Dekalog 1-5

First half of the epic made for T.V. set of films by the Polish auteur Krzysztof Kieslowski, shown in 1989
1: 'natural' (yellow) key, blue/ red fill
sidelighting, shadows, texture and sensuality
realsim of Kieslowski
televisual close ups, study of space
cramped, foreground overburdened
study of interior of soul; god and science (pretty explicit)
2: more only keylight (still side)
more space, smaller. Gives odd sense of time
few close ups, almost noirish
similar to 'Red'; juztaposition of young and old
condemnation of old, but certain wisdom
current crisis and looking back on one
pan shot to show togetherness
3:Kiselowski goes noir
faster film, higher contrasts, more striking images
red/blue lights, almost expressionist
mixed with front lighting (natural/yellow) for home
faster takes, more dramatic, action on screen
comparative; crossed with Kieslowski's social angles
need to really read in the noir; but the tropes are there
femme fatale/ limited P.O.V./ grotesques, car chases
less music, less concerned with inner psychology
slightly underpowered on its own, but within the context of the social, powerful
4: interesting, psychoanalytic tale, bathed in theory
strange, bit weird
freerer, wide angled space. White themes throughout
sense of freedom, no telephoted entrapment as elsewhere
starts off as a celebration, gets into Bergmanesque shadows territory
gets a bit overheated; not to be taken literally
plot twists; better to not know things
the lack of grit (compartatively makes it quite good fun, discounting themes
5: Washed out colours, dusty light, wide angles
this, with the crosscutting, gives a nearly comic book feel. Visceral
use of dispersed light closeigh to look (yellow filter?) of 'Delicatessen'
As common move by Kieslowki, this look changes to complications
the faster opening reveals to more serious moral questions
pace slows, darker cross lighting
move to longer, stiller, more meditative scenes
almost a grotesqueness in the wide-angle; execution scene, with pans, as thoough falling down a hole
Kieslowski's move beyond the socioligy, humanism, to different formal elements still contains contamination by the former; this crossing gives a complexity to the work