A linguagem visual na trilogia Trois Couleurs de Kieślowski

Abstract

The objective of this research is to analyze the Trois couleurs trilogy: Bleu; Trois couleurs: Blanc; and Trois couleurs: Rouge, by Polish director and screenwriter Krzysztof Kieślowski, produced between 1993 and 1994, whose theme is the national colors and motto of France: Freedom, Equality and Fraternity, ideals that came from the 18th century to think of them, within a Unified Europe. The director seeks to use visual effects, scenographic objects, scenarios, colors and characters to provoke a reflection on values, freedom, equality and fraternity in a contemporary way. Often evidencing filmic resources, such as the spaces that are built and their repercussions, the action of time that is organized, the repetitions of gestures, postures, musical particles, how these characteristics are combined, are connected, and create a rhythm? Kieślowski proposes an experimentation, making use of latent symbols and references, where the individual trajectories of the characters are constructed and their paths delineated through their particularities and the image result achieved that relates cinema and communication. For this analysis, principles of Peircean semiotics and the concept of intertextuality resulting from dialogism and polyphony will be used. The selected methodology is the dialectic, which consists of isolating images and analyzing the meaning of the visual elements of certain moments of the work in which they have gained prominence with elements of other works and their interactions. The theoretical framework includes concepts by Donis Dondis, Charles Peirce, Lucia Santaella, Julia Kristeva.