Kieslowski’s Virtual Realism: Remediation and Revolution in the "Color Trilogy"

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The Polish director Krzysztof Kieslowski's shift from documentary to fiction filmmaking has been marked, particularly in his later, more stylized films, by a concern with a new form of realism, namely, with what one could call a "virtual realism." While most current discussions of virtual reality treat the concept in relation to the rise of digital technology, Kieslowski develops a very different concept of virtuality, and one which is more dramatic than aesthetic: the co-existence of alternate realities which intersect with one another in limited but essential ways. This paper proposes to examine the films that comprise what has come to be known as the Color Trilogy - Blue (1993), White (1994), and Red (1994) - with a view toward showing how the use of color motifs create networks of virtual relations that are multi-layered and multivalent, instilling their own sense of reality.

Keywords: Virtual Reality, Art Cinema, Color Theory, Mediation, Realism
Stream: Arts Theory and Criticism
Presentation Type: Paper Presentation in English
Paper: A paper has not yet been submitted.

Dr. Sabine Doran

Assistant Professor of Comparative Literature, Department of Comparative Literature, University of California, Riverside
Riverside, California, USA

Sabine Doran received her Ph.D. from the Free University of Berlin in 2004 and was a DAAD scholar and Visiting Researcher at Stanford University from 1996 to 1999. She is currently Assistant Professor of Comparative Literature and German at the University of California, Riverside. She directed the German Program from 2005 to 2008. Her research concerns the intersection between visual art and literature, and her most recent article is entitled “Synaesthesia in European Film Theory,” which appeared in the anthology European Film Theory (Routledge, 2009). Her current book project is Portrait of a Modern Color: The Aesthetics of Yellow in Art, Literature, and Film.

Ref: A09P0407