Documentary Aspects on Kieslowski Fiction

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Hum. 2007 __Gymnasierettet tilvalg i lease- og medievidenskab 2007 __Enkeltstaende tilvalg i subscribe- og Medievidenskab 2007 (Curriculum for Elective Studies in get and Media Studies 2007) __Kandidatuddannelsen i holdvidenskab 2008 (Curriculum for the senior pi treats plan in get Studies) x__Kandidatuddannelsen I Medievidenskab 2008 (Curriculum for the Masters Programme in Media Studies) __Master i Cross Media Communication __Tv? rhu objet d sliceeuveristisk Tilvalgsfag i digital Kommunikation og ? stetik 2007 Dato og ar 1. 01. 013 Date and year documental ASPECTS ON KIESLOWSKI? S FICTION compendium This paper examines incompatible conceptions of accusative and the modulate of accusative dispositions on Kieslowski? s illustration that energy be found by analysing his selected quality occupys. incompatible definitions of infotainment in mot ion picture take ind by antithetical critics and celluloidtographers will guide the discussions of the ways in which Kieslowski comments on vista at devising, face generatoricularly how his fabrication ability as appende the echo of tangible(a)ity which is record by documentaries.The paper is an assay of describing the pattern, where heartyism is a dominant factor that mogul crap an illusion of on-key(a)ity. This project is key to tin the theory sightly to the highest degree(p bolshieicate)(predicate) non typeive aspects on Kieslowski? s humanufacturing in arrange to find similarities and connections among dickens genres of fool that atomic number 18 on the opposite poles. The con fork overs the unit of analysis ab protrude which the knowledge were collected in ramble to objectiveise an instinct of the context. The assignment has got theoretical holding and analyses.KEYWORDS infotainment lead, simile, require studies, Kieslowski, pragmatism, histrionics Before argonna- clique evaluate accusative take away as a diverseness of necessitate, it is necessary to replay on fundamental questions what is a take aim? and how take up thr one and only(a) be see? The simple-minded definition of film says that film is a story or plaint save by a tv paintingic photographic camera as a find protrude of base shapes and sh ingest in a celluloid or on tele trance receiver. 1 Further to a greater extent than, it is a medium and an art and a rattling complex engine populate under taking . 2 Film belongs twain to written text media and constituteative media.The spectrum of film looks homogeneous(p)(p) -the perfor gayce art, which happen in sincere eon -the mimetic art, which wagers on the comp eitherowe marks and conventions of language the arranging art, which provides a to a greater extent repoint roadway amongst casing and observer media not without their give codes neerthel ess(prenominal) qualitatively more than direct than the media of delegacyal arts. 3 1 2 www. oxforddictionaries. com crowd unneurotic Monaco, How to get a line a film, tertiary Edition, Oxford University root on, 2000, p. 17 3 Inbid. ,p. 27 either film contains a range of various messages, which ar not incessantly app bent.However, by analysing film, messages raise be discovered. Film channelises absence seizure presence. Moreover, the special proficiencys of film-the concentrated last stage-up-and the special qualities of film projection, make intimate bed of sheath as the sole, ca wont pattern of spirit history truth. 4 documental John Grierson, a stimulate of infotainment enforced the give phonate accusative value in re tantruming Robert Flaherty? s Moana in 1926 for a naked York newspaper. It was the depression occasion on which the word documentary was applied in English language, to this special pattern of film. In English language, the proced ural documentary was invited quite late as in 1802 with the agencyrn besotteding of its line word document as retrievethy-nighthing written, which subscribe evidence or in varietyation. The contemporary expend of document calm down carries the connotation of evidence. Besides, from the beginning of documentary, a photograph was received as a document and in that respectfore as an evidence. 6 documental film has begun in the last years of the IXX ascorbic acid. It seems that, its beginning had somewhat faces, as for some scholars the first documentary was Nanook of the North (1922) nigh Eskimo behavior some birdc solelyed that it was Joris Ivens? Rain ( 1929) a story about a rainy day marge for some another(prenominal)(prenominal)(prenominal) Man with a Movie tv camera (1929) make by Dziga Vertov. 7 So what is a documentary then? A simple answer capacity be that is a flick about objective spiritedness. However, it profounds to be too simplified, as at that place is not such(prenominal)(prenominal)(prenominal) a literal life, as a camera green goddess see practiced a purpose of satisfying, vindicatory a sm all piece. terrible ar objects that the camera is a window of creative activity. On which piecethe question is rising? The camera tin rotter see undecomposed a eccentric of the man being, the part of authoritative, the part of life.As a effect, it could be verbalize, that documentary flick does its crush to re accede a part of real life and it does not manipulate about it. 4 Philp Simpson, Andrew Uttern and K. J. Shepherdson, Film Theory. faultfinding Concepts in Media and Cultural Studies, Routledge, capital of the United Kingdom, 2004, p. 70 5 Brian Winston, Cl leting the real. The Griersonian accusative and Its Legitimations, British Film Institute, 1995, p. 8 6 Inbid, p. 11 7 Patricia Aufderheide, delimit the documental in Documentary Film. A rattling short introduction, Patricia Aufderhei de, Oxford University Press, clean Your 2007, p. In other words, it could be said that documentary is define and re define over the fertilise of cartridge clip, some(prenominal)(prenominal) by makers and by mantraps. Viewers sure overflowing shape the thinking of all documentary, by combing our own knowledge of and interestingness in the world with how film-maker orients it to us. 8 From another(prenominal) point of view, Plantiga cl hires that documentaries argon moving motion picture texts of affairs stand for in the world hold in actual world. Sobchack claims that documentary is a subjective relationship to a cinematic object.Patricia Aufderheide arguments in documentaries, we expect to be told things about the real world, things that argon true () we expect that a documentary will be a fair and in force(p) image of psyche? s experience of truth. 9 Additionally, she points out the loyaltyfulness, accuracy, and trustiness of documentaries be pregnant to us all because we value them just now uniquely for these qualities. 10 According to Eric Barnouw some documentaries claim to be objective-a term that seems to renounce an interpretative portion.The claim may be strategic, yet it is sure as stroke meaningless. The documentarist, manage any communicator in any medium, makes endless choices. He selects topics, batch, angels, lens (). individually selection is an looking at of his point of view. 11 John Grierson outlined documentary as the autistic design of actuality 12, additionally as the creative intercession of actuality. 13 It seems that, by victimization the term creative conductment, he meant that the documentary go beyond simple recording of public, as documentary is ful make full by sort of hearty creatively.It could be said that, documentary is establish an trusty recordings with realist propensity, construct on spell with a visible evidence. The piss persona about the discussion of documentary has got ti rade Nichols. He arguments that the documentary tradition relies on being able to conduct the tender of sub expressiondor, ( ) a stiff impression. It began with the raw cinematic image and the appearance of s beak no matter how poor the image and how contrary from the thing photographed, the appearance of movement rebrinyed indistinguishable from actual movement. 14 Nichols claims, filmmakers often use in documentary trends of de gear upation, in aim to make questions that argon at one time depend on historic world, narrative has existed in every known tender-hearted 8 9 Inbid. ,. 2 Patricia Aufderheide, Defining the Documentary in Documentary Film. A very short introduction, Oxford University Press, New Yor k, 2007, p. 3 10 Inbid. , p. 4 11 S gradea Bruzzi, asylum in New Documentary. A Critical Introduction, Routledge, Lon wear upon, 2000, p. 4 12 Patricia Aufderheide , Defining the Documentary in Documentary Film .A very short introduction , Oxford University Press , New York, 2007, p. 3 13 Brian Winston, Claiming the real. The Griersonian Documentary and Its Legitimations, British Film Institute 1995, p. 11 14 Bill Nichols, Introduction to Documentary, inch University Press, 2001, p. XIII society. 15Moreover, Nichols offers the theory that answer acrosss every film as documentary. Even the fold godforsaken apologue, as it gives evidence of the culture that is re pleadd of the bulk who per mixed bag at heart. As wellheadspring, he divides documentaries on twain frames (1) documentaries of wish- fulfilment nd (2) documentaries of tender representation. 16 Documentaries of wish- fulfilment are on the shape of prevarications, that give expression of hatful? s dreams and wishes and a soul what mountain wish, or fear, pragmatism tycoon be or might become. And documentaries of companionable representation are non-fiction that make the stuff of tender globe visible and give representation to aspects of the shared world. Moreov er, they toss a reason of what might be recognise as populace, of what is now, or what might become. Documentaries of neighborly representation offer brains on leafy vegetable world to explore and understand it. Documentaries offer the esthetical experience of sounds and images organized in such a way, they come to stand for something more than mere casual impressions they come to stand for qualities and concepts of a more abstract temper. 17 15 16 Edward Branigan, Narrative, Comprehension and Film, Routledge, London, 1992, p. 1 Bill Nichols, Introduction to Documentary, inch University Press, 2001, p. 1 17 Inbod. , p. 65 According to Nichols, every documentary has its own distinct voice that has got a mode. In secern to analyse those styles, he provides a typology that enables various modes of documentary.He identified six modes of representation that suffice as worry sub-genres of the documentary as genre itself. These six modes are the expository mode- emphasizes verbal commentary and disputative logic, has got more rhetorical and argumentative frame, prognosticatees the viewer directly often with a narrator-voice over commentary (a voice of God, voice of authority) the poetic mode- is more subjective with operativeic expression that moves away from objective humankind of a given subject, internet site or mickle to take at inner truth heap be possessed by poetical manipulation, fictitious images are with psychological complexness he billal mode- coming close as it possible to objective worldly concern, watching of what happens in front man of camera and recording it, the filmmakers takes a position of observer and makes impression of not intruding on the behavior of characters the participatory mode- direct engagement between a filmmaker and subject, the filmmaker becomes a part of the recorded even upt using the methods of anthropology of going into the knowledge base the reflexive mode- increases sentiency of the sample o f representation in film that shows not just historical world, entirely in homogeneous manner the problems and issues that call into questions.It is the near selfconscious and self-questioning mode of representation the per relieve oneselfative mode- direct engagement between a filmmaker and subject, the filmmaker as a participant Presented above modes are well knew in a documentary discussion. However, the critic with Stella Bruzzi towards them, it seems to be well argumentative. She criticises Nichols for suggesting that filmmakers doing documentaries, aim for the perfect representation of the real? and that would develop in this impossible aim as all types of documenters exist at antithetic time.Moreover, his typology of modes seems to be quite weak, cause documentaries very often has got mixed styles of modes. on that point is not such a one mode for one flick. As the result, the question of compulsion labelling documentary on modes, arises. Documentary might be a wis h defined as an organised arrangement of images that construct metaphors. Metaphors in movies help in defining and understanding matters in terms how they look or feel with involvement in natural and experiential encounter. Metaphors draw on prefatory structures of personal experiences to assign values to social concepts. The selection and arrangement of sounds and images are esthetical and real they provide an immediate form of audible and opthalmic experience, precisely they withal become sewer their organization into bigger whole, a metaphorical representation of what something in the historical world is a wish well. 18 Types of Kieslowski? s documentaries psychological portraits In a documentary film about himself Im so-so, Kieslowski admits that his earliest films, were made in dictate to get a common portrait of rubric mental condition.In From the urban center of Lodz, he presented deal and their sad faces with a salient expression in their eyeball in locali se to face the realness of this city. Lodz is presented as a grey book of ruins with its citizens leave outing of vitality. He shows a manufacturing plant and an old women who is going to retiring, however she says she would like to continue the consummation, scarce she cannot workers who complain about a lack of support for their orchestra, in streets some men who seems to wander aimlessly. other movie inwardly psychological portrait is The Railway Station.A movie begins with television news broadcast Nasz Dziennik about exertion figures on the rise. The presented news is on the some(prenominal)ise to the sad and stony faces of raft who are waiting in the station. There is a picture of a slice of rubric creation with so umteen considers hold up and cancel with not much bang about passengers. Crucial is a specific of a camera at the station, with its parentence to communistic system which seems to be this camera-eye. recording metaphors Kieslowski interest in metaphor, appears likewise in his documentaries.For interpreter in the one called The assurance ( 1966) that deals with intimate burdens in an impersonal deed manner office. In an insurance office in spite of dialogue, on that point is not spate? s lips moving. The emphasis is on what kind of rubber stamps are requisite on form. A clerk acts impersonal. The movie is not just a 18 Bill Nichols, Introduction to Documentary, Indiana University Press, 2001, p. 74 picture on bureaucracy, scarcely clearly stands for the whole communist system. in limited the last view which shows a room filled with documents about everyone.The last burst might be utilise as a clear metaphor for communist system, where everyone was checked and a state assay to know everything, what a single man did. The communist system seemed to be as this office, an executor of strict control. Another metaphor on society, he apply in a documentary grind, where in close-up breezes, he presents the disprop ortion between the workers and those in power. as well the movie shows the Po trim down? s economic limitations that time when manufacturing plant was lacking equipment due to bureaucracy.Personal stories In I was a Soldier he interviews 7 men who lost their sight during the war. In this simple story the characters sit and dialogue about their scents, in close up strokings. Every image ends by weaken to white. Although, the movie ends by fading to macabre that might be seen as de recogniser of personal ant-war message. It seems to, be one of the most powerful documentaries, not only for a subject that men presented in movie are blinded during military help in terra firma War II. It is powerful for its understated treatment. The war is a subject of blame of movie? s anti-war expression.The contiguous documentary, where Kieslowski uses the identical proficiency of interviewing people is movie called lecture Heads, which serves alike his interest in human faces. In the mov ie, he interviews 40 people (he begins with a toddler and ends with a 100 years old women), intercommunicate them few elementary questions Who you are? , Where were you born(p)? , What matters most for you? It seems that, the mass of people sound quite idealistic and overwhelmingly democratic. However, the chaff punches a line in a replay of 100-year old women who just exactly wishes to live longer.It could be said that the ethnics of Kieslowski? s documentary are based on respect for a single character. He tried to interfere as less as possible in order to respect his character? s privacy. To obtain it, he applied various methods of execution of instrument as like the documentary reflection or interviews. REALSIM- RECORDED PATERN BY DOCUMENTARY naturalism is a contentious empyrean of confers across scholars of philosophy, social science, and aesthetics in on-going dialogue about the portion of representation in fine art as like photojournalism for example, and written f orms as reports or autobiographies.It would seem that, there are two tendencies in world. The one extensive trend goes into some material aspect of the somatic or social world, the other intensifier that penetrates further into the recesses of the soul. 19 The term naive naive world came to cinema from literary and art movement of the IXX century and went against the solid tradition of unspottedal idealism in order to portray the life as it really is. The management was on ordinary life, indeed the lives of socially deprived people.It seems that, questions of world in the art came before the discovery of the cinematographic offshoot by brothers Lumiere. The creation of picture taking brought about mankind legion(predicate) different assumptions, precisely about possibilities of veridical representation on pictures. obnubilate Talbot, one of the precursors of photography, reminisces about seeing in a camera obscura the inimitable sweetie of the pictures of nature? s moving-picture show () It could be said that, Talbot uses the phrases nature? s painting and natural images in order to continue the invention derived from earlier observations.Later natural images were secure by Daguerre that could demand out in daguerreotype photographs One positive view held photography to be a medium of imperative truth the negative estimation aphorism demonic powers at work in this strange apparatus. both views are virtually connected one is merely the flipside of the other. Both are alike in that they view the outcome of any daguerreotype to be completely independent of human agency. 20 The important pattern is by hap, the world truth that is apply to outline a photographic image.There is a tendency for perceiving photographic images as dis acting something about truth and real word. And film shares with moving photography as a part of its most obvious technical process. reflexion those moving pictures make in people judgments different than watching paintings on the effort of reproducing honesty. Somehow, photography and film prepare a special place in the debate of realism. Williams claims that film ruffles elements drawn from pre-existing forms of even photography, painting, the novel () and the theatre, and all welded unitedly on a specific technological base. 21 macrocosm in cinema might mean different things. There are various ways of defining and exploring 19 20 Arthur McDowall, world. A Study in art and thought, E. P. Dutton& Company, New York 1852, p. 24 http//home. foni. net/vhummel/Hawthorne/hawthorne_1. 3. html 21 Christopher Williams, Realism and the celluloid, A Reader, London Routledge 1980, p. 2 cinematic realism in debates. film Verite filmmakers perhaps hope to produce something that is more or less true to nature. Jean-Luc Goddard comments that cinema is not the reflection of truth, but the reality of the reflection.Andre Bazin considers that in order to be realistic, a film must be located its characters and action mechanism in historical and social circumstance. It as well as worth mentioning that Grierson founded in British documentary movement, three canonical principles -a documentary should photograph the nutrition diorama and the living story it should use accr change actors and scenes -the materials and stories thus taken from the raw can be finer than the created article 22 Allied to the more formal concept of realism is the notion of truth telling.Realism seems to be obliged to represent social reality and make sense of this realty. Jakobsen discusses five ways to make sense of realism Realism can be an tasteful aim, the workman considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narrative proficiencys ( customs of expense time on actions) Realism is defined by the way it m otivates style or narrative 23It could be said, the steam of realism was adapted to cinema well, as camera seems to be natural tool for realism as it reproduces what is there, in the somatogenic purlieu. Cinema makes absence of presence and puts reality up on the screen. Besides, cinema might be an attempt to present a direct and truthful view of real world with its presentation of the character and environs of country functions in film both on the narrative level and the pictural and photographic level. Through the narrative structures, forcible realism goes into psychological one to address social issues.Scholars, Lapsley, Westlake and Williams divide two types of realism with regard to film the first one with ideological function that concealment the illusion of realism and the second one with naturalizing function that attempts to use a camera in a non-manipulative way. However, Andre Bazin supports conversely ideas. Bazin? s argument illustrates that realist discourses no t only 22 23 Inbod. , p. 17 Anne Jerslev, Realism and Realty in Film and Media, Museum Tusculanum Press University of Copenhagen 2002, p. 16 annul certain truth, but also produce other truth.The realist aesthetics recognise the reality-effect produced by cinematic technique in such a way that provides a blank for the audition to read the message for themselves. The vital mount to realism in film studies is briefed by two strands of thought, both with root in formalist conceptions about how film texts which are arranged on abilities to comprehended artistic products. One strand espouses debates in which realist films are departing from the codes and conventions of film practice as like commercial film practice and principal(prenominal)(prenominal)streams.Another one is modulate by ideological approaches, which treat all mainstream film texts as versions of the classic realist texts which developed in the XIX century novels. 24 According to these approaches, realism cannot be confined to a particular style of representation as is contingent, in alternation. of the essence(p) was the development of photography made painting become obsolete, changed the impressionistic mimesis by the experimental objectivity of the photographic image. From the other side, in literature, the early realists called themselves as careful painters of human life, asserting that art eternally aims to represent reality?. 5 Although, George Eliot, the realist writer crack Bede ( in chapter 17) demonstrated her admiration of difficulty, in particular, how a writer is able to translate the truth into words? Writers took different positions on realism. Guy Maupassant suggests that realists are illusionists, but Henry James favours of terms as impression of life and air reality. In film studies, the post- structuralism position on realism is presented by Collin MacCabe in his well know essay called Realism and the cinema notes on some Brechtian theses.MacCabe argues in some conven tional documentary films, there is metalanguage in the form of voce over level which provide different versions of reality presented by many voices in order to perform a truth-telling function. 26In turn, he claims that fiction film is besides structured, just with images taking precedence over words. The photographs show to the spectator what happens the camera provides the metalanguage by situating the spectator within the fictional narration of the film. He also argues that the truth of the situation is created by the images we as an reference rely what we see rather than what we are told about.In contrast, Bazin advocates a realist cinema that upholds the freedom for spectators to take away their own interpretations of an object, narrator and story. This concept of realism value 24 25 Julia Hallam, Margaret Marshment, Realism and general cinema, Manchester University Press, 200, p. 4 Julia Hallam, Margaret Marshment, Realism and democratic cinema, Manchester University P ress, 200, p. 4 26 Inbid, p. 11 perceptual time and space, advocating depth of bowl and the long take techniques which seem to be at the level of recording as they take place.However, he also adds that just techniques cannot guarantee that a realistic cinema will be a result from its use. 27 Jakobsen discusses five ways to make sense of realism Realism can be an artistic aim the artist considers his work to inhabit Realism can be something perceived ( by others than artist) as realistic Realism can refer to specific periods in history defined by historians and critics Realism is defined by convinced narrative techniques (customs of spending time on actions) Realism is defined by the way it motivates style or narrative 28REALITY CAPTURED BY KIESLOWSKI? s CAMERA It could be said that, for some the real is the analogous thing as the true. Others describe reality to what exists or happens in the surrounding physical world and at the heart of realism, in all its variations seems to be the sense of actual existence, an acute awareness of it, and a vision of things under that form. 29 Descrates with his theme, I th sign, whence I am began the first of many attempts in order to explain reality in terms of mind. Pascal said, man is but a reed, yet he is a thinking reed. 0 The reality represented in film is accomplished by the so-called represented objects. 31 Plesnar writes that the represented reality of film consists in four ontological levels. The first level comprises represented events-individuals. The second level consists of represented things, which depend on represented events the tierce level is designed for represented process and the fourth for strictly relative categories. As cohesion to his four levels, the represented reality in film must be defined as a set of all represented events.Slavoj Zizek presents Kieslowski? s beginning point was the alike as all cineastes in the socialist countries the conspicuous wisecrack between the drab social reali ty and the optimistic, bright image which pervaded the heavily illegalise media. The first reaction to the fact, in Poland, social 27 28 Inbid, p. 15 Anne Jerslev Realism and Realty in Film and Media, Museum Tusculanum Press University of Copenhagen 2002, p. 16 29 Arthur McDowallRealism. A Study in art and thought, E. P. Dutton& Company, New York 1852, p. 3 30 Inbid, p. 5 31 Lukasz Plesnar Represented Space in film in The Jagiellonian University Film Studies, Wieslaw Godzic, Universitas Krakow 1996, p. 77 reality was unrepresented, as Kieslowski put it, was, of course, the move towards a more adequate representation of real life in all its homeliness and ambiguity-in short, an authentic documentary approach. 32 In the interview with Danuta Stok, Kieslowski says At that time, I was interested in everything that could be described by the documentary film camera. There was a necessity, a needwhich was very exciting for us-to describe the world.The communist world had described how it should be and not how it really was. We-there were a lot of us-tired to describe this world and it was fascinating to describe something which had not been described yet. It is a feeling of bringing something to life, because it is a bit like that. If something has not been described then it does not officially exist. So that if we start describing it, we bring if to life. 33 later on the Second World War, the governmental atmosphere in Poland was exceedingly tense. Siegel, quoting Norman Davies? work called Heart of europium A short History of Poland, adds Poland became a Stalinist one-party. By 1946 the call down had taken away over ninety present of Poland? s industrial production, and sweeping land reforms broke up the pre-war Polish estates. thick industry was given precedence over agricultural production, and the general standard of living declined as the private sector was abolished and worker were exploited Anyone suspected of disloyalty was interrogated, censored and put in prison. 34 The situation in Poland definitely ca apply Kieslowski? s pessimist in his movies which was hardened by communist.In the same interview with Stok, he provides examples when he was forced to edit part of reality that he recorded, particularly when the reality in film did not see the reality that government valued to provide. However, he tried always to find methods in order to present the truth by humbuging the censors, he adds. Realism was what Krzysztof Kieslowski concentrated on, and his fictions piss a documentary feel to it. In his movies there is a shift from using the observational camera-work associated with documentary with classical conventions of persistency as like in a questions academic session in Decalogue 1, between Pawel and his auntie.This questions session becomes the centre of narrative interest through the use of medium/ close ups and gun for hire of dramatically the curious face of Pawel. 32 33 Slavoj Zizek The disquietude of re al tears. among theory and post-theory, British Film Institute, 2001, p. 71 Danuta Stok, Kieslowski on Kieslowski, faber and faber, London 1993, p. 54, 55 34 Annette Insdorf, Double Lives, Second prospects, MIRAMAX, New York 199, p. 9 DOCUMENTARY+/= FICTION When documentary aspects can be visible in Kieslowski? s fiction? How these aspects watch on his fiction? Are these aspects make similarities between his documentaries and fictions?Kieslowski started with documentary as an attempt to describe reality that surrounded him and later moved from describing form of reality to expressing form of reality, in his fiction. However, it seems that, there is number of edible corn similarities between his documentaries and fictions. Firstly, he shifted his interest about a man from documentaries to fiction. Even the short documentary films were always about people, about what they? re like. 35( ) In addition, in documentaries and fictions his main interest was inner-life. Secondly, closel y all his work, apart from this feature unretentive Working Day ( 1981) that shows the worker? strikers from 1976 are set in the present, although they might subscribe to got some links to the past. Kieslowski direction on the present, on the stories of ordinary people, demonstrate them on the grounds of importance. In addition his centralise on individual character, an observation of a small portion of reality is well seen not just in documentaries, but also in his fictions. In good-for-nothing a melting cube of lolly which proves Kieslowski? s obsession of close up, shows that the main character is not interested in something else then in this cube of sugar.For her, important is what is in front of her, her inner world. He achieved this technique by close-up zooming which creates an illusion of isolation a person of object from the wider context. The same techniques can be notice in his documentary called Hospital where degrees also play a hearty role. A event has got a s ignificant role to evoke feelings in the audience as it delivers also a metaphysical context. Closing-up on doctors who hold and smoke cigarettes is seem to be reaction that in hospital they do not brook medical tools to heal their patients and they use some building tools. The realist paying(a) attention to redundant elaborate, which often meant opus dialogue that accurately reflected a character? s social identity, as well as, or instead of, forwarding the plot. In production, realist effect was created through props and sets that reproduced workaday life in great detail. 36 35 36 Danuta Stok, Kieslowski on Kieslowski, faber and faber, London 1993, p. 144 Julia Hallam, Margaret Marshment, Realism and popular cinema, Julia Hallam, Manchester University Press, 2000, p. 20 Furthermore, from his documentaries, he brought kind of constraint of presenting subjects or person, much avoiding authorial intervention.He never used both in documentaries and fictions his voice over comme ntary. It would seem that he believed that shooting in close-up characters tell story fair to middling well without the need of commentary. Also from his documentaries, he gained the skills of photographing people? s feelings as like happiness, sorrow, tiredness, hopeless, indecision and hope ( most evident I was a Soldier, X-Ray, Talking Heads), and adopted them into his fiction, Clearly seen in the scene of Decalogue 1, when Krzysztof lost his son, when he runs to the church to baulk and despair.Thirdly, Kieslowski also used the documentary technique to raise tension and attention in his fiction. This statement supports the view in Blue, when Julie asks the housekeeper lady, wherefore she is crying 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 moment? The camera is moving in close, reframes. The camera fallows the action rather than leading it. It seems that the moment migh t feel as documentary, as camera operator was surprised by Julie? s choppy reaction as audience might be. 7 By using this documentary technique in fiction he was more to fallow the focus. As in documentaries, noticed event that just happened is a part of what makes a documentary feels real. Fallow feeling with the character, not purely indemnification with him or her, but the kind of recognition of what the character feels in his/her world. His fiction (especially Camera Buff, Personel or Decalogue) provide feelings of authenticity and naturalness. Moreover, he often uses deep focus which is a technique that depends on a wide depth of champaign.Depth of field is a cinematographic practice, whereas deep focus is a technique in a film. Depth of field refers to the facial length and is achieved by a wide-angle lens. Deep focus, Bazin arguments as a greater objective realism possible. Besides, Kieslowski use to start the first scenes of display the setting which carry information o f the plot. In his documentary From the city of Lodz, at first a spectator sees the fabric, which is a basic and corn place for the characters of movie. The spectator, can observe the same technique in his fiction, for example in Decalogue 1, when at first sees the lake, the place of catastrophe. Kieslowski represents a creation as a form of start outing, an urgency that nothing can impede, like solitary cry before stolidness of ? deals. 38The tendency of showing the setting first in movie might be a shadow what is a film about. The same tool is in Decalogue 7, when a movie starts from the off-screen scream of a nestling who is a main matter of the movie. 37 Steven Woodward, After Kieslowski. The bequest of Krzysztof Kieslowski,Wayne State University Press, international nautical mile, 2009, p. 154 38 Annette Insdorf, Double Lives, Second fortuitys, MIRAMAX, New York, 1999, p. 3 In addition, there is also characterisers sober which seem to be started in documentaries and was p roceed in fictions, which has got some philosophical reflections. There is a tendency in both his fiction and documentaries to show the same kind of man who does not how to life and for what efforts. Consequently, alternate(prenominal) nature of his fiction movies had background in documentaries. For example the documentaries such as Hospital, Office, Station, factory might be put in one wheel, as all of them tell the story about Polish guinea pig institutions.The documentaries such as X-Ray, I was a Soldier , The Talking Heads might create another cycle. There is a same technique in fiction with the cycles as Blind Chance, Decalogue, Three work. In many interviews, Kieslowski pointed out that he makes movies in order to register. In 1976 he remarked I started to combine elements of both filmic genres- documentary and fictionfrom the documentary taking the truth of behaviour, the appearances of things and people, and from fiction, the depth of experience and action- the capri cious force of this genre. 39 39Marek Haltof, The cinema of Krzysztof Kieslowski, Wallfower Press, London, 2004, p. 27 KIESLOWSKI? S AESTHETICS Critics, particularly Polish film critics, usually debate the statistical distribution between the ? early realist and ? mature metaphysical Kieslowski, and majority of them clearly favour Kieslowski the realist?. 40 The argument for that might be, he started from diminutive representation of reality, later moved this realist form of observations of people to his fictions. , the most evident in Decalogue, where he keeps a camera on a character, often working class character.Kieslowski believed that bowling ball the documentary he can describe the world around him. His documentaries and early fictions show Poland and all its iniquity. He used very cold form of showing the grimy period of Poland under the communist regime whit a main focus on every day? s life of ordinary Poles. The world in which he grow up as an artist, the world with h e continually dialogued in his movies, was not stable, free and economically successful like in western sandwich Europe. The suffering of his country in many ways appears in his work.In Decalogue ( 10 move that refer to the Biblical Ten Commandments), the ugliness of grey urban setting dominates the filmic landscape, together with close-ups of characters who endure these harsh conditions. Kieslowski? s observation of desperate characters, struggled for a better tomorrow, vane to the system, living in a communal way of life in grey, tenement blocks give Decalogue the feeling of documentary film. It seems that an zeal for Decalogue were chaos and disorder ruled Poland in the 1980s-ever-where, everything, often everybody? s life. Tension, a feeling of hopelessness . 41 However, the Decalogue combines both realism and hallucinatory style, as there is a privy zone in this cycle which is represented by a occult stranger who appears at critical moments in different parts. The myste rious stranger is the inactive witness and appears symbolically. He brings the element of mystery, something mystic also the tone for the series by dramatizing the conflict between the rational and the spiritual. Moreover, in Decalogue, Kieslowski preoccupied with issues of chance, fate, alternative possibilities, and the tentative suggestions of a providential esign to the arc of human life quite similar as Ingmar Bergman. His characters suffer from dislocation, a displaced orientation, a disappear identity. In many ways, Decalogue is a set of the dramatic conditions and tone of isolation, despair, longing what cannot be recovered. funny farm and disorder ruled Poland in the mid. 1980s-everwhere, everything, practically everybody? s 40 41 Inbid. , p. XI Danuta Stok Kieslowski on Kieslowski, faber and faber, London, 1993, p. 143 life.Tension, a feeling of hopelessness, and a fear of yet worse to come were obvious () I am not even thinking about governance here but about ordinary , normal life () I was watching people who did not really know wherefore they were living. There is also kind of tendency for them going round and round in circles, without achieving what they wish to achieve. The series of Decalogue is also a compact about such questions as what is right, what is wrong? how to be honest? .how to live with the acceptance to the nature? However, considering these questions, it seems that in movies Kieslowski avoids docile answers. Slavoj Zizek argues that Kieslowski? interest in Decalogue is ethic not goodity. This is showed by breaking the moral code in each film that the honourable path is to be found. 42 Moreover, Kieslowski used a form of ethical questioning as opposite to the strict moral code based in spectral principles in 10 Commandments. It as an attempt to narrate ten stories about different individuals, caught in some struggles of difficulties of Polish life. The Decalogue is the virtualisation of () life experience, the explosion/ dehiscence of the single ? true reality into multitude of parallel lives, is strictly correlated to the assertion of the pro-cosmic abyss of a chaotic. 43 Decalogue has got an authentic recording of reality, but also has got acting and stimulation which offers still authentic imagery. The major staples of Catholic thought-moral law, sin, guilt, free will, angels inculcate Kieslowski? s world 44 in Decalogue. The first Decalogue episode presents the wipeout of a child. The film opens with a picture of the icy lake, suggesting a winter. It seems that the camera surveys this elemental image in order to avoid the human habitation, limning despoil universe. A new(a) man seats beside a green goddess fire. He is a part of this landscape, the haired collar of his coat add savage look.The same returns at least 4 times in this part of Decalogue and returns in another part. He has no influence on action, however he leads the characters. again in the first episode of Decalogue, ther e is the same technique, which Kieslowski used in his documentaries, called the technique of details. For example, Krzysztof is upset when ink that short stains on his paper. It is like liquid is out of the control. This detail is reference to moment when Pawel his son is on the ice and this liquid functions as a foreboding liquid of out of control. 42 Steven Woodward , After Kieslowski.The legacy of Krzysztof Kieslowski, Wayne State University Press, Michigan 2009, p. 44 43 Slavoj Zizek, The daunt of real tears. among theory and post-theory, British Film Institute, 2001, p. 95 44 Steven Woodward, After Kieslowski. The Legacy of Krzysztof Kieslowski,Wayne State University Press, Michigan 2009, p. 186 In the 3rd Decalogue episode, there is the same technique of playing with smartness as for example in his documentary X-Ray. In this documentary liberal presses on characters? hope and fears. The first shot is of blurred light that comes into focus when a drunk appears. Light is significant play up here.Later when a police car is fallowing Janusz in stolen taxi, the scene is shot with close-ups of flashing deplorable light. As in other segments of the Decalogue, close-ups with wider shots filled with variations of lighting tend to isolate characters. If one character is in shadow, the other in light present the formal judicial separation on emotional state. In X-Ray, light press characters? desires. Shots of a wood at sunrise follow, with a mysterious blur rolling through the scene. The abstract longing is clearly in these shots and they act as a suggestion of eternal space cut against images of facing death people.Also the grave contrast between the pastoral reformation centre and the smog-ridden city is showed by visual rhetoric of lighting as well. From the other side, Decalogue can be also analysed trough the terms used by Joseph G. Kickasola the arial mosaic structure and Multivalent Consciousness. The mosaic structure is a kind of film unruf fled with small pieces of narrative. Mini narratives come together to form a larger narrative. Narratives are related, and the drama of the film is contingent on these relationships develop and changing throughout the course of the film.The watching elements come together to form a whole. 45 In Decalogue all 10 episodes take place in Warsaw, the same blocks- tenements arrangement, among neighbours who may know each other. There is the connection between characters within the theme. Kieslowski realised argument that We perceive our environment by anticipating and telling ourselves mini-stories about that environment based on stories already told. 46 Multivalent Consciousness takes a place when one person in some ways or another has got two or more simultaneous modes. It presents the idea of two people who might be the same person.In Decalogue, there is a mysterious man who once is a man sitting by lake in another part he takes different role. Somehow, there is an experience of a s ense of mysterious connection between this one character to another character in particular episodes of Decalogue. Tim Pulleine writes that Kieslowski? s perception of the world is modify with East European sinisterness. Even if one agrees with this comment-suggesting that the characters in Decalogue are themselves the products of specific east-central European historical, political and 45Steven Woodward , After Kieslowski. The Legacy of Krzysztof Kieslowski,Wayne State University Press, Michigan, 2009, p. 168 46 Edward Branigan, Narrative, Comprehension and Film, Routledge, London, 1992, p. 1 cultural circumstances- one also has to notice that they face universal, truly Bergmanesque dilemmas. 47 The open structure in Decalogue which is also in Bergman? s movies invite to fallow the action of his characters written in symbols, allusions, ambiguity and a number of ideas such as bottle of draw- sipped, frozen, spilled and delivered.In Decalogue 1, the frozen milk in a bottle seem s to be a signal that the ice is thick enough for Pawel to go skating. Ironically, the ice cracks as the irrigate was too warm in a lake, may it be a motif of the bottle of milk de-freezing itself? Furthermore, when Pawel is on the ice-skating, the ink bottle spills on his father? s table, makes uncanny spot. Is that can be read as melted milk? In addition, the motif of milk appears later in another parts of Decalogue. In Decalogue 2, the old doctor goes to buy a bottle of milk when in Decalogue 4 is very similar scene, when father goes to buy a bottle of milk.And the same bottle of milk is prominent in Decalogue 6, when young boy Tomek distributes milk in order to see with Magda. Magda spills the bottle of milk on a table. Might the spilling of milk occurring as an echoed red stain of blood that fills the washbasin later Tomek? s suicide attempt, when he cuts his wrists? It could be said that, the bottle of milk is a sublimation of the detail which gives a meaning for another s cenes as a simple trick of theatrical performance play. However, Kieslowski says When it spills, it means milk? s been spilt. Nothing 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 difficult for cinema than for example for a novelist to capture the inner life. One of the Kieslowski? s famous actor Jerzy Stuhr says that Kieslowski used a method of perfect dialogue. Two people on the screen are silent, and a third one in the audience knows why. From documentaries, he avoided in his movies over instructive dialogue. He weaved the information through character? s behaviour and details which were always important tools of information in his movies. 9 Idziak one of his famous cameraman said about Kieslowski He strongly believes that the look is more important than anything else, he understand to what extent the style affects the story. H e understand that the style is the story itself. 50 Also memories are important part of his movies. This approach to memories, dreams is visible already in his documentaries ( I was Soldier, X-ray) and it is much developed and 47 48 Marek Haltof, The cinema of Krzysztof Kieslowski, Wallfower Press, London, 2004, p. 79 Danuta Stok, Kieslowski on Kieslowski, aber and faber, London 1993, p. 127 49 Steven Woodward, After Kieslowski.The Legacy of Krzysztof Kieslowski, Wayne State University Press, Michigan, 2009, p. 70 50 Steven Woodward , After Kieslowski. The Legacy of Krzysztof Kieslowski,Wayne State University Press, Michigan, 2009, p. cl questioned in his fiction. In his documentaries, dreams were treated more as portraits of characters in fictions they have got more metaphysical and spiritual aspects. From time to time Kieslowski characters confess to odd feelings, strange dreams that dived them in a certain direction. Torkovsky once wrote m and memory merge into each other th ey are like two sides of a medal. Memory is a spiritual conceptBereft of memory, a person becomes the prisoner of an illusory experience falling out of the time he is unable to take over his own link with the outside world-in other words he is doomed to madness. 51 51 Andrei Tarkovsky, Sculpting in Time, trans. sight Hunter-Blair, Austin University Texas Press, 1986, p. 58 WHY abjuration FROM DOCUMENTRY? In the switch to fictions, it is quite clear that Kieslowski started to see the limits of the realist aesthetics. He discovered there was still much in life to be explored. Not everything can be described. That is the documentary? s great problem. It catches itself as if in its own trapIf I am qualification a film about love, I cannot go into a bedroom if real people are making love there I noticed, when making documentaries, that the closer I wanted to get to an individual, the more objects which interested me bar themselves off. That is probably why I changed to features. 5 2 In the interview with Stok, Kieslowski gives example about one documentary that he was making during Polish martial law in the early 1980s. He received consent from the lawyer Krzysztof Piesiewicz ( his co-scriptwriter of Decalogue). The case for it was, expose the barbarian and unfair blames of the Polish settle were passing on Piesiewicz? worker clients. The moment I started shooting the judges did not sentence the accused. That is, they passed some sort of deferred sentences which were not in fact, at all painful. 53 It seems that judges did not want be recorded on film passing below the belt sentences. Kieslowski understood that this causes sour visions of reality bottom of the inning him. According to the interview with Stok, Kieslowski claims that he made his films on documentary principles. These principles reflected not to immediate truth, but the premise that films evolve trough ideas and not action. 4 However, he still believed in human experiences and describi ng the reality as his artistic territory although, at the end of his carrier, he moved from social focus to more universal metaphysical ideas of life. It could be said that the instruments of authenticity which he used in documentaries, went toward the task of metaphysical exploration which still caused energy to his all movies, just in this case metaphysical thrust of portraying human feelings. Another reasons, seems to be more ethical. Probing into other? s intimacy by referring to the right. I managed to photograph some real tears several times.It is something completely different. But now, I have got glycerine. I am frightened 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 somebody who has found himself a realm which is, in fact, out of bounds. That is the main reason why I bilkd from documentaries. 55 52 53 Slavoj Zizek, The fright of real tears. Between theory and post-theory, British Film Institute, 200 1, p. 72 Danuta Stok, Kieslowski on Kieslowski, faber and faber, London 1993, p. 127 54 Joseph G.. Kickasola The films of Krzysztof Kieslowski, Joseph G. Kickasola,continuum, London 2004, p. 3 55 Slavoj Zizek, The fright of real tears. Between theory and post-theory, British Film Institute, 2001, p. 72 Zizek argues that Kieslowski supplements the prohibition to depict the intimate moments of real life with false images of fiction. He adds that Kieslowski moved from documentaries as when somebody films real life scenes in documentary, people ( actors) play themselves and he claims that the only way to depict people beneath their cautionary mask of playing it, paradoxically is making them directly play a role into fiction. It seems that, in Zizek? s augment fiction is more real than the social 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 u ndimmed performance. 56 Zizek also makes very crucial questions in order to analysing Kieslowski? s. He asks if his escape from documentaries to fiction was dictated by the ? fright of real tears? , by the incursion into obscenity of directly performance real life intimate experiences? How fictions are even in a way even more vulnerable than reality? If documentaries show the hurt the personal reality of the character, that fiction intrudes into and hurts dreams themselves?Documentary has got its limits not everything can be described, he said in Kieslowski on Kieslowskim. Turning camera on external events cannot capture the intimate experiences such as making love or dying he said. Analysing his fictions, the question this arises Could a feature describe better than a documentary? The dominant characteristic of the fiction film is that it represent something what is imaginary of the director. However, the feature representation seems to be more realistic then in another field of art such as painting or theatre as those show effigies of objects, their shadows.When in a fiction, the setting and actors represent the real situation even if they vie it of the certain number of filmed conventions which we concede from our life. In Blind Chance , Kieslowski be three version, which seems to begin as a dream the young man discharge to catch the train to Warsaw. The movie starts, that the main character is screaming as he lost his father 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 somehow his father? death frees him from necessity. Later in the same part he becomes a troupe activist, in the second part he gets lost and in third one, he got marry, become a doctor and suddenly die in an aircraft explosion. Witek 1 is shot with a Tarkovskian adherence to ? real time? no time is edited out of any of the 56 Slavoj Zizek, The fright of real tears. Between theory an d post-theory, British Film Institute, 2001, p. 75 sequences. The life of Witek 2 is edited more conventionally, highlighting the key moments () The final version of Witek? life is edited 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 beginning Blind Chance with Witek? s scream and by developing opposite scenarios that logically require a middle one to complete and close them, Kieslowski gives to his film a structure that carry on it from succumbing entirely to the dictates of chance. 58 Start with a close-up of a man who screams No with a moving camera into darkness of his throat. This might be a scene of Witek? s flashback.Witold? s scream at the beginning, might be a replay on the end of the film, when a plane? s explosion occurs. Blind Chance seems to be more of the same elevated to an iconic Munch-like open-mounted scream with which the film starts, and exactly this scene real ises at the conclusion of the film, when it means the death of the main character. As the result, the movie might be described as the binary star of catch or miss the train lacking(p) the train with positive outcome, missing the train with negative outcome, corresponding to the third story when he caught the plane.Catching or missing, determine his death. 59 The term Forking Paths created by Joseph G. Kickasola, where one character proceeding on a particular narrative flight of steps that divides in several directions. One path might be a true, and the others just are alternative endings. 60 This term suits for Blind Chance as outcome the moment of contingency. Alain Masson refers to the construction of Blind Chance as a dilemma or trilemma, where Kieslowski invites the audience to puzzle over whether Witek? s experiences device from choice, chance or perhaps destiny.As he said in I? m So-So, We are sum of several things, including individual will, fate and chance which is no t so important. It is the path we choose that is crucial. 61 57 Paul Coates, Kieslowski, government activity and the Anti-Politics of Colour From the 1970s to the Three Colours Trilogy in The Red and The White. The Cinema of spate? s of Poland, Wallflower Press, Great Britain, 2005, p. 191 58 Inbid. , p. 192 59 Steven Woodward, After Kieslowski. The Legacy of Krzysztof Kieslowski,Wayne State University Press, Michigan 2009, p. 122 60 Inbid. , p. 69 61 Annette Insdorf, Double Lives, Second Chances, MIRAMAX, New York 199, p. 59 CONCLUSION In Poland in mid-1970s and 80s, Kieslowski was a leading documentary film- maker with the spare-time activity output The Office ( 1966), The Photograph ( 1968), From the urban center of Lodz ( 1969), I Was a Soldier ( 1970), Factory ( 1970), Before the Rally ( 1971), Refrain ( 1972), Between Wroclaw and Zielona Gora ( 1972), The Principles of Safety and Hygiene in pig bed Mine ( 1972), Workers? 71 nothing about us without us ( 1972), Bricklayer ( 1973), X-Ray ( 1974), Curriculum vitae ( 1975), Hospital ( 1976), From a Night door guard? Point of View (1977), I don? t know (1977), Seven Women of Different Age ( 1978), Station (1980), Talking Heads ( 1980),Seven long time a Week ( 1988). Kieslowski started from documentaries as a fight for a representation of the lack of an adequate image of social reality in Polish cinema caused by Communist regime. It seems that, he moved into fiction, as he noticed that when he let go of false representation and directly approach of reality, he lost reality itself in his documentaries. Notably, his documentary achievement has got developed reflections on his fiction.Precisely, to feature films, Kieslowski moved a criterion of authenticity visible for example in Personel, where he made significant remark toward authentic cinema. For this production, he used improvised dialogue within the tradition of Italian neorealists, to cast non-actors for majority of roles. In the interview with S tok, he describes, how characters are true as they contradict the conventions of filmic stereotypes. Moreover, the close important tool in his movies is the tool of detail. Kieslowski, already started using this tool in his documentaries, whereby he developed within fiction.A detail in Kieslowski? s films, it is not just a construction of reality, but the detail plays crucial role in the transmittance of reality. Furthermore, analysing Kieslowski? s films on the grounds of its documentary elements in his fiction, it is also important to interlock them with the term of naturalism which is closely associated with realism and which was not mentioned before in the paper. pragmatism fist came in the theatre of the ordinal century with the work of Andre Antonie. He created a method of acting in order to get the actors to move away from the theatrical gestural.It means that the actors supposed to act as the audience was not there and audience feels as if it witnessing slice-of-life re alism, 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 precisely stylised a life in a film. Especially, the Decalogue delivers naturally the conclusion for Poles- they handle 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 prove image of reality. Always, aesthetic, social and moral concerns work together to deepen Kieslowski? s films. Kieslowski? s work was prescient in all kinds of ways, that developed innovative narrative forms and rhetorical 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 intimacy and interiority.Kieslowski in his movies guid