Krzysztof kieslowski biography of abrahams
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Ever since making Dekalog in , the monumental ten-hour-long Polish-language TV series consisting of one-hour episodes based on each of the Bible&#;s Ten Commandments, director Krzysztof Kieślowski has achieved something that only the Russian formalist Dziga Vertov did with his epochal film Man with a Movie Camera 60 odd-years ago — the superhuman ability to create magic from reality. Vertov&#;s &#;formal experiment&#; of a film declared its intentions to do so right from the get-go: its belief in the power of the &#;kinoeye&#; (overtly stated in the film&#;s opening credits that double as Vertov&#;s cinematic manifesto) and the Kuleshov Effect implied that the raw materials of reality — close-ups of a working-class person&#;s face, POV shots of a derelict doll, the rhythmic montage of industrial automation — were in and of themselves possessed with meaning-defining possibilities. All that was required to see — or better still, sense — this magic was a cameraperson&#;s keen eye and an editor&#;s keener-to-experiment hands.
Kieślowski&#;s objective with Dekalog may not have been to foreground such cinematic experimentation. (The director&#;s film Blind Chance is more overt with that quality; it employs a game-like branching narrative structure that disrupts classi
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Uncaptive Mind
All my films, from the first to the most recent ones, are about individuals who can&#;t quite find their bearings, who don&#;t quite know how to live, who don&#;t really know what&#;s right or wrong and are desperately looking.
—Krzysztof Kieslowski
When Czeslaw Milosz won the Nobel Prize for Literature in , the esteem he enjoyed in Poland blossomed into adoration. And as the struggle against Communist rule intensified during the s, the long-exiled poet found himself cast as the &#;national bard.&#; Yet as Milosz remarked to many interviewers (including this one), &#;I am not by nature a political writer.&#; The example he offered was not his youth in Nazi- and Soviet-occupied Polish Lithuania, but his arrival in America, where his reputation rested solely on The Captive Mind, his study of the corruption of literature under Communism. &#;Pressed to play the role of the crusading anti-Communist but lacking the ability,&#; he settled for being &#;an obscure professor in an obscure department&#; (Slavic literature at U.C. Berkeley). &#;But,&#; he added with a wink, &#;I was happy. I had come in search of bread, and I found it.&#;
Most Polish artists worth their salt are obsessed with the tension between individual expression and communal obligation. Not for
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