The Cinema of Krzysztof Kieslowski: Variations on Destiny and Chance
(eBook)

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Published
Columbia University Press, 2004.
Physical Description
0m 0s
Format
eBook
Language
English
ISBN
9780231504027

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Citations

APA Citation, 7th Edition (style guide)

Marek Haltof., & Marek Haltof|AUTHOR. (2004). The Cinema of Krzysztof Kieslowski: Variations on Destiny and Chance . Columbia University Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Marek Haltof and Marek Haltof|AUTHOR. 2004. The Cinema of Krzysztof Kieslowski: Variations On Destiny and Chance. Columbia University Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Marek Haltof and Marek Haltof|AUTHOR. The Cinema of Krzysztof Kieslowski: Variations On Destiny and Chance Columbia University Press, 2004.

Harvard Citation (style guide)

Marek Haltof. and Marek Haltof|AUTHOR. (2004). The cinema of krzysztof kieslowski: variations on destiny and chance. Columbia University Press.

MLA Citation, 9th Edition (style guide)

Marek Haltof, and Marek Haltof|AUTHOR. The Cinema of Krzysztof Kieslowski: Variations On Destiny and Chance Columbia University Press, 2004.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work IDa8d9b3e9-2273-fefc-57c6-888ef72c5f85-eng
Full titlecinema of krzysztof kieslowski variations on destiny and chance
Authorhaltof marek
Grouping Categorybook
Last Update2025-02-07 01:02:40AM
Last Indexed2025-02-15 08:35:11AM

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    [synopsis] => Since his death in 1996, Krzysztof Kieslowski has remained the best-known contemporary Polish filmmaker and one of the most popular and respected European directors, internationally renowned for his ambitious Decalogue and Three Colors trilogy. In this new addition to the Directors' Cuts series, Marek Haltof provides a comprehensive study of Kieslowski's cinema, discussing industrial practices in Poland and stressing that the director did not fit the traditional image of a "great" East-Central European auteur. He draws a fascinating portrait of the stridently independent director's work, noting that Kieslowski was not afraid to express unpopular views in film or in life. Haltof also shows how the director's work remains unique in the context of Polish documentary and narrative cinema.
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