Qu’est-ce qu’un cadre ? Qu’est-ce que voir ? Qu’est-ce que donner à voir ? Partant d’une séquence du Décalogue 8 et après avoir rappelé l’importance du modèle de la finestra albertienne comme origine de l’image, en peinture, photographie et cinéma, la thèse observe son traitement par Kieślowski dans Le Décalogue. Il s’agit d’abord de mettre en relation le projet du polyptyque avec le décalogue mosaïque, d’y suivre le sort du second commandement, comme commandement-fantôme, pour voir en quoi il s’en constitue comme le commandement-racine. L’amateur est considéré et étudié comme mise en jeu de ce commandement, sa Vie d’artiste est considérée à l’aune de sa quête cinématographique du réel dans l’image et de son cheminement éthique. La thèse observe ensuite en quoi le cadre peut être considéré comme une figure de la Lettre. Apparaît alors une dialectique de la finestra et de la fessura, où se lit l’expression visuelle du conflit de la pulsion scopique et de sa contention éthique. Est ensuite menée une approche phénoménologique de l’image-fente dans Le Décalogue,partant du motif de la fente pour observer l’image-fente comme dispositif visuel et comme figure métadiscursive.Elle devient ensuite concept heuristique dont est éclairée la structure d’ouverture, sa fonctionnalité de passage puis la part du rapport à l’origine et enfin sa dimension d’objet primaire.Le concept heuristique d’image-fente aura peut-être permis de mettre en évidence le désir inconscient de fusion avec l’origine que la finestra albertienne porte en elle sous la forme de la fessura qui la hante et la déforme. / What is a frame? What is seeing? What is giving to see? Taking a sequence of Decalogue:VIII as a starting point and after having reminded the importance of the albertinian finestra model as origin of the image in painting, photography and cinema, the thesis explores its handling by Kieślowski in The Decalogue.To begin with, this is done by putting into relation the polyptych project with the Mosaic Decalogue. From there we follow the stake of the second commandment — as a ghost-commandment— to see how it makes up as the root-commandment. Camera Buff is dealt with and studied by means of this commandment being brought into play. Kieślowski’s Artist life is seen in the light of its cinematographic quest of the real inside the picture and of its ethical course. Next, I explore how the frame can be considered as a figure of the Letter. This is when a dialectic of the finestra and of the fessura crops up, where the visual expression of the conflict between the scopic drive and its ethical strain can be observed. I then set about a phenomenology of the image slit inside The Decalogue, taking the pattern ofthe slit to explore the image slit as a visual apparatus and then as a metadiscursive figure.It then becomes a heuristic concept about which I explore the opening structure and then its passage functionality to follow on with the measure of the relation to the origin and finally the primary object dimension.The heuristic concept of image slit may possibly have allowed to underline the unconscious desire of bonding with the origin which the albertinian finestra possesses within itself under the form of the fessura which haunts and distorts it.

Krzysztof Kieślowski is regarded as one of the most universal Polish film directors. However, the author wishes to argue that his work was deeply rooted in his sense of Polishness. In terms of research methods, this thesis utilises the existing abundant li terature on nation and nationalism to provide an overview of the topic and builds its own theoretical framework and a working definition of Polishness. The latter is influenced by the author’s studies of both English and PolishPolish-language materials. In the c ase study part, this paper mostly uses primary sources, mainly Kieślowski’s films to find traces of Polishness in them. The analysis builds on the theoretical tools illustrated in the first section. This thesis offers two s ets of conclusions. With regard to the theory, it suggests that Polishness is diverse and very contradictory. With regard to the case of Krzysztof Kieślowski, this thesis concludes that his work can be fully understood and appreciated only in the light of his national identity and experi ence presented in his early films made in Poland. It provides as well some explanation of some typical Polish customs to help to better understand Kieślowski and his films by introducing some insight into Polish traditions and characteristics. Finally, the author recommends further research into Polishness in the work of other Polish directors working abroad.

This Masters thesis is based on the qualitative content analysis of four autobiographies of film directors Krzysztof Kieslowski, Vojtech Jasny, Roman Polanski and Juraj Herz. The main goal of his thesis is to find out what are the most important aspects of the craft of directing for the selected directors of fiction and documentary films. The second goal is to point to similarities between the craft of journalists and the craft of film directors. The thesis consists of two central parts. In the first part, the craft of the director is analysed from the perspective of personal character traits of the directors. In the second part, the craft is analysed from the perspective of making a film with focus on coming up with ideas, creating scripts and directors the actors. This thesis is written from the perspective of an author who wishes to follow a career in making documentary films. UNIVERZITA KARLOVA FAKULTA SOCIÁLNÍCH VĚD Institut Komunikačních studií a žurnalistiky Katedra Žurnalistiky Filmové řemeslo v autobiografiích filmových režisérů Diplomová práce Autor práce: Lubomír Ballek Studijní program: Žurnalistika Vedoucí práce: prof. MgA. Martin Štoll, Ph.D. Rok obhajoby: 2020

This Masters thesis is based on the qualitative content analysis of four autobiographies of film directors Krzysztof Kieslowski, Vojtech Jasny, Roman Polanski and Juraj Herz. The goal of this thesis is to find out what are the most important aspects of the craft of directing for the selected directors of fiction and documentary films. The thesis consists of two main parts. In the first part, the craft of a director is analysed from the perspective of personal character traits of the directors. In the second part, the craft is analysed from the perspective of making a film. The focus of the second part is on how the directors come up with ideas, create scripts and direct actors. UNIVERZITA KARLOVA FAKULTA SOCIÁLNÍCH VĚD Institut komunikačních studií a žurnalistiky Katedra žurnalistiky Filmové řemeslo v autobiografiích filmových režisérů Diplomová práce Autor práce: Lubomír Ballek Studijní program: Žurnalistika Vedoucí práce: prof. MgA. Martin Štoll, Ph.D. Rok obhajoby: 2021