Krzysztof Kieślowski’s film props in the triptych “Three Colours” | Zendy

Wojciech Otto | Zendy

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Krzysztof Kieślowski’s film props in the triptych “Three Colours”

Author(s) -

Wojciech Otto

Publication year - 2019

Publication title -

images the international journal of european film performing arts and audiovisual communication

Language(s) - English

Resource type - Journals

SCImago Journal Rank - 0.1

0

eISSN - 2720-040X

pISSN - 1731-450X

DOI - 10.14746/i.2018.33.07

Subject(s) - trilogy , art , atmosphere (unit) , dramaturgy , style (visual arts) , white (mutation) , the symbolic , visual arts , special effects , art history , literature , computer graphics (images) , computer science , psychology , physics , chemistry , psychoanalysis , meteorology , biochemistry , gene

Krzysztof Kieślowski employed film properties in a creative way in his Three Colours (Trois couleurs, 1993–94) trilogy. They play various roles in Blue (Bleu, 1993), White (Blanc, 1993) and Red (Rogue, 1994): they make the presented world more probable, co-create images of heroes, build dramaturgy and convey symbolic content. Such a treatment of film props is shaped by the director’s film style and creates a specific cinematic atmosphere.

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