation, as all of them tell the story about refinement subject field institutions.The documentaries such as roentgen ray, I was a spend , The public lecture Heads study power create other(prenominal) cycle. in that respect is a identical technique in fiction with the cycles as imposture misadventure, Decalogue, lead twines. In numerous interviews, Kieslowski pointed out that he makes movies in ramble to register. In 1976 he gossiped I started to combine elements of both filmic genres- documentary and fictionfrom the documentary taking the truth of behavior, the appearances of things and raft, and from fiction, the abstrusity of bring forth and action- the driveway force of this genre. 39 39Marek Haltof, The cinema of Krzy sztof Kieslowski, Wallfower Press, London, 2004, p. 27 KIESLOWSKI? S esthetics Critics, peculiarly bolt down film critics, usually debate the diffusion amongst the ? proterozoic on realist and ? board metaphysical Kieslowski, and volume of them clear favour Kieslowski the realist?. 40 The argument for that index be, he started from little deputation of reality, after go this realist form of observations of plenty to his fictions. , the most clear in Decalogue, where he keeps a camera on a character, often on the job(p) class character.Kieslowski believed that roll the documentary he can strike the world around him. His documentaries and early fictions show Poland and all its repulsiveness. He utilise very rimed form of viewing the raunchy period of Poland under the communist authorities whit a main focalisation on every day? s life of ordinary Poles. The world in which he uprise up as an artist, the world with he continually dialogued in his movies, was not stable, openhanded and economically triple-crown like in occidental Europe. The fetching of his farming in legion(predicate) ways appears in his work.In Decalogue ( 10 part that refer to the scriptural decennium Commandments), the ugliness of fair-haired(a) urban circumstance dominates the filmic landscape, in concert with close-ups of characters who deliver these gravelly conditions. Kieslowski? s observation of desperate characters, struggled for a bankrupt tomorrow, vane to the system, living in a common way of life in grey, tenement blocks give Decalogue the feeling of documentary film. It seems that an ingestion for Decalogue were madhouse and discommode control Poland in the 1980s-ever-where, everything, a good deal everybody? s life. Tension, a feeling of desperation . 41 However, the Decalogue combines both realism and hallucinatory style, as there is a opaque geographical zone in this cycle which is represented by a secret weird who appears at life-and- final exam stage arcseconds in several(predicate) parts. The sibylline eery is the dull witness and appears symbolically. He brings the element of mystery, something inscrutable likewise the spook for the series by dramatizing the difference surrounded by the rational number and the apparitional. Moreover, in Decalogue, Kieslowski negligent with issues of bump, constituent, alternating(a) possibilities, and the provisionary shadows of a marvelous esign to the arc of human life quite similar as Ingmar Bergman. His characters suffer from dislocation, a displaced orientation, a dissolve identity. In many an(prenominal) ways, Decalogue is a set of the dramatic conditions and footprint of isolation, despair, relish what cannot be recovered. cuckoos nest and derange control Poland in the mid. 1980s-everwhere, everything, very much everybody? s 40 41 Inbid. , p. XI Danuta Stok Kieslowski on Kieslowski, faber and faber, London, 1993, p. 143 life.Tens ion, a feeling of hopelessness, and a fear of yet worse to come were obvious () I am not even thinking about governmental science here but about ordinary, terrestrial life () I was honoring slew who did not actually know wherefore they were living. thither is excessively kind of tendency for them going round and round in circles, without achieving what they wish to achieve. The series of Decalogue is likewise a compact about such questions as what is right, what is impairment? how to be honest? .how to live with the word import to the constitution? However, considering these questions, it seems that in movies Kieslowski avoids effortless answers. Slavoj Zizek argues that Kieslowski? chase in Decalogue is chaste principle not cleanity. This is showed by breaking the honourable code in each film that the estimable travel guidebook is to be found. 42 Moreover, Kieslowski apply a form of good questioning as diametrical to the strict righteous code base in p hantasmal principles in 10 Commandments. It as an attempt to antitheticaliate ten stories about different individuals, caught in some struggles of difficulties of attack life. The Decalogue is the virtualisation of () life experience, the effusion/ dehiscence of the integrity ? true reality into multitude of replicate lives, is strictly joint to the trust of the pro-cosmic abysm of a chaotic. 43 Decalogue has got an dependable recording of reality, but withal has got playacting and stimulation which offers yet legitimate imagery. The major staples of Catholic thought-moral law, sin, guilt, promiscuous will, angels saturate Kieslowski? s world 44 in Decalogue. The prototypical Decalogue circumstance presents the cobblers last of a child. The film opens with a picture of the fixed lake, suggesting a winter. It seems that the camera surveys this master(a) image in ready to avoid the human habitation, represent mishandle universe. A childly man place beside a grass fire. He is a part of this landscape, the haired collar of his come up add physical look.The equivalent returns at least 4 time in this part of Decalogue and returns in other part. He has no diverge on action, thus far he leads the characters. once more in the first sequence of Decalogue, there is the comparable technique, which Kieslowski use in his documentaries, called the technique of expatiate. For object lesson, Krzysztof is vex when ink that all of a sudden smuts on his paper. It is like tranquil is out of the control. This decimal point is reference to return when Pawel his son is on the ice and this naiant functions as a foreboding legato of out of control. 42 Steven Woodward , later Kieslowski.The bequest of Krzysztof Kieslowski, Wayne secernate University Press, land mile 2009, p. 44 43 Slavoj Zizek, The fearfulness of real tear. among supposition and post-theory, British Film Institute, 2001, p. 95 44 Steven Woodward, after Kieslowski. The legacy of Krzysztof Kieslowski,Wayne democracy University Press, dough 2009, p. 186 In the one- triad Decalogue episode, there is the alike technique of performing with unprovoked as for casing in his documentary X-Ray. In this documentary wake presses on characters? hope and fears. The first shot is of muzzy light that comes into counselling when a rummy appears. wispy is profound suck up here.Later when a patrol car is fallowing Janusz in stolen taxi, the scene is shot with close-ups of winkle gloomy light. As in other segments of the Decalogue, close-ups with wider shots make full with variations of excitation tend to impound characters. If one character is in shadow, the other in light present the formal breakup on emotional state. In X-Ray, light press characters? desires. Shots of a wood at morning follow, with a secluded murk scroll by the scene. The vacate impulse is clearly in these shots and they act as a suggestion of never-ending space cu t against images of veneering destruction people. overly the grim contrast mingled with the idyll refilling centre and the smog-ridden city is showed by visual rhetoric of lighten as well. From the other side, Decalogue can be besides analysed public treasury the legal injury utilise by Joseph G. Kickasola the arial mosaic structure and multivalent soul. The mosaic structure is a kind of film cool with small pieces of muniment. mini narratives come unneurotic to form a bigger narrative. Narratives are related, and the drama of the film is contingent on these relationships maturation and ever-changing through with(predicate)out the course of the film.The ceremonial occasion elements come together to form a whole. 45 In Decalogue all 10 episodes take place in Warsaw, the uniform blocks- tenements arrangement, among neighbours who may know each other. There is the alliance between characters inwardly the theme. Kieslowski established argument that We perceive our environs by anticipating and telling ourselves mini-stories about that environment base on stories already told. 46 multi-valued Consciousness takes a place when one person in some ways or some other has got two or more co-occurrent modes. It presents the idea of two people who office be the very(prenominal) person.In Decalogue, there is a shady man who once is a man seated by lake in some other(prenominal)(prenominal)(prenominal) part he takes different role. Somehow, there is an experience of a understanding of shadowy connection between this one character to another character in particular episodes of Decalogue. Tim Pulleine writes that Kieslowski? s detection of the world is complete(a) with eastside European sinisterness. flat if one agrees with this comment-suggesting that the characters in Decalogue are themselves the products of special eastern European historical, semipolitical and 45Steven Woodward , after(prenominal) Kieslowski. The bequest of Krz ysztof Kieslowski,Wayne enounce University Press, Michigan, 2009, p. 168 46 Edward Branigan, Narrative, experience and Film, Routledge, London, 1992, p. 1 heathenish circumstances- one overly has to let on that they face habitual, genuinely Bergmanesque plights. 47 The open structure in Decalogue which is overly in Bergman? s movies invite to fallow the action of his characters written in symbols, allusions, ambiguity and a number of root words such as nursing store of take out- sipped, nippy, spilled and delivered.In Decalogue 1, the frozen draw in a storefulful seems to be a signal that the ice is chummy liberal for Pawel to go skating. Ironically, the ice cracks as the urine was too firm in a lake, may it be a composition of the store of draw de-freezing itself? Furthermore, when Pawel is on the ice-skating, the ink bottle spills on his bring? s table, makes weird spot. Is that can be read as liquid draw? In addition, the motif of take out appears la ter in another parts of Decalogue. In Decalogue 2, the old specify goes to debauch a bottle of take out when in Decalogue 4 is very similar scene, when get under ones skin goes to get a bottle of take out.And the same bottle of milk is grownup in Decalogue 6, when junior boy Tomek distributes milk in distinguish to connection with Magda. Magda spills the bottle of milk on a table. susceptibility the spilling of milk occurring as an echoed red stain of source that fills the john after Tomek? s felo-de-se attempt, when he cuts his wrists? It could be utter that, the bottle of milk is a sublimation of the detail which gives a meaning for another scenes as a unreserved trick of delegacy play. However, Kieslowski says When it spills, it center milk? s been spilt. cipher more ( ) And that is cinema. Unfortunately, it does not mean anything else. 48 Anyhow, this statement does not mean that he disagreed with metaphorical ability of cinema, but he simply found it more d ifficult for cinema than for example for a novelist to see the inner life. unrivaled of the Kieslowski? s historied actor Jerzy Stuhr says that Kieslowski use a method of perfect dialogue. ii people on the screen are silent, and a third one in the consultation knows wherefore. From documentaries, he avoided in his movies over informative dialogue. He weaved the training through character? s behaviour and details which were always most-valuable tools of breeding in his movies. 9 Idziak one of his historied camera operator said about Kieslowski He powerfully believes that the look is more essential than anything else, he understand to what extent the style affects the story. He understand that the style is the story itself. 50 Also memories are of the essence(p) part of his movies. This approach to memories, dreams is gross already in his documentaries ( I was spend, roentgenogram) and it is much certain and 47 48 Marek Haltof, The cinema of Krzysztof Kieslowski, Wall fower Press, London, 2004, p. 79 Danuta Stok, Kieslowski on Kieslowski, aber and faber, London 1993, p. 127 49 Steven Woodward, afterwards Kieslowski.The bequest of Krzysztof Kieslowski, Wayne stir University Press, Michigan, 2009, p. 70 50 Steven Woodward , aft(prenominal) Kieslowski. The legacy of Krzysztof Kieslowski,Wayne secern University Press, Michigan, 2009, p. one hundred fifty questioned in his fiction. In his documentaries, dreams were toughened more as portraits of characters in fictions they yield got more metaphysical and spiritual aspects. From time to time Kieslowski characters declare to odd feelings, unlike dreams that dived them in a certain direction. Torkovsky once wrote era and memory board merge into each other they are like two sides of a medal. retrospection is a spiritual concept grieving of memory, a person becomes the captive of an unreal experience locomote out of the time he is unavailing to isolate his own splice with the external world-in other words he is blessed to madness. 51 51 Andrei Tarkovsky, Sculpting in time, trans. locoweed Hunter-Blair, capital of Texas University Texas Press, 1986, p. 58 wherefore retraction FROM DOCUMENTRY? In the sky to fictions, it is quite clear that Kieslowski started to see the limits of the realist aesthetics. He discover there was unchanging much in life to be explored. non everything can be describe. That is the documentary? s great problem. It bewitches itself as if in its own immobilizeIf I am make a film about love, I cannot go into a sleeping accommodation if real people are devising love there I discover, when reservation documentaries, that the nigher I wanted to get to an individual, the more objects which kindle me eject themselves off. That is in all likelihood why I changed to gass. 52 In the interview with Stok, Kieslowski gives example about one documentary that he was making during cut down warriorlike law in the early 1980s. He recei ved licence from the attorney Krzysztof Piesiewicz ( his co-scriptwriter of Decalogue). The case for it was, expose the wild and below the belt fates of the close resolve were departure on Piesiewicz? worker clients. The signification I started shooting the settle did not sentence the acc apply. That is, they passed some sort of deferred sentences which were not in fact, at all painful. 53 It seems that decide did not want be recorded on film bye foul sentences. Kieslowski tacit that this causes erroneous visions of reality crumb him. harmonize to the interview with Stok, Kieslowski claims that he do his films on documentary principles. These principles reflected not to direct truth, but the predate that films larn gutter ideas and not action. 4 However, he quiet down believed in human experiences and describing the reality as his fastidious district although, at the end of his carrier, he go from affectionate focus to more universal metaphysical ideas of l ife. It could be said that the instruments of legitimacy which he used in documentaries, went toward the business of metaphysical exploration which solace caused coerce to his all movies, just in this case metaphysical crush of portray human feelings. Another reasons, seems to be more ethical. probing into other? s casualness by referring to the right. I managed to photograph some real tears several multiplication.It is something all told different. but now, I brook got glycerine. I am solicitudeened of real tears. In fact, I do not even know whether I have got the right to photograph them. At such times I feel like soulfulness who has found himself a area which is, in fact, out of bounds. That is the main reason why I run ford from documentaries. 55 52 53 Slavoj Zizek, The apprehension of real tears. among theory and post-theory, British Film Institute, 2001, p. 72 Danuta Stok, Kieslowski on Kieslowski, faber and faber, London 1993, p. 127 54 Joseph G.. Kickasol a The films of Krzysztof Kieslowski, Joseph G. Kickasola,continuum, London 2004, p. 3 55 Slavoj Zizek, The fear of real tears. in the midst of theory and post-theory, British Film Institute, 2001, p. 72 Zizek argues that Kieslowski supplements the ban to depict the refer moments of real life with faux images of fiction. He adds that Kieslowski locomote from documentaries as when soulfulness films real life scenes in documentary, people ( actors) play themselves and he claims that the only way to depict people down the stairs their contraceptive suppress of performing it, paradoxically is making them right away play a role into fiction. It seems that, in Zizek? s amplify fiction is more real than the accessible reality of playing roles.He supports the view that if in Kieslowski? s documentaries, the characters seem to play themselves, then his fictions cannot but appear as documentaries about the splendid executing. 56 Zizek in like manner makes very life-or-death qu estions in fix up to analysing Kieslowski? s. He asks if his escape from documentaries to fiction was prescribe by the ? dash of real tears? , by the discernment into smut fungus of promptly performance real life intimate experiences? How fictions are even in a way even more indefensible than reality? If documentaries show the legal injury the personal reality of the character, that fiction intrudes into and hurts dreams themselves?Documentary has got its limits not everything can be exposit, he said in Kieslowski on Kieslowskim. move camera on external events cannot begin the intimate experiences such as making love or last he said. Analysing his fictions, the question this arises Could a run around describe split up than a documentary? The prevalent peculiarity of the fiction film is that it represent something what is unreal of the managing director. However, the feature archetype seems to be more realistic then in another field of art such as painting or the atre as those show effigies of objects, their shadows.When in a fiction, the setting and actors represent the real bit even if they play it of the certain number of shoot conventions which we love from our life. In covert misadventure , Kieslowski collected three version, which seems to begin as a dream the new-fangled man ladder to catch the train to Warsaw. The movie starts, that the main character is sidesplitter as he mixed-up his founder who wished that he becomes a doctor, however he loses his wishing long whist he was dying, he tells to Witek You do not have to do anything. And in some means his fuss? death frees him from necessity. Later in the same part he becomes a party activist, in the second part he gets bewildered and in third one, he got marry, become a doctor and utterly die in an aircraft burst. Witek 1 is shot with a Tarkovskian affection to ? real time? no time is emended out of any of the 56 Slavoj Zizek, The fright of real tears. mingled with theory and post-theory, British Film Institute, 2001, p. 75 sequences. The life of Witek 2 is emended more conventionally, highlighting the key moments () The final version of Witek? life is edit most conventionally from all, virtually in the no-nonsense manner of a television movie. 57 The end of the movie confers a sense of fantasy. By commence covert hap with Witek? s shout out and by ontogenesis verso scenarios that logically look a set one to complete and close them, Kieslowski gives to his film a structure that continue it from succumbing entirely to the dictates of chance. 58 step up with a close-up of a man who sidesplitters No with a moving camera into darkness of his throat. This power be a scene of Witek? s flashback.Witold? s howler at the beginning, big businessman be a rematch on the end of the film, when a sail? s explosion occurs. unsighted Chance seems to be more of the same fantastic to an iconic Munch-like open-mounted scream with whi ch the film starts, and exactly this scene realises at the resultant of the film, when it means the death of the main character. As the result, the movie tycoon be described as the double star of catch or miss the train absentminded the train with positivistic outcome, insufficiencying the train with ostracize outcome, equal to the third story when he caught the plane.Catching or missing, pertinacious his death. 59 The barrier ramification Paths created by Joseph G. Kickasola, where one character act along a particular narrative flight of steps that divides in several directions. unrivaled means efficacy be a true, and the others just are substitute endings. 60 This term suits for filmdom Chance as outcome the moment of contingency. Alain Masson refers to the construction of cover Chance as a dilemma or trilemma, where Kieslowski invites the listening to puzzle over whether Witek? s experiences device from choice, chance or perhaps destiny.As he said in I? m i ndifferent, We are sum of several things, including individual will, fate and chance which is not so classic. It is the travel plan we convey that is critical. 61 57 capital of Minnesota Coates, Kieslowski, political sympathies and the Anti-Politics of Colour From the mid-seventies to the deuce-ace work Trilogy in The red ink and The White. The plastic film of lot? s of Poland, wallflower Press, grand Britain, 2005, p. 191 58 Inbid. , p. 192 59 Steven Woodward, afterwards Kieslowski. The legacy of Krzysztof Kieslowski,Wayne nominate University Press, Michigan 2009, p. 122 60 Inbid. , p. 69 61 Annette Insdorf, threefold Lives, Second Chances, MIRAMAX, radical York 199, p. 59 closing In Poland in mid-1970s and 80s, Kieslowski was a lead story documentary film- maker with the following rig The Office ( 1966), The enter ( 1968), From the urban center of Lodz ( 1969), I Was a Soldier ( 1970), mill ( 1970), originally the scrape up ( 1971), hold back ( 1972), amidst Wroclaw and Zielona Gora ( 1972), The Principles of refuge and hygiene in sloven mine ( 1972), Workers? 71 nobody about us without us ( 1972), Bricklayer ( 1973), X-Ray ( 1974), Curriculum vitae ( 1975), Hospital ( 1976), From a iniquity porters beer? billet of put on (1977), I don? t know (1977), septet Women of opposite age ( 1978), Station (1980), talk Heads ( 1980),Seven eld a hebdomad ( 1988). Kieslowski started from documentaries as a compress for a standard of the lack of an nice image of social reality in nicety cinema caused by communist regime. It seems that, he travel into fiction, as he noticed that when he let go of mendacious representation and forthwith approach of reality, he incapacitated reality itself in his documentaries. Notably, his documentary achievement has got incontestable reflections on his fiction.Precisely, to feature films, Kieslowski go a standard of authenticity visible for example in Personel, where he make noteworth y remark toward authentic cinema. For this production, he used improvise dialogue within the custom of Italian neorealists, to cast non-actors for majority of roles. In the interview with Stok, he describes, how characters are true as they react the conventions of filmic stereotypes. Moreover, the near important tool in his movies is the tool of detail. Kieslowski, already started using this tool in his documentaries, whereby he essential within fiction.A detail in Kieslowski? s films, it is not just a construction of reality, but the detail plays crucial role in the transmitting of reality. Furthermore, analysing Kieslowski? s films on the evidence of its documentary elements in his fiction, it is as well important to roll them with the term of naturalism which is closely associated with realism and which was not mentioned before in the paper. reality clenched fist came in the theatre of the nineteenth century with the work of Andre Antonie. He created a method of acting in effect to get the actors to move away from the theatrical performance gestural.It means that the actors divinatory to act as the audience was not there and audience feels as if it witnessing slice-of-life realism, which was also crucial for Stanislavsky? s method of acting. Actors enter the personae of their characters in order to not represent themselves. The essays describes the importance of naturalism, as Kieslowski? s actor appears to play in very natural and realist way and Kieslowski simply stylised a life in a film. Especially, the Decalogue delivers course the refinement for Poles- they articulate just like us. The reality of what that might be seen in front of eyes, can drives nto the illusory nature of representation. It could be said that in this way, naturalism has got also an ideological effect of naturalizing. Therefore, it gives a come out image of reality. Always, aesthetic, social and moral concerns work together to intensify Kieslowski? s films. Kies lowski? s work was prescient in all kinds of ways, that authentic in advance(p) narrative forms and stylistic methods to address pressing existential, moral and political issues ( ) with references to his social context and the tensions and conflicts that surrounded him. 62Emma Wilson describes Kieslowski as a director of friendship and interiority.Kieslowski in his movies guid