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<https://discovery.ucl.ac.uk/id/eprint/1382592> <http://purl.org/dc/terms/title> "The best of all worlds: public, personal, and inner realms in the films of Krzysztof Kieslowski."^^<http://www.w3.org/2001/XMLSchema#string> .
<https://discovery.ucl.ac.uk/id/eprint/1382592> <http://purl.org/ontology/bibo/abstract> "This thesis is a study of the oeuvre of Krzysztof Kielowski. In particular, I examine\r\nclaims made by Kielowski and many critics that in the 1980s the director moved away\r\nfrom filming the public world, which had been crucial to his work since he began filming\r\nin the late 1960s and became instead primarily concerned with the inner world. Although\r\nI agree that Kieslowski increasingly shifted his emphasis to the inner life, I argue that any\r\nattempt to abandon the public world in his later films was in fact of more limited scope\r\nthan his claims suggest and his focus on the inner sphere neither absolute nor lacking in\r\nambivalence.\r\nI distinguish between three realms of existence in Kielowski's narratives: the public\r\nsphere, namely, public life be it socio-political, economical, or work-related; the personal\r\nsphere, consisting of the individual's family and close friends; and the inner sphere,\r\ncomprising the intimate emotional and mental life of the individual. By extensively\r\nexamining Kielowski's treatment of these spheres and how they interact with and inform\r\nboth one another and the films, I aim to demonstrate that the public and personal realms\r\ncontinued play a significant part in the productions of the 1980s and 1990s, regardless of\r\nKielowski's claims otherwise, and result in more complex, multi-layered, and\r\nambiguous narratives than is usually recognised.\r\nIn distinguishing between the spheres that make up the individual's existence, I discuss\r\nthe concomitant differences between public and inner realities. I examine the\r\ncomplications and ambiguities that arose from the combined presence of these quite\r\ndistinct realities in the final works and end by looking at how they influenced\r\nKielowski's decision to abandon fihnmaking in the mid-1990s.\r\nMy thesis is also a career-survey of Kielowski's oeuvre and; in addition to substantiating\r\nmy arguments, I simultaneously discuss what I believe to be other interesting and\r\nimportant aspects of Kielowski and his work, including the financing and censorship of\r\nhis films, his political tendencies, his representation of his male and female characters as\r\nwell as his distinction between youth and adulthood, his collaborative method; his\r\nrelationship with his audience, and his critical reception. In doing so I aim to provide a\r\ndetailed overview of Kielowski's entire career which can stand alone as a self-contained\r\nand comprehensive reference work and thus fill the current gap in English-language\r\nstudies of Kielowski."^^<http://www.w3.org/2001/XMLSchema#string> .
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