The investigation of Krzysztof Kieslowski cinema in anxiety concept axis

The concept of anxiety expressing doubtfulness in the mental state of a person has a much more complicated and stratified structure in Psychology and Philosophy beyond the counterpart of everyday language and the privileged connotation. Neurotic anxiety, which cannot be sharply linked to an evident lesion and is therefore difficult to survive, is also related to spontaneous existential anxiety. In general, the concept of anxiety, which is regarded as a means of raising the spirit in psychoanalysis and existentialism, is inevitable for existence. Humans are destined to worry and die in this world, where they are dropped / thrown. However, the concept of anxiety is never a negative concept in psychoanalysis and existentialist philosophy. Anxiety is the biggest possibility provider, the director of actions, an essential feeling for existence,and undertakes a creative mission, because existence can question and feels itself only if it feels anxious to access existential nobility and in this way, it may raise its spirit and make a breakthrough to become an authentic / genuine entity. Therefore, anxiety is a requirement of spirit ,and the lack of anxiety is basically the lack of spirit. On the other hand, anxiety, especially after the second half of 20th Century, became one of the dominant notions that express the general mood of the contemporary human being faltering around wars, economic depressions, nuclear weapons, epidemic diseases, rising terrorism and various identity crises. Polish Cinema, which is highly influenced by this uncanny atmosphere on a global scale, is a politicized cinema that has been able to reflect the counterparts of its political history in its everyday life to the screen. This anxiety, which is a rising sensation in Polish society, started a conscious cinema tendency, the era of Moral Anxiety Cinema. In this study, the cognitive and emotional anxiety factors ,which influenced Kieslowski Cinema, which has a special place in World Cinema with its own language of expression , have been investigated in terms of which conditions and sources they were fed , and selected films have been examined in this context. As a result of these findings, the relationship between anxiety and fundamental concepts such as sin, responsibility, freedom, nothingness, fate, chance and necessity -frequently referred as anxiety factors by existententialist thinkers and found in Kieslowski's Cinema eminently-has been determined. Film analyses have also been made in the direction of these inferences.