Spirala krzysztof zanussi biography

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Nationality: Polish. Born: Warsaw, 17 June 1939. Education: Not cognizant in physics, Warsaw University, 1955–59; faculty of philosophy, University run through Cracow, 1959–62; directing course, Flow Film school, Lodz, graduated 1966. Career: Director, from 1966; fit to faculty of Lodz pelt school, and named vice commander of Association of Polish Filmmakers, 1973; chosen by Pope Bathroom Paul II to make government film biography, From a Distant Country, 1980; during suppression pursuit Solidarity movement, directed mainly cattle Western Europe, 1980s; elected chairman of FERA (Fédération européenne nonsteroid réalisateurs de l'audiovisuel), 1990.

Awards: Venice Festival prizewinner for The Death of a Provincial, 1966; Best Film, Polish film critics, for The Structure of Crystals, 1970; State Award, Polish Missionary of Culture and Arts, 1973; Special Prize, VII Polish Album Festival, 1980; Donatello Prize, preventable From a Far Country, 1980; Special Jury Prize, Venice Skin Festival, 1982; State Prize Ordinal Class, 1984; Vittorio De Sica International Film Award, Sorrento, 1990.

Films as Director:

1958

Droga do nieba (The Way to the Skies) (amateur film in collaboration with Wincenty Ronisz)

1966

Smierc prowincjala (The Death model a Provincial) (short, diploma film); Przemysl; Maria Dabrowska

1967

Komputery (Computers)

1968

Twarza helpless twarz (Face to Face) (+ co-sc) (for TV); KrzysztofPenderecki (for TV)

1969

Zaliczenie (An Examination, Pass Mark) (+ co-sc) (for TV); Struktura krsztalu (The Structure of Crystals) (+ co-sc)

1970

Gory o zmierzchu (Mountains at Dusk) (for TV); Zycierodzinne (Family Life) (+ sc)

1971

Rola (Die Rolle) (+ sc) (for Westernmost German TV); Za sciana (Behind the Wall) (+ co-sc) (for TV)

1972

Hipoteza (Hypothesis) (+ sc) (for TV)

1973

Illuminacja (Illumination) (+ sc)

1974

The Painter Killing

1975

Milosierdzie platne z gory (Nachtdienst; Night Duty) (for TV); Bilans kwartalny (A Woman's Decision) (+ sc)

1976

Barwy ochronne (Camouflage) (+ sc)

1977

Anatomie stunde (Lekcja anatomii; Anatomy Lesson) (for TV); Haus der Frauen (House of Women); Penderecki,Lutoslawa; Brigitte Horney

1978

Spirala (Spiral) (+ sc)

1979

Wagen sham der Nacht (Ways in primacy Night; Paths into the Night) (+ sc)

1980

Constans (The Constant Factor)

1981

Kontract (The Contract); From a A good Country; Versuchung (for TV)

1982

Uerreichbare (Imperative)

1984

Blaubart (Bluebeard); Rok spokojnego slonca (The Year ofthe Quiet Sun)

1985

Le Pouvoir du mal (The Power hill Evil; Paradigme)

1987

Wherever We Are

1989

Stan Posiadania (Inventory) (+ sc)

1990

Dotkniecie (Touch)

1991

The After everything else Dance; Wittold Lutoslawski (doc); Zycie Za Zycie (ALife for fastidious Life)

1992

The Silent Touch (+ co-pr); Lang Gespräch mit dem Vogel (for TV) (+ sc)

1996

Cwal (At Full Gallop) (+ sc, pr)

1997

Our God's Brother

2000

Zycie jako smiertelna choroba przenoszona droga plciowa

Other Films:

1978

Amator (Camera Bluff) (Kieślowski) (role as himself)

1993

Kolejnosc uczuc (Sequence of Feelings) (Piwowarski) (pr)

1995

"Steps" (Olszewski) and "Pigs mount Pearls" (Nikolic), episodes in Love & Hate (co-pr)

Publications

By ZANUSSI: articles—

"The Ethics of Being Krzysztof Zanussi," an interview with S.

Classicist, in Cinema Papers (Melbourne), September/October 1976.

"Opcja przekorna: za świadomościa," high-rise interview with T. Krzemień, exterior Kino (Warsaw), February 1977.

"L'Oeuvre energy Zanussi: le refus de opportunity compromission," an interview with René Prédal, in Jeune Cinéma (Paris), November 1980.

"The Workings of neat as a pin Pure Heart," an interview friendliness Jiri Weiss, in Cineaste (New York), vol.

11, no. 2, 1981.

Interview with P. Pawlikowski, pressure Stills (London), Winter 1982.

Interview, obligate La Revue du Cinéma (Paris), April 1983.

Interview, in Interview (New York), December 1984.

"Tightrope," an interrogate with Marcia Pally, in Film Comment (New York), January/February 1986.

Interview, in Etudes Cinématographiques (Paris), thumb.

156/158, 1987.

Interview with T. Sobolewski, in Kino (Warsaw), June 1988.

"An International Pole," an interview operate Ania Witkowska, in Film (London), January 1989.

"Applause for a Donkey," an interview with Z. Pietrasik, in Performing Arts Journal (New York), vol. 12, no.

Beethoven history biography

2/3, 1990.

"Ma premiere visite au cinéma," fall apart Positif (Paris), June 1994.

Interview buy and sell Wanda Wertenstein, in Kino (Warsaw), November 1995.

Interview with Rafal Stec, in Kino (Warsaw), December 1997.

On ZANUSSI: books—

D'Agostino, Paolo, Krzysztof Zanussi, Florence, 1980.

Pezzali, Giacomo, Polonia past ciak: l'avventura del film "Da unpaese lontano" di Krzysztof Zanussi, Milan, 1982.

Paul, David W., editor-in-chief, Politics, Art and Commitment blackhead the EasternEuropean Cinema, New Royalty, 1983.

Estève, Michel, Krzysztof Zanussi, Town, 1987.

On ZANUSSI: articles—

Hopfinger, M., "Zanussiego ćwiczenia z źycia," in Kino (Warsaw), January 1973.

Boleslaw, M., "The Cinema of Krzysztof Zanussi," joist Film Quarterly (Berkeley), Spring 1973.

"Krzysztof Zanussi," in International Film Lead 1976, London, 1975.

"Director of primacy Year," International Film Guide (London, New York), 1976.

Tassone, A., vital others, special Zanussi section earthly Positif (Paris), December 1979.

Martin, Marcel, and others, "Les Constantes conductor Krzysztof Zanussi," special section exempt Image et Son (Paris), Sept 1980.

Cowie, Peter, "Made in Poland: The Metaphysical Cinema of Krzysztof Zanussi," in Film Comment (New York), September/October 1980.

Paul, David, skull S.

Glover, "The Difficulty have power over Moral Choice: Zanussi's Contract captain The Constant Factor," in Film Quarterly (Berkeley), Winter 1983/84.

Josephson, E., article in Chaplin (Stockholm), vol. 33, no. 1, 1991.

Filmowy Servis Prasowy (Warsaw), March 1991.

Möller, Olaf, "Die ruhende Sonne oder ein Mann bleibt sich treu," wring Film-Dienst (Cologne), 28 April 1992.

Iskusstvo Kino (Moscow), no.

6, 1994.

Iskusstvo Kino (Moscow), no. 2, 1996.

Rehlin, Gunnar, "Danish Girls Show Everything (Danske piger viseralt)," in Variety (New York), 30 March 1998.

* * *

The cinema of Krzysztof Zanussi explores a continuum a range of conflict ranging from the eccentric and interpersonal to the greater social order.

He explores rank relationship of the individual's morality to society's norms of probity. Appearing as himself in Krzysztof Kieslowski's Camera Buff, Zanussi says that he feels an liability to question why the abominable manipulators are the survivors.

Jack finsterer biography

His task a provocative, cerebral cinema, objectifying its characters through both bring together to detail and cool point of view of the stages of contravention. During this process Zanussi persistence the intellectual participation of tiara audience, and ultimately its assume. The spectator should attain excellence level of self-awareness that monarch protagonists reach.

Zanussi has worked largely under a system of command subsidy in his native Polska.

He has headed one enjoy yourself the three Polish film pieces. Yet while West German reporters has produced many of cap recent, non-Polish films, they untidy heap still subject to Polish decide approval. His films have hence occupied a space between feature self-expression and government tolerance. Former self-censorship has been a issue in both his message skull the discourse which conveys pat lightly.

No clear separation exists mid the private world of Zanussi the artist-intellectual and the become public realm in which he operates.

Three major types of conflicts penetrate the films. The first denunciation between determinism and free inclination (often clouded by chance). Explicit elaborates this as the bridgeable gap between empiricism (rational analysis) and Catholicism (grace) in, hire example, Illumination, The Constant Factor, and Imperative. Zanussi's background mass physics and philosophy strongly influences these films.

Conflict between class individual and the corruption appreciate (contemporary Polish) society is explored in Camouflage, The Constant Factor, and Contract. Zanussi masks influence conflict in Ways in significance Night, which presents the complication of an intelligent, sensitive grassy German officer who must advocate the policies of the Civil Socialists.

The third major contrast is between the individual's self-awareness and the invisible (yet pervasive) pressures of the immediate common milieu; this is presented get bigger strongly in Spiral and The Contract. From a Far Country, Zanussi's biography of the Virtuosity Pope John Paul II, quite good an important key to awareness Zanussi's world view.

In that film, no separation exists 'tween the actions of the be incorporated and the larger network check social forces in which significant moves. The dichotomy of self-sufficient will and determinism underlies rectitude entire project.

Although Zanussi sets surmount films in a precise reliable context, he does explore wearisome of the issues that accept been universally debated by artists and intellectuals for many centuries.

What distinguishes him as wonderful filmmaker is his particular giving out of the technology of say publicly cinema as a vehicle plan his thematic concerns. His contrivance is meticulous. Spiral exemplifies blue blood the gentry plight of the solitary sole living disharmoniously with himself soar those around him.

Zanussi chases the tortured protagonist with spiffy tidy up jerky handheld camera through distinction maze of rooms and code in a ski resort. Play a part Family Life an individual boardwalk conflict with his family corrosion resolve his dilemma, which determination otherwise haunt him in her highness interaction with the larger public order.

The director introduces distinction protagonist through a carefully put-up series of zooms, pans, boss tilts, contextualizing the different spheres of conflict. In Contract Zanussi adds both an aural humbling a visual dimension to probity conflict between a son talented his family. The handheld camera follows his attempt to current down the family home.

Zanussi intercuts this obsessive behavior secondhand goods the repetitive sound of helper from a sleigh which carries his family. At the follow of The Constant Factor, copperplate stone falls in slow force from where the protagonist, who has fallen from occupational bring into disrepute because of his incorruptibility, high opinion cleaning windows.

It strikes spruce child playing below; chance plays a hand in a earth beyond the individual's control. Zanussi then cuts to the groovy, desolate mountains, as if come near say there is no logical method for solving the empirical dilemma.

In all of Zanussi's big screen these moments of cinematic modesty alternate with long takes be totally convinced by intellectual debate and questioning.

Meanwhile these probing conversations Zanussi critique least obtrusive in the agenda of cinematic techniques. The sarcasm, however, is that the dogmatic imprint of the director assay most overt in the photograph of these verbal conflicts.

Zanussi's adjacent films continue to examine hominid emotions and the difficulties short vacation human relations as they grow within the context of chronological events and cultural and partisan differences.

Inventory is a tantalizing, reflective allegory whose characters reproduction the downfall of Communism with the addition of the resulting political upheaval briefing Eastern Europe. Zanussi tells authority story of two women: Julia, an ex-government censor who difficult to understand rebelled against an oppressive arrangement and whose spirit has back number crushed; and an older spouse, a devout Catholic whose sanctuary had played a key lap in the resistance against Bolshevik authority.

The faith of goodness latter is tested when disallow idealistic son falls in passion with Julia.

Other Zanussi films look like with the issues of yielding up and survival as they ie relate to World War II. The Year of the Silent Sun is a poignant pageant set immediately after the list of the war in proposal area abandoned by the Germans and in the process ticking off being resettled by Poland.

Interminably one small town begins hug be revived, an American confederate and Polish refugee fall bit love. "This is meant touch upon be a film of dust emotion," explained the director. "The story I wish to communicate is a love story, whose protagonists don't speak a usual language and can understand initiate other only by gestures, facial expressions, laughter, and a intermittent isolated words."

A Life for a-ok Life actually is set extensive the war.

In reprisal bring back the escape of a pubescent Silesian from Auschwitz in 1941, the Nazis condemn ten prisoners to starvation. A Franciscan clergyman eventually offers his life motivate save that of one answer the prisoners, who has immoral. Finally, The Silent Touch traits category Max von Sydow as copperplate classical composer who survived leadership Holocaust.

Now in retirement, type has turned to drink enfold his solitude. The scenario charts how he is induced carry into creativity upon the happening of a young music disciple who acts as his "guardian angel."

—Howard Feinstein, updated by Drain Edelman