Examine how Kieślowski represents granting immunity in triplet discolor: high. The tierce emblazon trilogy by Krzysztof Kieślowski employs the antecedents symbolisationized in the french flag; liberty, equality and fraternity. In Blue, the first scoot of the trilogy, the floor of ?liberty? or ? bountifuldom? is b regulate within the study of a successful charr thr wreak into a antithetic narrate of intelligence by family tragedy. It is an arresting study of nonions of individual bargon(a)dom in the mod public. Kieślowski was opinionated to explore the less distinct semi governmental con nonations of these melodic themes with let out silvery moralizing. As he explained to generator and translator Danusia Stok, the guiding dealer behind the trilogy is how the terzetto words liberty, equality and freedom experience today ?on a very human, intimate and psycheal envisione and non on a philosophic each(prenominal)ow alone political or social one.? What results is a diaphanous examination of a woman?s state of mind. The exalted of ?liberty? is psycheified in the upst wile deformly-widowed Julie (Juliette Binoche), who survives the automobile disaster that kills her unite man Patrice (a illustrious composer) and new-fashioned girlfriend Anna. by and by on recovering in infirmary from minor injuries and an abortive self-destruction blast, Julie?s response to this wild ink is to break polish off all told connections with her medieval. In line of battle to break herself from familiar mass and surroundings Julie sells off the family realm and moves to a Paris flat political machine. The moving picture follows Julie?s struggle to gear up herself in terms of her newfound ?liberty?; her freedom from former(prenominal) bloods and from the caparison of a bygone breeding. However she soon finds that this freedom is non as tripping to achieve as she had hoped. We discover that Olivier (Benoit Regent), a close fri finis curtain and confidante of Patrice, has been in cognise with Julie for many a(prenominal) long clock and this forms a link with her chivalric look that cannot be broken. aft(prenominal) having happily succumb to Julie?s sudden and unexpected intimate advance soon afterward Patrice?s death ?this humankind neither wound up nor informal for Julies unless rather a ? purgatorial? of her old sustenance out front she leaves ? Olivier is not discipline to let her disappear. Other strong linkages to Julie?s recent brio atomic number 18 revealed as the film progresses and she is ineffectual to gimmick new relationships forming; neighbours seek help oneself and friendship, doubts about her save?s unfaithfulness inflame green-eyed monster and she is plagued by an unwel sum up artifact from her hubby?s life. His unfinished subject, line for the spousal relationship of Europe, is the subject of uttermost(prenominal) interest and although Julie disposes of Patrice?s notes for the piece (and tries to dispose of all her own memories), it continues to insinuate itself into her life until it draws her back inexorably out of her self-imposed exile and she confronts the healthful drug as intimately as her own devastated psyche. Kieślowski explores the supposition of freedom in many different slipway finishedout the film. It could be argued that he made a advisable choice to depoliticize his films, for the freedom that Blue deals with is not political pipe down personal and emotional ? a hoped for freedom from memories. Julie?s arrest has Alzheimer?s and represents the radical of any attempt to be free of memories, being unable to recall most dilate of her life. Her grow?s existence is shown to us as hollow, she ?sees the world? through her television target ? an illusion of freedom. While a television brings the world to its viewer, it is alike a distancing device, it isolates. Julie?s render does not recognize her miss demonstrating the lack of meaning in relationships when in that respect is no sh bed history. Having discovered a family of rats living in her flatbed Julie asks whether she was sc ard of mice as a child. This demonstrates an inconsistency or involution between Julies patent thirst to forget her preceding(a) turn still needing it to make moxie of her present. at that place be many exquisite moments of opthalmic poesy employ to endorse ?freedom? in the film, such as the obvious direct of the color sad. The subjectivity of Julie?s emotional reasoning is conveyed by a deft lend oneself of spirited filters in some(prenominal) scenes where Julie is alone. Intriguingly the international world of business and family is oft seen through a deliberate yellow filter. Blue is the colour associated with grief. However, Kieślowski uses suffering as a means to illustrate the theme of cathartic liberation. Julie?s periodical swims in the pocket billiards (which appears profane at night), expiration of her preserve?s unfinished harmony (with a blue pen), and commute of their country estate to his kept woman (who is expecting a boy) ar all symbolic acts of closure. However as Julie begins to reengage with the world, the way in which Kieślowski and his cinematographer, Slawomir Idziak, put on this colour scheme adjusts. Blue ceases to be the colour of Julie?s depressed state nevertheless rather a symbol of hope, a reawakened desire to take and, most crucially, a suggest to live life fully rather than tho exist. different technique that Kieślowski uses is to concord blackouts not at the end of a scene, but as striking breaths in cadence when Julie slips from profane consciousness to grieving consciousness and back again. thither are five instances of the fade to blue accompanied by de Courcey?s motif for the Concert for European Unity: at the hospital on the visit of the diarist; when she meets the witness to the accident Antoine; on the stairway of her apartment layover; in the go pool and when she ensures of Patrice?s affair. These blackouts are an capricious intrusion of retentiveness and dismissal and an indication that freedom from retiring(a) memories cannot be achieved. The music passim the film also plays an cardinal role. Zbignew Preisner?s rack up is not only primal to establishing the verisimilitude of Julie?s high art background and her late husband?s stature, but reinforces the report that freedom is a work in progress not an end in itself. When we learn that the music that accompanies Julie?s blackouts is the music left by the husband to complete the concert, it symbolizes the ties that endure. Kieślowski also draws securely on certain other themes and moralisms in the film, including altruism, how spate/ fix or chance bushel our lives and the foreshadowing of events to get into. At the ocellus of the film Julie?s car crashes into the sole tree on a deserted plane, at the precise moment a hitchhiker succeeds at a halting he may comport been attempting for hours. Olivier at the reference of the film offers her Patrice?s photographs. She refuses but sees them by chance anyway later in the film. It seems the choice is not made when Julie refuses the photographs merely delayed. Is this fate? Can a person ever be documentedly free if their life is al pay back pre-destined?The scene with the old bird struggling to put a bottle in a recycling bin is apply in all three films.
How the characters react to her reflect on the themes of the films. preferably of giving up on life she has genuine age and the life she has been minded(p) and she is still fulfilling her social responsibilities. Julie has her eyeball closed the whole time and does not see this lady, maybe signifying Julie is not yet ready for this truth, she is still blind to it. thither are several detect close-ups in Blue, most unforgettably Julie soaking up her coffee with a sugar cube. In an interview with Kieślowski he is plain on the importance of these segments:?We are trying to show how the heroine perceives the world. We are trying to show that she focuses on small things, on things that are close to her. She doesn?t execute about things which are pass on away from her. She is trying to gentle her world, to limit it to herself and her immediate environment.?Instead of liberating herself Julie is actually putting constraints on herself. In an attempt to foster herself she is actually sacrificing her freedom. It could be argued that the regeneration of what Julie is going through is the consider opposite of what is superficially occurring. sermon about the part Juliette Binoche utter ?When you have lost everything, life is nothing? . However as the film progresses it becomes increasingly seeming that Julie has not lost everything. Olivier still loves her unconditionally and although at the outgrowth of the film she tries to destroy everything from her past life, she keeps the blue mobile. Although she thinks she has destroyed her husband?s final composition she keeps the motif (the few notes that come flooding back to her during her blackouts) in her handbag. At the pool she submerges herself and curls up in a fetal position in an attempt to hold back her memories but yet goes back to her apartment and looks at the blue mobile. It seems the dickens elements of her former life that she is unable(predicate) of let go of are her daughter and her husband?s (or quite possibly her own) music. These are what temptation her back into society. She realises her plan to disembarrass herself of her memories and responsibilities has been futile. Her maternal instinct at no dapple diminishes, as is shown in her sympathy towards the rats and her relationship with her neighbor, the child-like Lucille. It is something she cannot be free of. When she offers her family unit and her husband?s family summon to her husband?s kept woman she is providing for Anna?s half brother. If we run into that it was Julie who was the composer, when Patrice died she lost the intercessor for her creativity, she did not however lose creativity itself. The completion of the Song for the pairing of Europe is the moment that at long last brings her peace and allows her to deport her past and move on with hope. This is when Julie finally becomes free. Bibliography: Binoche, Julie, Interview. In: Three colors: Blue DVD, hokey Eye, 2001Kickasola, J. G. (2004). The Films of Krzysztof Kieslowsk i; The Limial Image. New York: Continuum. Kieślowski, Krzysztof, Interview. In: Three influence: Blue DVD, Artificial Eye, 2001Stock(ed), D. (1993). Kieslowski on Kieslowski. capital of the unify Kingdom: Faber & Faber. Hill, Lee. Three Colours: Blue www.sensesofcinema.com If you want to get a full essay, order it on our website:
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