"Murarz" (1973) juxtaposes public acts with private ones, an officially organized May Day parade with a man's voiceover of disbelief and disappointment. As a result, the film has two focal points, which are reflected in a motion shot: 45-year-old Josef Malesa is sitting in a bus, and the camera follows him all the way out of the window, merging with the Warsaw street scene reflected in the window glass. As he and his friends prepared to March, one of his own accounts provided a brief summary of his life — from being an activist as a young man ( "We all thought we were making revolution") to becoming part of the bureaucracy, to being disillusioned in 1956 and finally returning to his old job as a Mason. In the procession, slogans were heard one after another, but Kieslowski focused on this calm voice. The film ends with an overhead shot of the streets of Warsaw, while Malesa proudly talks about his work as a Mason. The clump of mud-brick houses lining the streets also lent support to his concluding words: Looking at the house he had built so solidly, he felt that his life had not been in vain. Section 14: Personal Background Early Video (14) Later, in dworzec (1980),touch screen interactive whiteboard, Mr Kieslowski juxtaposes more sharply the optimism of official propaganda with the frustration of personal loss. He spent a total of ten nights filming in Warsaw's central station. The film begins with a TV newscaster announcing the good news about the rising industrial and agricultural output value, but the sad faces in the waiting room appear in the picture. Then the announcer's voice was moderately lowered and replaced by a female voice announcing the train's delay-which was indeed a common thing in Poland at that time. Why have so many trains been cancelled? A man asked. Because there are fewer passengers. That's the answer he got, and the audience can only wonder if the opposite is true. The late train finally came, some of the passengers rushed over, and the rest of the people could only sit in the gloomy station. That alone makes "Train Station" an excellent documentary about Polish reality,75 smart board, but what's more, at the end of the film, Kieslowski uses the camera probe in the station to rotate, the first five times, and the timpani of the soundtrack to create an ominous feeling. When the cameras appear for the seventh and eighth time, there are no more drums, and the picture cuts back and forth between the surveillance equipment and the people watching TV in the station. (They were watching the CCTV in the station. The announcer announced that it was going to be "an English film, My Friend Spot".) At the end of Train Station, the man behind the camera finally appears: indifferently manipulating buttons, staring at screens, interactive touch screens education ,touch screen board classroom, and even the whole train station. Unlike the television newscaster, he is invisible to others. However, like the newscaster, he is out of step with the audience waiting for the bus. In przeswietlenie (1974), there is an even more hopeless wait: a tuberculosis sanatorium. The four patients described feelings of sadness, self-doubt, and feelings of uselessness. Similar to "I Was a Soldier," all four appear in close-up. They lamented that in the sanatorium, they could no longer be a complete person like normal people. Kieslowski may have been drawn to this theme because his father also died of tuberculosis, but it is the theme of "X-rays" that is more noteworthy, a theme that would be fully developed years later in "three colors": the plight of isolated individuals. Section 15: Personal Background Early Video (15) As he told a French journalist in 1979: "When I make a feature film, I always know how it ends.". But when I made the documentary, I didn't know. Just not knowing how the next shot will end is enough to make people excited, let alone not knowing the ending of the whole film. For me, documentary is a greater art form than drama, because I think life is smarter than me. It creates something more interesting than I could ever come up with. [10] This was also proved in pierwsza milosc (1974), which was also a turning point in Kieslowski's film career. Apart from the title itself, First Love can hardly be called a romantic film. In the film, we can not see the images related to desire, courtship or lust. What we can see is the real process of how a 17-year-old pregnant girl and her boyfriend officially become a couple. It was at the doctor's office that she first met Jadwiga, who warned her that miscarriage was dangerous. Roman's first appearance was during a military medical examination. If, for the title, the audience had expected to see kissing and dating, Kieslowski brought us the reality of life full of bureaucracy and constant compromise. In the office of the Housing Authority, the boy and the girl hoped that the other party could speed up the work and arrange an apartment for them, but the female clerk told them that they would have to wait for three years. They had to settle down in a spare cabin in Jadwija's grandmother's house. While the cottage was being painted, the police came again, saying that their household registration had not been registered at the address, and then he said sarcastically that the apartment, which was originally just a kitchen, was too crowded for three people to live in. (Mr. Kieslowski admitted that he had "brought in" the policeman "for the purpose of excitement." I brought in the policeman on purpose,smart interactive whiteboard, but Jadwija was eight months pregnant, so I probably took a little risk — a surprise visit by the police could have caused a premature birth, but I always thought it would not be a big problem. ") ［11］。 hsdsmartboard.com