Tim Cawkwell's Cinema

Intelligible writing on intelligent film

  • No End: widowed Urszula and dead husband
    No End: widowed Urszula and dead husband
  • 3 Colours Red: Good Samaritan and Judge
    3 Colours Red: Good Samaritan and Judge
  • Dekalog 2: doctor as God
    Dekalog 2: doctor as God
  • Hospital: 'the earth is our hospital . . .'
    Hospital: 'the earth is our hospital . . .'
  • Karabasz's 'Musicians': the conductor
    Karabasz's 'Musicians': the conductor
  • Station: cctv camera as God
    Station: cctv camera as God
  • Station 2: cctv omniscient but impotent
    Station 2: cctv omniscient but impotent
  • Office 1: real people
    Office 1: real people
  • Office 2: people as files
    Office 2: people as files
  • Talking Heads: 1st interviewee
    Talking Heads: 1st interviewee
  • Talking Heads: last i/viewee
    Talking Heads: last i/viewee
  • Blind Chance: Witek misses train
    Blind Chance: Witek misses train
No End: widowed Urszula and dead husband
No End: widowed Urszula and dead husband
This essay can be downloaded as a pdf here. It is 5,600 words long over 8 pages.

SUMMARY:
 

1              K’s high reputation – his influence – the label of ‘metaphysical’ – K’s God as outlined in 1993 interview – ‘metaphysical’ as getting behind physical appearances – ‘metaphysical’ because of presence of a God-like figure, e.g. in Three Colours: Red.


2              K’s work in documentaries prior to 1980 – particular circumstances illustrate a larger universe – ‘metaphysical’ as in The Metaphysical Poets of 17th-century England – TS Eliot – K’s interest in ill-health as metaphor – K’s documentaries about patients in hospitals, and Hospital about doctors.


3              K’s career as a documentarist (1967-80) – importance of Kazimierz Karabasz – contemporary Poland – K’s questioning of system – K’s humanism – The Office (1967) and Kafka.


4              K’s economy of narrative and of editing – his structuralism.


5              K and Camus’ ‘metaphysical rebellion’.