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The Influence of Higher Education on the Lives of Young South Africans.

Like all great artworks for there are also artworks which may be called bad, or kitsch they are sufficiently rich in signification to be able to accommodate various valid responses.

It is important to note that the three films correspind to the three colours of the French flag, where blue denotes liberty, white stands for equality, and red for franeytrnity of friendship.

In the case of Blue, the question phrased by the film may be stated as: Is it possible to have liberty without love The answer, enacted by the film narrative, is negative.

In the case of White the question is: Is it possible to achieve equality without shared power Again the answer is negative.

Red, in turn, puts the question: Is friendship possible without undistorted communication And as before, the answer is negative.

Bennington Jacques Derrida To Excel For Free Public Full

Discover the worlds research 20 million members 135 million publications 700k research projects Join for free Public Full-text 1 Content uploaded by Bert Olivier Author content All content in this area was uploaded by Bert Olivier on Apr 17, 2017 Content may be subject to copyright.

OlivierG1ufs.ac.za bertzazayahoo.co.uk This paper first appeared in South African Journal of Art History 17, December 2002, pp.120-139.

It was reprinted in Projections: Philosophical themes on film.

University of Port Elizabeth Publications.

Second, enlarged edition.

Kieslowskis film trilogy: Three Colours Blue, White and Red: The colours of life.

Krzysztof Kieslowskis cinematic trilogy, Three Colours Blue, White and Red 1 must surely rank among the greatest film-art in the histor y of cinema.

This could be demonstrated at many levels, including the visual-chromatic, the auditory (especially regarding the musical score) and the cinematic-narratological.

An art-philosophical (perhaps: cinemato- philosophical) approach to these three films would have to take all these levels into account, to a greater or lesser extent, to be able to arrive at a responsible interpretation, keeping in mind that each of them ( the films) represents Kieslowskis response to one of the colours of the French flag, the Tricolour, specifically to what each colour s ymbolises, namely one of the concepts that, together, comprise the tripartite motto of the French Revolution.

In the case of Blue, it is liberty, of White, equality, while Red stands for fraternity or friendship.

What I would like to do here, is to explore the actualization of these three themes in the three films concerned, and to show how they intertwine or combine to articulate a philosophy of life which addresses some if not all of the funda mental issues that most humans have to grapple with in their lives.

I n b rief: a specific, to my mind exemplary, philosophy of life comes to life here.

Because what is at stake is the relevance of these cinematic artworks for human life, I shall be guided b y Gadamers tripartite hermeneutic schema for interpretation, namely understanding (the implicit orientation in ones world, without which no human being could function), inte rpretation (the explicit, linguistic articulation of the specific way one understands something like a text, an artwork, a conversation, etc.), and application (the way in which a specific inte rpretation applies to ones own situation or life) (Gadamer 1982: 274 - 275).

One possible an gle of incidence into the complex world of human r elationships mapped out by Blue, White and Red would be the int errogative mode.

Accordingly, each film might be said to pose a question in terms of its s ymbolic correlate (freedom, equality and friendship), and to provide an answer to this question in the course of its unfolding along multiple axes of meaning.

In the case of Blue, the question is: Is it possible to be truly free (liberated) without love In White the question is: Can there truly be equality without comparable (or shared) power Red, in turn, poses the question: Is friendship truly possible without communicatio n which is predicated on otherness The rich, poetic, multifaceted answer provided by each film is astonishing in its insight regarding the human condition.

If art, in the course of its long history, is indeed the repository of humankinds self -understanding - a repository that may be revisited again and again by subseque nt generat ions of people, given the manner in whic h what Heidegger (1975: 44; 66- 67) c alled a world is preserved in artworks - then these three films by Kieslowski represent some of the most profound disclosures concerning th e cultural world of the 20th century, as I will attempt to show in the following interpretation.

Blue appeared in 1993, followed by both White and Red i n 1994.

To be able to demonstrate how the themes of freedom and love, equalit y and power, and finally, friendship and communication operate and intertwine in the films in question, it is necessary to reconstruct their respective narratives.

The reason for this is not hard to understand: none of these themes or phenomena (freedom, etc.) occur intelligibly outside of the events that comprise human lives which, in the form of life-stories or biographies, ineluctably have narrative struc tures - and therefore it would be impossible to grasp their relevance and significance in the absence of a familiarity with the narrative contexts within which they are pla yed out here.

In the course of delineating the narrative sequence of each film, I sh all atte mpt to indicate how the events which are readily understandable, in Gadamers sense of the term, to a cinematic audience at the first level of identify ing the characters as fellow (if fictional) human beings in a recognizably human or social world, can, at a secondar y level, be interpreted (that is, explicated) along the thematic axes that I have indicated above.

In the process, I shall also tr y to connect this genesis of meaning to specific cinematic elements, such as a certain striking image-configuration, or a play of colours, or sequence of audiovisual images representing (or sometimes metaphorically r efracting) narrative events.

I should stress, how ever, that I do not claim my interpretation to be the onl y valid, or perhaps rather, responsible one t hat could be offered of thes e c inematic works of art.

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