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KIEŚLOWSKI UNKNOWN How Kieślowski's Late Films Were Kieślowski's Unknown: How Kieślowski's late films were influenced by his Polishness and his early Polish films Item Type Thesis Authors Draniewicz, Anna B. Publisher University of Bradford Rights <a rel="license" href="http://creativecommons.org/licenses/ by-nc-nd/3.0/"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/l/by- nc-nd/3.0/88x31.png" /></a><br />The University of Bradford theses are licenced under a <a rel="license" href="http:// creativecommons.org/licenses/by-nc-nd/3.0/">Creative Commons Licence</a>. Download date 28/09/2021 00:10:55 Link to Item http://hdl.handle.net/10454/17399 KIEŚLOWSKI UNKNOWN How Kieślowski's late films were influenced by his Polishness and his early Polish films Anna Barbara DRANIEWICZ Submitted for the degree of Doctor of Philosophy School of Media, Design and Technology University of Bradford 2017 Anna Barbara DRANIEWICZ KIEŚLOWSKI UNKNOWN How Kieślowski's late films were influenced by his Polishness and his early Polish films Keywords: Kieślowski, Krzysztof, Polish, Polishness, films, French, cinema, European, trilogy Abstract Krzysztof Kieślowski is regarded as one of the most universal Polish film directors. However, the author wishes to argue that his work was deeply rooted in his sense of Polishness. In terms of research methods, this thesis utilises the existing abundant literature on nation and nationalism to provide an overview of the topic and builds its own theoretical framework and a working definition of Polishness. The latter is influenced by the author’s studies of both English and Polish-language materials. In the case study part, this paper mostly uses primary sources, mainly Kieślowski’s films to find traces of Polishness in them. The analysis builds on the theoretical tools illustrated in the first section. This thesis offers two sets of conclusions. With regard to the theory, it suggests that Polishness is diverse and very contradictory. With regard to the case of Krzysztof Kieślowski, this thesis concludes that his work can be fully understood and appreciated only in the light of his national identity and experience presented in his early films made in Poland. It provides as well some explanation of some typical Polish customs to help to better understand Kieślowski and his films by introducing some insight into Polish traditions and characteristics. Finally, the author recommends further research into Polishness in the work of other Polish directors working abroad. i Acknowledgements I would like to thank my supervisors Dr Mark Goodall and Dr Ben Roberts for their time and guidance. Without their support and understanding I would not have been able to start, continue or finish the above thesis. I will always be grateful to both of them. My great gratitude goes to Mr Vincent Amiel, Mr Stanisław Zawiśliński, Mr Krzysztof Piesiewicz and Mr Zbigniew Preisner for their emails, as well as to Mr Jerzy Stuhr for agreeing to meet me and answer my questions in person. I would also like to thank Dr Sarah Dietz for proof reading and correcting my English and Dr Myfanwy Franks for her expert opinion. Finally, I am very thankful for continuous encouragement of my family and friends. ii KIEŚOWSKI UNKNOWN How Kieślowski's late films were influenced by his Polishness and his early Polish films Index: Abstract …........................................................................................................... i Acknowledgements …......................................................................................... ii Index .................................................................................................................. iii Introduction …..................................................................................................... v Literature Review ..............…........................................................................... xv Nation, nationalism and national identity .............................................. xvi National and transnational cinema ..................................................... xxix Polish national identity and cinema .................................................. xxxix Chapter 1 Decalogue or Ten Commandments …................................................................ 1 1.1. Analysis of Kieślowski’s Polishness ….............................................. 2 1.2. Polishness in Kieślowski’s early films …...…............................…... 24 1.3. Polishness in Kieślowski’s Decalogue …...….........................…..... 38 Chapter 2 Transition or The Double Life of Kieślowski …................................................. 70 2.1. Weronika and Véronique ................................................................ 71 2.2. Kieślowski and Accented Cinema ................................................ 103 2.3. Kieślowski between national and transnational cinema ............... 119 iii Chapter 3 Three Colours or The Trilogy …...................................................................... 132 3.1. Three Colours: Blue ..................................................................... 133 3.2. Three Colours: White ................................................................... 153 3.3. Three Colours: Red …...................................................……….... 172 Conclusion ….................................................................................................. 192 Bibliography …................................................................................................ 198 Books …............................................................................................... 199 Articles …............................................................................................. 210 Films, DVD extras, Interviews ............................................................. 214 Appendices …................................................................................................. 215 iv INTRODUCTION v This thesis is entitled ‘Kieślowski Unknown’ and the subtitle is ‘How Kieślowski’s late films were influenced by his Polishness and his early Polish films’. In order to understand the phenomenon of the popularity of Krzysztof Kieślowski’s late films, a closer look at his work is needed. Unlike most of the films from Poland, the late films are believed to be very universal and not specifically Polish. Kieślowski’s Polishness did not overshadow his humanism and that was the reason why people around the world understood his films, even without fully understanding Polish reality. However, Kieślowski was strongly attached to his native country and it shows to some extent in all his films. In this thesis I would like to show that the knowledge of Polish character and Kieślowski’s early films allows the viewer fully appreciate and understand his work as a whole. This thesis is divided into two sections. The first one explores the concepts of nation, national identity and nationalism in attempt to draw a broad picture of the subject to provide some analytical tools for the case studies. In the second part, which is composed of three chapters, the author explores traces of Polishness in Kieślowski’s films. The first chapter examines Kieślowski’s Polishness in order to subsequently find the traces of it in his early films made in Poland, especially his last films made in Poland – The Decalogue TV series (including A Short Film about Killing and A Short Film about Love). The second chapter in the first place looks for Polish motifs in The Double Life of Veronique and then positions Kieślowski’s last four films in transnational and accented cinema contexts. The last chapter searches for the trails of Polish character in Kieślowski’s trilogy The Three Colours: Blue, White, Red. The objective of this thesis is also to contribute to the debate on national and transnational cinema and to place Krzysztof Kieślowski’s work in it by examining his films and the approach of academics toward it. Methodologically I have chosen to use the relevant literature on the topic and then to conduct case studies, in which I have been looking for traces of both Kieślowski’s Polishness and transnationalism in his early and late films. The literature about the nation and then national and transnational cinema has been gathered by cross referencing. My aim was to include all of the most recognised English-language authors in the field, starting with Anderson (2006) who revolutionised the way we look at nations nowadays. vi My personal background is in Poland but I left the country over ten years ago and lived consequently in the United Kingdom and the United States. Therefore even though I am obviously interested in the subject, I believe that it gave me enough distance, both in terms of time and space, to undertake an objective perspective towards it. My own Polishness will ensure some advantages in terms of knowledge of Polish cinema and culture but at the same time might become a disadvantage because I might assume that some facts are as obvious for the reader as they are for me. Billing (1995) perceived ‘banal nationalism’ as a political issue, imposed by nation-state on its inhabitants. However, he did not consider the situation of a person living in a foreign country. I would argue that we should also talk about, as I would call it, ‘banal everydayness’. When I moved to England, I was daily reminded that I was Polish – because of my accent, by my family and friends at home through phone, emails and Facebook or by the fact that I had different
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