Editing Three Colours: Blue (section)

==Analysis==
The occasional fade-outs and fade-ins to Julie's character are used to represent an extremely subjective point of view. According to Kieślowski, "at a certain moment, time really does pass for Julie while at the same time, it stands still. Not only does her music come back to haunt her at a certain point, but time stands still for a moment".{{verify source|date=February 2021}}

Steven Woodward, in a detailed analysis of the film, drew attention to the unconventionality with which Kieślowski treats the title color in terms of the symbolism it expresses. Woodward noted that in the hospital scene, "given the association of blue light and funeral music, blue seems to convey the conventional sense of mourning and depression. However, the musical accompaniment highlights Julie's increasing struggle with the melody, which reminds her of her feelings of mourning; the symbolism of the color blue is associated with props such as a pool filled with water in which the heroine immerses herself to drown out the sound of her husband's compositions. However, the melody "still flows" and the feeling of mourning cannot be drowned out, so Julie gives in to it in the final sequence in blue colors.<ref>{{cite journal| title = Blue on Second Thought| last = Woodward | first = Steven | journal = New Review of Film and Television Studies | url =https://www.tandfonline.com/doi/full/10.1080/17400309.2017.1265427 | year = 2017| volume = 15 | pages = 58–69 | doi = 10.1080/17400309.2017.1265427}}</ref>

[[Slavoj Žižek]] noted that the slogan "freedom, equality, fraternity" used in the ''Three Colors'' trilogy cannot be separated from the Christian theological virtues - faith, hope and love. According to Žižek, blue is associated with freedom and love; “freedom is true liberation only when supported by Love, the loving acceptance of others (In ''Blue'', Julie goes from cold, abstract freedom to the real freedom of loving others)”. This Love, however, takes on a specific dimension, because the final "sexual act, during which Julia becomes enlightened, is staged as her own lonely fantasy, a dream-like event that does not actually involve contact with another person". The Slovenian psychoanalyst also stated that Julie had for a long time fetishized the idealized memory of her husband, which was disturbed by the news of marital infidelity. ''Blue'', therefore, according to Žižek, "is not a film about mourning, but about creating conditions for mourning: only in the last shot of the film can Julie begin to work through mourning".<ref>{{Cite book |last=Žižek |first=Slavoj |author-link=Slavoj Žižek |title=The Fright of Real Tears: Krzystof Kieslowski Between Theory and Post-Theory |publisher=[[British Film Institute]] |year=1999 |isbn=9780851707556 |edition=1st}}</ref>

Emma Wilson analyzed ''Blue'' as a postmodern work of art, reflecting the content of Frederic Jameson's philosophical concept. According to Wilson, "the film questions the potential of its medium and shows how the evocative power of [...] images of suffering has been displaced".<ref>{{Cite journal |last=Wilson |first=E. |date=1998-12-01 |title=Three Colours: Blue: Kieslowski, colour and the postmodern subject |url=https://doi.org/10.1093/screen/39.4.349 |journal=[[Screen (journal)|Screen]] |volume=39 |issue=4 |pages=349–362 |doi=10.1093/screen/39.4.349 |issn=0036-9543}}</ref>