DOCSLIB.ORG

29 May 2015 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
29 May 2015 1 THENew 13 TPolishH POLISH Cinema FILM FESTIVAL 8 APRIL— 29 MAY 2015 1 IN LONDON AT THE BFI SOUTHBANK, FESTIVAL GUIDE ICA, TATE MODERN AND MORE... kinoteka.org.u k Welcome to Kinoteka 13! 2 Welcome to Kinoteka 13! 3 contents WELCOME TO KINOTEKA 13! Welcome to KINOTEKA 13! ....................................................................... 3 This year KINOTEKA Polish Film Festival Pawlikowski will present a special weekend returns to the capital for an extended bumper of screenings of his acclaimed documentaries Special Guests .................................................................................... 4 13th edition. Encompassing all aspects of Polish at the ICA (18th / 19th April), including From film culture, an enticing mix of film, music Moscow to Pietushki and Dostoevsky’s Travels. SCREENINGS & EVENTS and visual arts is on offer with an outstanding WojciecH Wiszniewski RediscoveRed Opening Night Gala ............................................................................... 8 selection of screenings, UK premieres, curated at the ICA on 12th April celebrates the short retrospectives, exhibitions, concerts, interactive career of influential documentarian Wojciech New Polish Cinema .............................................................................. 10 workshops and industry masterclasses with Wiszniewski. He made just 12 films in total Documentary Screenings ........................................................................ 13 special guests. before his premature death at the age of 34. Polish Cinema Classics ........................................................................... 18 KINOTEKA is partnering with Filmhouse He is now considered to be one of the most Martin Scorsese Presents Masterpieces of Polish Cinema ..................................... 20 Edinburgh and BFI Southbank on an exciting outstanding personalities of his generation. new collaboration for the UK tour of MARtin The documentary strand also celebrates Martin Scorsese Presents... Talks & Workshops ................................................ 31 ScoRsese PResents MasteRpieces OF the work of emerging Polish documentary Cinema Meets Art ................................................................................ 34 POLisH Cinema: 24 masterpieces, chosen filmmakers who studied at the Wajda Film Poster Exhibition ................................................................................. 35 by Scorsese himself, all brilliantly restored School and who have both been Oscar® and digitally remastered to 2K resolution. nominated for this year’s Best Documentary Music Event ...................................................................................... 36 The season showcases films made during Short Film category. Talks and Workshops ............................................................................ 38 a particularly fertile and creative time in In conjunction with 'Martin Scorsese Closing Night Gala ............................................................................... 40 post-war Poland by directors such as Andrzej Presents Masterpieces of Polish Cinema', Kinoteka on Tour ................................................................................. 42 Wajda, Krzysztof Zanussi, Andrzej Munk, Jerzy KINOTEKA and BFI Southbank will host an Kawalerowicz, Wojciech J. Has, Aleksander exhibition of original poster artwork celebrating Ford, Krzysztof Kieślowski, and others. The the films of renowned director Andrzej Wajda. CALENDAR & BOOKing UK season launches at KINOTEKA’s Opening Tate Modern will screen The Performer, a Calendar of Events, Booking & Venues ......................................................... 43 Night Gala on 8th April at BFI Southbank dynamic story full of punk energy based on the Credits & Thanks ................................................................................. 48 with a screening of Camouflage, with director life of Oskar Dawicki one of the most original Krzysztof Zanussi in attendance. contemporary Polish artists currently working. The ICA plays host to KINOTEKA’s New This year KINOTEKA will draw to a close POLisH Cinema strand from 10th April with with a special screening of cult Polish comedy a selection of both popular and critically The Cruise (Rejs, 1970), marking Second Run’s acclaimed contemporary Polish films from the release of the film on DVD. Taking inspiration past year. The strand includes the UK premieres from the film, festivities continue with a of the festival special guest Krzysztof Zanussi’s boat ride on the Thames for a 70’s-themed Foreign Body and Jerzy Stuhr’s Citizen. The interactive, improvised performance created latest film from KINOTEKA favourite Wojciech by immersive UK theatre group Gideon Reeling. Organised by Co-financed by In partnership with Smarzowski (Traffic Department, The Dark We hope you will enjoy all the events House) The Mighty Angel will be presented during the 13th KINOTEKA and we look alongside one of the year’s most interesting forward to seeing you there. directorial debuts, Krzysztof Skonieczny’s Hardkor Disko. Anna Godlewska Supported by KINOTEKA showcases the breadth of Polish Cultural Institute Director original, innovative documentary that has come Marlena Lukasiak out of Poland. Oscar©-winning filmmaker Paweł Kinoteka Programmer and Producer kinoteka.org.u k Welcome to Kinoteka 13! 4 Welcome to Kinoteka 13! 5 SPecial guests OSKAR DAWICKI (born 1971) band of the legendary Polish trumpeter Tomasz JACEK PETRYCKI (born 1948) Polish multimedia artist, his work includes Stańko. Wania, last year’s double winner of Cinematographer, director and screenwriter. performance art, video works, photography, prestigious Fryderyk Polish music award, is one He collaborated with Krzysztof Kieślowski, documentation, objects and installations. All of the most important jazz musicians of young Marcel Łoziński and Agnieszka Holland. In 1996 of his works have a post-conceptual character generation in Poland. he received a BAFTA award for Photography and emanate a slightly grotesque, ironic and for Clive Gordon’s Betrayed. He was also even absurd aura. He introduces into his MICHAŁ OLESZCZYK (born 1982) nominated for the Polish Film Award 'Orły' works a romantically tragic component, highly Internationally acclaimed Polish film expert for Photography for Mariusz Malec’s Człowiek saturated with his own existential dilemmas. and critic, scholar, and translator based in wózków. In his video works he uses ironic self-reflection Warsaw. He contributes to RogerEbert.com (I’m sorry, 2005). and works as the artistic director of Gdynia KRZYSZTOF PIESIEWICZ (born 1945) Film Festival, as well as a programmer for Polish screenwriter, lawyer, advocate and GIDEON Reeling Polish Filmmakers NYC. He wrote the first politician. Co-author of award winning A London based group of artists that make Polish book on the work of Terence Davies and screenplays for 17 films directed by Krzysztof interesting, made to measure and truly has contributed to a number of Polish outlets Kieślowski, including Three Colours: Blue interactive theatrical experiences. They invite ('Kino', 'FilmWeb', 'Dwutygodnik'). He runs a (1993), Three Colours: White (1994), Three their audiences to become players, participants Sławomir Idziak blog at oleszczyk.blogspot.com. Co-author Colours: Red (1994), No End (1985) and The and adventurers through their stories, with fresh, of published interviews (together with Jakub Double Life of Veronique (1991). His screenplay imaginative and highly varied word. And at the with T-Mobile New Horizons International Mikurda) with Guy Maddin and Quay Brothers. for Three Colours: Red was nominated for the heart of what they do is a sense of inclusive Film Festival. The winner of Polish edition of Academy Award in 1995. His screenplays were playfulness and a sensitivity to the level that International Young Screen Entrepreneur of PAWEŁ PAWLIKOWSKI (born 1957) translated into ten languages and published audiences are comfortable to be immersed into the Year organized by British Council. Together Oscar®-winning Polish/British film director who as books. He is a Member of the American their imaginary worlds. with Michał Oleszczyk published an interview has lived and worked most of his life in the UK. Academy of Motion Pictures. with Quay Brothers and Guy Maddin. He has His filmsLast Resort (2000) and My Summer of SŁAWOMIR IDZIAK (born 1945) translated, edited and prefaced books on Terry Love (2004) both won the BAFTA award. His ŁUKASZ RONDUDA (born 1976) Polish cinematographer, known for his Gilliam and Tsai Ming-liang. low budget black-and-white drama Ida (2013) Polish film director, writer, curator at the Center collaboration with Krzysztof Zanussi with won the 2015 Oscars® Academy Award for Best for Contemporary Art in Warsaw, curator at the whom he has made 14 films. He worked on OBara InternatiONAL Foreign Language Film and BAFTA Award for Archive of Polish Experimental Film and New all the early films of Krzysztof Kieślowski, A fresh and unique project on the European Best Film Not In the English Language, and was Media Project, academic lecturer on history including Three Colours: Blue. In 1998 he won jazz scene that has already been internationally nominated for the Oscars® Academy Award for of art, media theory and aesthetic theory, both an Honourable Mention at the 48th Berlin recognised. Its leader Maciej Obara, Polish Achievement in Cinematography. at Polish and foreign universities, including International Film Festival
Load more

Recommended publications
  • Poland–Russia Social Diagnosis 2013
    POLAND–RUSSIA SOCIAL DIAGNOSIS 2013 How Poles see Russia, Russians and Polish-Russian relations How Russians see Poland, Poles and Russian-Polish relations Warsaw 2013 Report on public opinion research in Poland and Russia POLAND–RUSSIA SOCIAL DIAGNOSIS 2013 How Poles see Russia, Russians and Polish-Russian relations How Russians see Poland, Poles and Russian-Polish relations CENTRE FOR POLISH-RUSSIAN DIALOGUE Warsaw 2013 AND UNDERSTANDING Report on public opinion research in Poland and Russia POLAND–RUSSIA: SOCIAL DIAGNOSIS 2013 Polish part of the research Analyses and report: ARC Rynek i Opinia Public opinion survey: Centrum Badania Opinii Społecznej (CBOS) Qualitative research: Grupa IQS Comment: Łukasz Mazurkiewicz, ARC Rynek i Opinia Russian part of the research Analyses, report, public opinion survey, qualitative research: All-Russian Center for the Study of Public Opinion (VTsIOM) Comment: Valery Fedorov, All-Russian Center for the Study of Public Opinion (VTsIOM) Translation: Zbigniew Szymański © Copyright by Centrum Polsko-Rosyjskiego Dialogu i Porozumienia 2013 Graphic design and typesetting: Studio 27 (www.studio27.pl) Cover photo: www.sxc.hu ISBN 978-83-935192-1-7 Publishers Centre for Polish-Russian Dialogue and Understanding 14/16A Jasna Street, 00-041 Warsaw tel. + 48 22 295 00 30 fax + 48 22 295 00 31 e-mail: [email protected] http://www.cprdip.pl Contents Programme outline 4 How Poles see Russia, Russians and Polish-Russian relations. 6 Report on public opinion research in Poland 1. About the research 6 2. Key takeaways 7 3. Detailed results of the research 8 How Russians see Poland, Poles and Russian-Polish relations.
    [Show full text]
  • RUSSIAN WORLD VISION Russian Content Distributor Russian World Vision Signed an Inter- National Distribution Deal with Russian Film Company Enjoy Movies
    CISCONTENT:CONTENTRREPORTEPORT C ReviewОбзор of новостейaudiovisual рынка content производства production and и дистрибуции distribution аудиовизуальногоin the CIS countries контента Media«»«МЕДИ ResourcesА РЕСУРСЫ МManagementЕНЕДЖМЕНТ» №11№ 1(9) February №213 января, 1 April, 22, 20132011 2012 тема FOCUSномера DEARслово COLLEAGUES редакции WeУже are в happyпервые to presentдни нового you the года February нам, issue редак ofц theии greatПервый joy itномер appeared Content that stillReport there выходит are directors в кану whoн КИНОТЕАТРАЛЬНЫ Й CISContent Content Report, Report сразу where стало we triedпонятно, to gather что в the 2011 mostм treatСтарого film industryНового as года, an art который rather than (наконецто) a business за все мы будем усердно и неустанно трудиться. За вершает череду праздников, поэтому еще раз РЫНTVО КMARKETS В УКРАИН Е : interesting up-to-date information about rapidly de- velopingнимаясь contentподготовкой production первого and выпуска distribution обзора markets но хотим пожелать нашим подписчикам в 2011 ЦИФРОВИЗАЦИ Я КА К востей рынка производства и аудиовизуального годуAnd one найти more свой thing верный we’d likeпуть to и remindследовать you. емуPlan с- IN TAJIKISTAN, of the CIS region. As far as most of the locally pro- ning you business calendar for 2013 do not forget to ducedконтента series в этом and год TVу ,movies мы с радостью are further обнаружили distributed, упорством, трудясь не покладая рук. У каждого UZBEKISTAN,ОСНОВНОЙ ТРЕН ANDД что даже в новогодние праздники работа во мно свояbook timeдорога, to visit но theцель major у нас event одн forа – televisionразвивать and и and broadcast mainly inside the CIS territories, we media professionals in the CIS region - KIEV MEDIA РАЗВИТИ Я (25) pickedгих продакшнах up the most идет interesting полным хо andдом, original а дальше, projects как улучшать отечественный рынок.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) Permalink https://escholarship.org/uc/item/0hq1924k Author Zelechowski, Jamie Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Germanic Languages by Jamie Leigh Zelechowski 2017 © Copyright by Jamie Leigh Zelechowski 2017 ABSTRACT OF THE DISSERTATION The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) by Jamie Leigh Zelechowski Doctor of Philosophy in Germanic Languages University of California, Los Angeles, 2017 Professor Todd S. Presner, Co-Chair Professor Roman Koropeckyj, Co-Chair My dissertation investigates the cinematic representation of forced migration (due to the border changes enacted by the Yalta and Potsdam conferences in 1945) in East Germany, West Germany, and Poland, from 1945–1970. My thesis is that, while the representations of these forced migrations appear infrequently in feature film during this period, they not only exist, but perform an important function in the establishment of foundational national narratives in the audiovisual sphere. Rather than declare the existence of some sort of visual taboo, I determine, firstly, why these images appear infrequently; secondly, how and to what purpose(s) existing representations are mobilized; and, thirdly, their relationship to popular and official discourses.
    [Show full text]
  • New Polish Films 20082 0 0 8 NPF 2008 Okladka S II:Layout 1 28/1/08 11:22 Page 1 New Polish Films 2008
    NNPFPF 22008008 ookladkakladka s I.aiI.ai 28/1/0828/1/08 11:57:1811:57:18 NewPolish Films 20082008 C M Y CM MY CY CMY K 2008 Sponsor of PISF: NPF 2008 okladka s II:Layout 1 28/1/08 11:22 Page 1 New Polish Films 2008 New Polish Films 2008 1 2 New Polish Films 2008 Introduction Dear Ladies and Gentleman, We begin the third year of the Polish Film Institute's activity and the second year after the Act on Cinematography was approved by European Commission in May 2006. For last two years the situation of Polish cinema has changed favourably. In 2005 with the introducing the parliamentary act, Polish cinema received a great opportunity. The Polish Film Institute, created according to world's best standards, has become an institution supporting artists at every stage of film production. The PFI also subsidizes film festivals and retrospectives, supports the infrastructure of cinemas' renewal, promotes Polish cinema abroad, grants professional advancement of filmmakers as well as film schools. We are always trying to be where something important is happening in cinema. The new law and establishing the PFI resulted not only in multiplying the State's expenses on cinema – here I would like to remind that in the worst in this case year of 2002 Ministry of Culture assigned 4.3 million zloty for film production, while only this year the Institute assigned almost 80 million zloty for film production and development. The number of last year's feature film production increased up to 37 titles and in 2007 – 39 feature films have been made.
    [Show full text]
  • Filmy Eldara Riazanowa W Polsce – Z Zagadnień Recepcji
    UWM Olsztyn Acta Polono-Ruthenica XXII/4, 2017 ISSN 1427-549X Maria Mocarz-Kleindienst Katolicki Uniwersytet Lubelski Jana Pawła II Filmy Eldara Riazanowa w Polsce – z zagadnień recepcji Produkcje filmowe, zwłaszcza jeśli przekraczają granice kultur narodowych, stają się ważkim medium w interkulturowym pejzażu audiowizualnym. Służą wzajemnemu poznaniu, wzbogacaniu, niekiedy konfrontacji systemów wartości, światopoglądu oraz codziennych realiów jako elementów konstytuujących i zarazem różnicujących obszary kulturowe. Takie spojrzenie na proces przenikania filmu z jednej kultury do innej jest charakterystyczne dla czasów współczesnych, cechu- jących się otwartością na inność kulturową – tę mniej lub bardziej odległą. Jedną z dróg osiągania takich celów jest niewątpliwie recepcja filmu zagranicznego zarów- no przez widownię zinstytucjonalizowaną, zgromadzoną w salach kinowych, jak i widzów indywidualnych, którzy w warunkach domowych mają do swojej dyspo- zycji różne możliwości poznania osiągnięć kinematografii krajowej i zagranicznej. Recepcja w wymiarze indywidualnym i zbiorowym, rozumiana jako pro- ces przyjęcia i odbioru dzieła (w danym przypadku filmu), jego funkcjonowania w przestrzeni kulturowej, jest zjawiskiem konstytuującym receptywne uczestnictwo w kulturze. To pojęcie wyrosłe na gruncie socjologii kultury odnosi się w głównej mierze do zbiorowej postawy intelektualnej związanej z przyswajaniem dzieła przez środowiska profesjonalistów, w mniejszym stopniu widzów-amatorów [Bokszański 1981, 15 i in.]. W przypadku recepcji dzieła filmowego
    [Show full text]
  • Poles and Ukrainians in Daily Contacts
    Poles and Ukrainians in daily contacts Nadiia Koval Laurynas Vaičiūnas Iwona Reichardt 2021 Poles and Ukrainians in daily contacts ISBN 978-83-7893- 276-5 Copyright © by Nadiia Koval, Iwona Reichardt and Laurynas Vaičiūnas, 2021 Copyright © by the Jan Nowak-Jeziorański College of Eastern Europe in Wroclaw, 2021 Copyright © by Foreign Policy Council “Ukrainian Prism”, 2021 Copyright © by Friedrich-Ebert-Stiftung, 2021 This research was organized, coordinated and funded by the Representations of the Friedrich Ebert Foundation in Poland and Ukraine. www.fes-polska.org www.fes.kiev.ua Friedrich-Ebert-Stiftung, Representation in Ukraine 34, Pushkinska Street, Kyiv 01024 Ukraine Tel.: +38-044-234-00-38 | fax: +38-044-451-40-31 Responsible: Marcel Röthig | Resident Representative in Ukraine, Friedrich-Ebert-Stiftung Friedrich-Ebert-Stiftung, Representation in Poland ul. Poznańska 3/4, 00–680 Warszawa Responsible: Ernst Hillebrand | Resident Representative in Poland, Friedrich-Ebert-Stiftung The views expressed in this publication are not necessarily those of the Friedrich-Ebert-Stiftung or of the employers of the authors. Commercial use of all the publications and media published by Friedrich-Ebert-Stiftung (FES) is not permitted without the written consent of the FES. The Jan Nowak-Jeziorański College of Eastern Europe is co-funded by the City of Wroclaw. Cover image by DoLasu | www.dolasu-pracownia.pl Layout and design by DoLasu Table of contents 1. Introduction. Why this study matters? 2. Research methodology 3. Research results 3.1. Stereotyping the Other – neighbour, worker, normal guy 3.2. Entrenched asymmetries of the everyday contacts 3.3. Culture and collective memory 3.4.
    [Show full text]
  • Opinions of Film Critics and Viewers
    Alexander Fedorov 100 most popular Soviet television movies and TV series: opinions of film critics and viewers Moscow, 2021 Fedorov A.V. 100 most popular Soviet television movies and TV series: opinions of film critics and viewers. Moscow: "Information for all", 2021. 144 p. What does the list of the hundred most popular Soviet television films and TV series look like? How did the press and viewers evaluate and rate these films? In this monograph, for the first time, an attempt is made to give a panorama of the hundred most popular Soviet television films and serials in the mirror of the opinions of film critics, film critics and viewers. The monograph is intended for high school teachers, students, graduate students, researchers, film critics, film experts, journalists, as well as for a circle of readers who are interested in the problems of cinema, film criticism and film sociology. Reviewer: Professor M.P. Thselyh. © Alexander Fedorov, 2021. 2 TABLE OF CONTENTS Introduction ………………………………….................................................................................... 4 100 most popular Soviet television movies and TV series: opinions of film critics and viewers ……………………………........................................................................................... 5 Interview on the release of the book "One Thousand and One Highest Grossing Soviet Movie: Opinions of Film Critics and Viewers"…………………………………………………………….. 119 List of "100 most popular Soviet television films and TV series.......................................... 125 About
    [Show full text]
  • Poland – Ukraine Poles – Ukrainians
    POLSKA UKRAINA POLACY UKRAIŃCY POLAND – UKRAINE POLES – UKRAINIANS LOOK ACROSS THE BORDER JOANNA FOMINA JOANNA KONIECZNA-SAŁAMATIN JACEK KUCHARCZYK ŁUKASZ WENERSKI INSTITUTE OF PUBLIC AFFAIRS European Programme Publication ‘‘Poland ---- Ukraine, Poles ---- Ukrainians. A look across the border’’ was prepared as a part of the project ‘‘The perception of Poland and Poles in Ukraine and Ukraine, Ukrainians in Poland’’. The project was financed by the PZU Foundation. English translation: dr Joanna Fomina Cover photo: Mariusz Gaczyński/EastNews All rights reserved. No part of this report may be printed or reproduced without the permission of the publisher or quoting the source. © Copyright by Instytut Spraw Publicznych, Warszawa 2013 Published by: Fundacja Instytut Spraw Publicznych 00----031 Warszawa, ul. Szpitalna 5 lok. 22 tel. (22) 55 64 260, faks (22) 55 64 262 e-mail: [email protected] www.isp.org.pl The Institute of Public Affairs is supported by the European Commission. This publication reflects the views only of the Institute of Public Affairs, and the Commission cannot be held responsible for any use which may be made of the information contained therein. INTRODUCTION An image of a country is related to the perceptions of its relations with one’s home country, its standard of living and economic development as well as its perceived cultural proximity.1 Currently the most popular definition of an image has been proposed by Philip Kotler: it is the sum of knowledge and emotions that a group of people associates with a given object: a state, a product, a company or a service provided by a company.
    [Show full text]
  • Poles and Ukrainians in Daily Contacts
    Poles and Ukrainians in daily contacts Nadiia Koval Laurynas Vaičiūnas Iwona Reichardt 2021 Poles and Ukrainians in daily contacts ISBN 978-83-7893- 276-5 Copyright © by Nadiia Koval, Iwona Reichardt and Laurynas Vaičiūnas, 2021 Copyright © by the Jan Nowak-Jeziorański College of Eastern Europe in Wroclaw, 2021 Copyright © by Foreign Policy Council “Ukrainian Prism”, 2021 Copyright © by Friedrich-Ebert-Stiftung, 2021 This research was organized, coordinated and funded by the Representations of the Friedrich Ebert Foundation in Poland and Ukraine. www.fes-polska.org www.fes.kiev.ua Friedrich-Ebert-Stiftung, Representation in Ukraine 34, Pushkinska Street, Kyiv 01024 Ukraine Tel.: +38-044-234-00-38 | fax: +38-044-451-40-31 Responsible: Marcel Röthig | Resident Representative in Ukraine, Friedrich-Ebert-Stiftung Friedrich-Ebert-Stiftung, Representation in Poland ul. Poznańska 3/4, 00–680 Warszawa Responsible: Ernst Hillebrand | Resident Representative in Poland, Friedrich-Ebert-Stiftung The views expressed in this publication are not necessarily those of the Friedrich-Ebert-Stiftung or of the employers of the authors. Commercial use of all the publications and media published by Friedrich-Ebert-Stiftung (FES) is not permitted without the written consent of the FES. The Jan Nowak-Jeziorański College of Eastern Europe is co-funded by the City of Wroclaw. Cover image by DoLasu | www.dolasu-pracownia.pl Layout and design by DoLasu Table of contents 1. Introduction. Why this study matters? 2. Research methodology 3. Research results 3.1. Stereotyping the Other – neighbour, worker, normal guy 3.2. Entrenched asymmetries of the everyday contacts 3.3. Culture and collective memory 3.4.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles
    UNIVERSITY OF CALIFORNIA Los Angeles The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Germanic Languages by Jamie Leigh Zelechowski 2017 © Copyright by Jamie Leigh Zelechowski 2017 ABSTRACT OF THE DISSERTATION The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) by Jamie Leigh Zelechowski Doctor of Philosophy in Germanic Languages University of California, Los Angeles, 2017 Professor Todd S. Presner, Co-Chair Professor Roman Koropeckyj, Co-Chair My dissertation investigates the cinematic representation of forced migration (due to the border changes enacted by the Yalta and Potsdam conferences in 1945) in East Germany, West Germany, and Poland, from 1945–1970. My thesis is that, while the representations of these forced migrations appear infrequently in feature film during this period, they not only exist, but perform an important function in the establishment of foundational national narratives in the audiovisual sphere. Rather than declare the existence of some sort of visual taboo, I determine, firstly, why these images appear infrequently; secondly, how and to what purpose(s) existing representations are mobilized; and, thirdly, their relationship to popular and official discourses. Furthermore, I articulate to what extent and in what way the experiences of “others” (e.g. Jews, Ukrainians, ii Soviets, etc.) are (or are not) integrated into these narratives of victimhood. To these ends, I conduct close analyses of ten films, focusing on those scenes that depict refugee treks and “repatriate” trains.
    [Show full text]
  • Filmy Eldara Riazanowa W Polsce – Z Zagadnień Recepcji
    UWM Olsztyn Acta Polono-Ruthenica XXII/4, 2017 ISSN 1427-549X Maria Mocarz-Kleindienst Katolicki Uniwersytet Lubelski Jana Pawła II Filmy Eldara Riazanowa w Polsce – z zagadnień recepcji Produkcje filmowe, zwłaszcza jeśli przekraczają granice kultur narodowych, stają się ważkim medium w interkulturowym pejzażu audiowizualnym. Służą wzajemnemu poznaniu, wzbogacaniu, niekiedy konfrontacji systemów wartości, światopoglądu oraz codziennych realiów jako elementów konstytuujących i zarazem różnicujących obszary kulturowe. Takie spojrzenie na proces przenikania filmu z jednej kultury do innej jest charakterystyczne dla czasów współczesnych, cechu- jących się otwartością na inność kulturową – tę mniej lub bardziej odległą. Jedną z dróg osiągania takich celów jest niewątpliwie recepcja filmu zagranicznego zarów- no przez widownię zinstytucjonalizowaną, zgromadzoną w salach kinowych, jak i widzów indywidualnych, którzy w warunkach domowych mają do swojej dyspo- zycji różne możliwości poznania osiągnięć kinematografii krajowej i zagranicznej. Recepcja w wymiarze indywidualnym i zbiorowym, rozumiana jako pro- ces przyjęcia i odbioru dzieła (w danym przypadku filmu), jego funkcjonowania w przestrzeni kulturowej, jest zjawiskiem konstytuującym receptywne uczestnictwo w kulturze. To pojęcie wyrosłe na gruncie socjologii kultury odnosi się w głównej mierze do zbiorowej postawy intelektualnej związanej z przyswajaniem dzieła przez środowiska profesjonalistów, w mniejszym stopniu widzów-amatorów [Bokszański 1981, 15 i in.]. W przypadku recepcji dzieła filmowego
    [Show full text]
  • Russian-Polish Relations: a Long Way from Stereotypes to Reconciliation
    Russian-Polish Relations: A Long Way From Stereotypes to Reconciliation Peter Cheremushkin Moscow State University Marked by centuries of conflict and profound mutual suspicion, Russian-Polish relations, particularly in the twentieth century, provide a striking example of the difficulties involved in the process of potential reconciliation. The Poles have historically viewed Russia as a foe, and for their part the Russians regarded Poland as a kind appendage to their country. In one way or another this was true both for the Soviet period of history and for the post-Communist world. In the struggle to understand each other’s goals and aspirations, the burden of the past has continued to hamper the creation of new relations. The story of Russian-Polish relations, a story of mutual prejudices between two neighboring nations, has its roots far back in time. Suspicions and allegations alternated with the struggle against the tsarist regime, and the cooperation of Polish and Russian dissidents in the struggle against Communism have continued down to our day.1 These relations were formed against the backdrop of such bloody events as the Polish invasion of Russia at the turn of the sixteenth and the seventeenth centuries, the Russian repression of the Poles during the eighteenth and nineteenth century revolts, the three divisions of Poland in eighteenth century, the investigation of the Katyn crime (the mass killing of Polish prisoners, mostly officers, by Stalin’s secret police NKVD in April,1940), and the incidents at the Tukhol death camp at which Red Army soldiers died after the Soviet-Polish War of 1920.2 The focus here will be on the most recent phase of bilateral relations, starting from the establishment of the new Russia which declared itself a democratic country.
    [Show full text]