| Krzysztof Kieślowski's French Flag | |
|---|---|
|
Origin |
Krzysztof Kieślowski |
|
Type |
French Flag |
|
Effects |
Empathetic transfer for greater interpersonal connectivity |
|
Downsides |
Increases emotional volatility through greater sensitivity |
|
Activation |
Disturbing then connecting thumb and forefingers together |
|
Collected by |
Warehouse 13 |
|
Section |
|
|
Aisle |
670779-7075 |
|
Shelf |
384657-6279-447 |
|
Date of Collection |
July 16, 2022 |
| [Source] | |
Origin[]
Krzysztof Kieślowski (June 27, 1941 - March 13, 1996) was a leading Polish director of documentaries, feature films, and television films of the 1970s, ’80s, and ’90s that explore the social and moral themes of contemporary times. His first significant film was Murarz (1973; The Bricklayer), the story of a political activist who becomes disenchanted with politics and returns to his former profession of bricklaying. Kieślowski made several notable documentaries during the 1970s, mostly for television, including Szpital (1976; Hospital), in which he employed a hidden camera to reveal problems within the Polish health care system. The documentary short Z punktu widzenia nocnego portiera (1979; From a Night Porter’s Point of View) centers on a watchman with totalitarian views of the world.
Kieślowski’s Bez końca (1985; No End), the story of a dead lawyer who watches over his family as they continue with their lives, marked the beginning of a longtime writing collaboration with Krzysztof Piesiewicz. Kieślowski’s mammoth Dekalog (1988–89; Decalogue), cowritten with Piesiewicz, is a series inspired by the Ten Commandments and made for Polish television. Each of the 10 hour-long episodes explores at least one commandment; as the commandments are not explicitly named, the audience is invited to identify the moral or ethical conflicts in the plot. The series was shown in its entirety as the centerpiece of the 1989 Venice Film Festival and is considered a modern masterpiece of cinema.
Kieślowski’s and Piesiewicz’s next efforts, the Three Colours trilogy, represented the colors of the French flag: Bleu (1993; Blue), Blanc (1994; White), and Rouge (1994; Red); respectively, they explored the themes of liberty, equality, and fraternity. The films were released several months apart and, although each can stand on its own, they were designed to be seen as a single entity. One theme, the frailty of human relations, emerged from the lonely awakening in Blue and permeated the grim humor of White before providing the symbolic epiphany in Red. Kieślowski was nominated for an Academy Award for best director for Red.
Effects[]
Disturbing it and placing the thumb and forefingers in the shape of an oval allows those near the user to physically feel the emotional status of others. (Replicates the statue on his tombstone in the shape of a camera lens.) They sense one’s overwhelming emotional output as if they were experiencing it firsthand, allowing for greater empathy with anyone they encounter. Although they don’t know the events that led to their current outlook, they implicitly understand tidbits of their life story.
Makes the wielder themselves subject to outbursts of sudden mania and moroseness. They absorb others extremes without understanding the influx of feelings is from outside sources, mellowing others but boiling their own mind in hyper-sensitive reactivity. Can be deactivated if the words fraternity, equality and liberty are said, seen or thought by the affected.