Introduction: Is the Past a Foreign Country? 1 the Burden of the Past and the Lightness of the Present: Dealing with Historic Tr

Home , Estonian science fiction, Norman Stone, Until the Final Hour

Notes

Introduction: Is the Past a Foreign Country?

1 In this respect Matuszewski’s writings foreshadow the work of another Polish film theorist, Karol Irzykowski, an author of X Muza (The Tenth Muse), published for the first time in 1924 (on Irzykowski’s views on film’s mimetic capability see Mazierska 1989). 2 However, Godard’s Histoire(s) du cinéma are practically ignored by professional historians. Even Robert Rosenstone, widely regarded as the main authority in the area of history and film, in a recent essay, ‘Space for the Bird to Fly’, published in the collection Manifestos for History (Rosenstone 2007), quotes Godard’s now rather clichéd remark about a beginning, a middle and an end of a story, but does not mention his monumental historical work. None of the essays in this collection, Manifestos for History, including Mark Poster’s ‘Manifesto for a History of the Media’ (Poster 2007), refers to Godard’s work, despite the fact that it fulfils all the main conditions of a ‘manifesto for history’ (Jenkins et al. 2007).

1 The Burden of the Past and the Lightness of the Present: Dealing with Historic Trauma through Film

1 I refer here to the ‘Holocaust’ not in its original meaning, as ‘ritual purifica- tion’, but as a metaphor of the Nazi genocide. Despite the problems inscribed in this term, I find it less ambiguous and controversial than terms such as ‘Auschwitz’. Some scholars, however, object to using it (for example Lang 1990: xx–xxi). 2 The literature about the problems of representation of the Holocaust is huge and still growing. Nevertheless, the collection Probing the Limits of Representation, edited by Saul Friedlander, includes the most important, in my view, arguments about representability or unrepresentability of the Holocaust (Friedlander 1992; see also LaCapra 1994; Loshitzky 1997; Levi and Rothberg 2003; Rancière 2007: 109–38). 3 Žižek’s assertion is supported by the special position of a poem ‘Campo di Fiori’ (1943) by Czesław Miłosz, about the liquidation of the Jewish ghetto in Warsaw, in the Polish memory of the Holocaust. 4 In Praise of Love and Ararat had a cinema audience in Europe of about 150,000 viewers; Weiser, which was shown only in Polish cinemas, 30,000. These and other box-office results quoted in this book are based on the Lumiere database (http://lumiere.obs.coe.int/web/search/), unless a different source is mentioned. 5 This also explains Godard’s fascination with the Polish film about the concentration camps, Pasaz˙erka (The Passenger, 1963) by Andrzej Munk.

247 248 Notes to Chapter 2

6 On numerous occasions Godard criticised Schindler’s List and even regarded it as his personal failure that he failed ‘to prevent M. Spielberg from rebuild- ing Auschwitz’ (quoted in Brody 2008: 562). However, Spielberg’s contribution to ‘Holocaust studies’ also includes the Steven Spielberg Film and Video Archive of the US Holocaust Memorial Museum, which comprises over 1000 hours of archival footage. 7 Edgar’s impotence to change his ideas into a tangible product inevitably is reminiscent of Le mépris (1963) and Passion, where Europeans also proved unable to make films or at least had to rely on American funding to com- plete them. 8 The belated suicides bring to mind the suicides of some famous Jewish and non-Jewish survivors of the war and concentration camps, such as Tadeusz Borowski in 1951, in Poland, Paul Celan in 1970 and Romain Gary in 1980, in France, and Primo Levi in 1987, in Italy. 9 One can guess that for Said the attitude of the Canadian state towards ethnic identities is a form of Orientalism: a way of containing the ‘other’, prevent- ing the emigrants from full assimilation with the West and retaining their original identities. Such criticism is valid, but in my view the practice also has the advantage of allowing the West to learn from the East, which often happens in Egoyan’s films. 10 Marczewski does not refer to Gross’s works, perhaps he did not even read them. Yet, the similarity between these two works supports Halbwachs’s claim that all memory is collective; people belonging to the same culture remember similar things and in a similar way. A factor in the similarity of Gross’s and Marczewski’s take on Polish anti-Semitism is their belonging to the same generation: Marczewski was born in 1944, Gross in 1947. For both of them the year 1968 was thus a formative experience. 11 The attitudes of Poles and artists to the Jews perishing in ghettos are discussed by Jan Błon´ski in his essay ‘Biedni Polacy patrza˛ na getto’ (Poor Poles Look at the Ghetto). This essay, published for the first time in the influential Polish Catholic weekly Tygodnik Powszechny in 1987, played an important role in changing Polish attitudes to the Polish Jewish past (Błon´ski 1987). 12 Juliana is played by Juliane Köhler, who in due course would play Eva Braun in Downfall, where she encapsulates a woman who as close to ‘history’ as anybody can be, but at the same time unable or unwilling to face it, therefore prefers to ‘seize the day’. Her role in Marczewski’s film prefigures this type.

2 ‘Our Hitler’: New Representations of Hitler in European Films

1 The makers of films about Hitler are in this respect in a similar position to artists creating anti-fascist monuments (on anti-fascist countermonuments see Young 2003). 2 This blocking of the memory about involvement in Nazi atrocities and giving into Hitler’s charm was facilitated by the Allied-supported policy of the integration of former Nazis into the new West German society and, in a wider sense, by the realities of the cold war (Herf 1997, 2002; Judt 1992). It was also in a measure a legacy of the First World War (Geyer 1997). Notes to Chapter 2 249

3 Yet, European cinema is not free of these ‘sins’. Practically all European cinemas have indigenous traditions of melodrama, and commercial pressures also exist in them. 4 The perceptions of Nazism as ultra-modern and anti-modern can be recon- ciled. The first perception pertains to a victim and observer of Nazism, as privileged in Bauman’s book, which focuses on the industrial and bureaucratic character of Nazi killings. For Hitler’s followers, by contrast, sheltered (at least initially) from Nazi barbarities, what mattered was the promise of returning to an old German bucolic ideal. It can be argued that Hitler attempted to return to a premodern past by accelerating modernity. Not surprisingly, his project failed. 5 Sokurov’s depiction of the Berghof remains in contrast with the image of the Berghof we receive from documentary footage and photographs, some made by Eva Braun, of a spacious mansion set in a sunny, idyllic landscape. However, it partly conforms to the depiction offered by Traudl Junge in her memoirs, who emphasises the fog enwrapping the mountains, the difficulty of leaving the house due to its physical location and being confined by her benevolent master (Junge 2004: 56–103). 6 The motif of mother and son also reflects the director’s specific taste for the mother–son relationship, as conveyed by his earlier film, Mat i syn (Mother and Son, 1997). 7 As Joachim Fest observes, Hitler himself declared that ‘with the exception of Richard Wagner he had “no forerunners”, and by Wagner he meant not only the composer, but Wagner the personality, “the greatest prophetic figure the German people had had”’ (Fest 1974: 49). Fest lists many parallels between Hitler and the composer, from their obsessions about the destiny of the German people, affinity for theatricality and pomp, through morbid hatred of Jews, vegetarianism, ‘which Wagner ultimately developed into the ludicrous delusion that humanity must be saved by a vegetarian diet’ (ibid.), an idea to which Hitler also alludes in one of his deranged monologues, included in Sokurov’s film. 8 This attitude, most likely, was true about Hitler – whilst in his public pro- nouncements he expressed contempt for Stalin and his people, in reality he regarded Stalin as an equal, even surpassing him in some respects. Similarly, he was forced to accept that Russian soldiers proved superior to German soldiers (Junge 2004: 145–8). 9 As commander of Bavarian Group Command IV, Mayr became one of the ‘midwives of Hitler’s political career’ (Kershaw 1998: 122). He sent Hitler on a course in ‘civic thinking’ (Fest 1974: 113). This course was a reward for Hitler’s achievements as an informant for the commission which was set up to look into the events during the Soviet rule in Bavaria. In due course, Mayr, urged by his superior to write a paper on the subject of ‘the danger Jewry constitutes to our people today’, asked Hitler to do it, ‘addressing him as “My Dear Herr Hitler”, an unusual salutation from a captain to a corporal’ (ibid.: 115). The response Hitler gave was very similar to that we hear in the film. On both occasions Hitler condemned an emotional anti-Semitism, which finds its expression in pogroms, opting for ‘anti-Semitism of reason’, which leads to the planned judicial opposition to and elimination of the privileges of Jews and, ultimately, to the removal of the Jews altogether (ibid.). 250 Notes to Chapter 2

10 Hitler, in reality, being 175 cm tall, was of over-average height. In many photographs we see him as taller than the bulk of men who surround him. However, in most films he is represented as of below-average height, reflect- ing a desire to undermine him. 11 Hitler’s performances were versatile; he was able to intertwine accusations with expressions of hope, drama with humour. Moreover, as Norman Stone observes, ‘Most speakers who had the mental ability to keep their thoughts in some kind of order were all too pompous and academic in their style to have any mass appeal: they would simply read learned tracts to their audience. On the other hand, men like Drexler [the first leader of the National Socialists], who were quite uneducated, might talk the language of the people, but would have nothing much to say in it. Hitler, educated enough to expound his views coherently, also spoke a popular language. He could be very funny, in an untranslatable, wholly German way’ (Stone 1980: 9). 12 In his approach to life as a form of art (staged, exaggerated, ritualised), Hitler borrowed from Richard Wagner and some minor and nowadays forgotten figures. Some of Hitler’s contemporaries were able to see his project of meld- ing art and politics, most famously Walter Benjamin, as the death of true art (Benjamin 2007). For others, especially Leni Riefenstahl, it amounted to granting art a position which it never enjoyed before. Riefenstahl took full advantage of that making Triumph des Willens (Triumph of the Will, 1935), where Hitler utters the words: ‘For future generations our demonstrations might be no more than spectacles.’ 13 Yet, Hitler fiercely opposed Jewish assimilation into German culture, com- plaining about the ‘infamous deception of Jews trying to appear “Germanic”’ (Fest 1974: 23). In this attitude he was not alone. Pierre Vidal-Naquet argues that Western-style anti-Semitism was in part reaction against Jewish assimilation (Vidal-Naquet 1996: 204). 14 Max’s death at the hands of Nazi rowdies can also be regarded as an illustra- tion of Hitler’s tendency to discard people who once helped him. One such man was Reinhold Hanisch, the man with whom Hitler stayed in the house for men in Vienna and formed a partnership, with Hanisch selling Hitler’s watercolours, sharing their proceeds on a 50–50 basis. According to Fest, in 1938, when Hitler could do so, he had Hanisch tracked down and killed, most likely to erase the humiliating memory of his beginnings (Fest 1974: 46). 15 Ben van Os, production designer for Meyjes’s film, was also responsible for the design of a number of films by Peter Greenaway, who in his films also plays with the idea that humans are no more than pawns in a game of fate. 16 In this way Žižek points to the immense subversive potential of ‘para- cinema’, as previously mentioned. 17 A detailed analysis of the relationship between Downfall and ‘historical truth’ (or historical discourses) is offered by Roel Vande Winkel. Vande Winkel also surveys previous ‘Führer bunker films’ and discusses critical reception of Hirschbiegel’s film (Vande Winkel 2007). 18 In reality Junge was interviewed by André Heller and Othmar Schmiderer for the documentary Im toten Winkel – Hitlers Sekretärin (Blind Spot – Hitler’s Secretary, 2002). 19 Primo Levi, examining the various ‘grey zones’ existing in Auschwitz, points to the fact that his oppressors were not monsters, and even committed some good Notes to Chapter 3 251

deeds, but this is not reason to forgive them (Levi 1988). Slavoj Žižek mock- ingly points out that all great dictators are remembered as the kindest men by the members of their own families and their secretaries (Žižek 2009: 40–1).

3 A Clear Dividing Line?: Cinematic Representations of German, Italian and Irish Terrorism

1 However, as Alan O’Leary observes, in Italy ‘terrorism’ is more associated with left-wing than right-wing extremism. The latter is described as stragismo (large-scale, largely indiscriminate bombing) (O’Leary 2005: 168). 2 Godard, who also recently made Notre musique (2004), deserves the title of the leading film expert on terrorism and leading expert on film terrorism due to his penetrating films concerning the phenomenon of armed resistance against the political order and his talent to subvert the existing cinematic conventions in a way attracting the larger public. 3 The role of the Springer Press in influencing anti-RAF sentiments is reflected in the incident which took place on 1 April 1968. That day a young right-wing worker, Josef Bachmann, shot charismatic student leader Rudi Dutschke three times and, when he was arrested, he said that he was acting to protect his country from communism, which Dutschke threatened, and that he had gained his information from Bild, the Springer Press’s flagship tabloid (Moncourt 2009: 4–5). 4 The RAF was not unique in combining condemnation of the Holocaust with criticism of Israel. We find a similar stance in the work of Godard, for example in Notre musique, autobiographical JLG/JLG: Autoportrait de décembre (1995) and Histoire(s) du cinéma (Wright 2000). 5 Julian Preece quotes over 20 films made on this subject (Preece 2008: 227). 6 The letter is published in Bauer 2008: 171–7. 7 In reality, the gap between her lifestyle and her values did not slip Meinhof’s attention. As Karin Bauer claims, by this point ‘Meinhof was becoming dis- satisfied with the limitations of journalism, and the discrepancy between her bourgeois lifestyle and her political objectives’ (Bauer 2008: 38). 8 This does not mean, however, that the targets of the Red Brigades were solely Italian citizens. In December 1981, the group abducted American General James Lee Dozier, who was working as the deputy chief of staff for logistics and administration at NATO’s headquarters in Southern Europe (Drake 1999–2000: 67). 9 The question of the involvement of a middle-class person in a movement whose goal is to liberate the working class is also tackled by Godard in Lotte in Italia (Struggle in Italy, 1969), whose protagonist, Paola, is a member of a post-1968 revolutionary organisation, Lotta Continua (Unceasing Struggle). However, unlike Pasolini and Bellocchio, Godard argues that coming from the bourgeoisie, although an obstacle in fitting into the world of the under- privileged, ultimately does not preclude becoming a revolutionary. 10 According to the bulk of authors writing about the representation of Northern Ireland in cinema, inability or unwillingness to see the conflict between the Catholics and Protestants ‘historically’ is this cinema’s cardinal sin (Rockett et al. 1987; McIlroy 1993). 252 Notes to Chapter 5

4 From Socialist Realism to Postmodernism: Polish Martial Law of 1981 in Polish and Foreign Films

* A preliminary version of part of this chapter was published in Communist and Post-Communist, 42, 2, 2009, as ‘Polish Martial Law of 1981 in Polish Post- Communist Films: Between Romanticism and Postmodernism’. 1 The factual part of this section is largely based on the accounts provided by Norman Davies and Jerzy Lukowski and Hubert Zawadzki (see Lukowski and Zawadzki 2001; Davies 2005). 2 Such an interpretation of Polish history follows the loss of Polish statehood at the end of the eighteenth century. 3 After Man of Iron there were few and mostly unsuccessful attempts in Poland to unite the nation through film, and if it did happen, the filmmakers used as their material events more distant in time, such as the Katyn´ massacre, depicted in Katyn´ (2007) by Andrzej Wajda. 4 Jan Kubik draws attention to the importance of symbols in Polish resistance towards communism, especially to symbols and ceremonies used by Solidarity (Kubik 1994). 5 Such perspective is applied also in Smarzowski’s The Wedding. 6 Adam Mickiewicz is regarded as the greatest Polish Romantic poet and one of the greatest Slavic poets, inferior only to Alexander Pushkin. In Poland he has also the status of the model Polish patriot, yet one who paradoxically spent a large part of his life abroad, mostly in Paris, where he wrote his famous epic poem, Pan Tadeusz, published in 1834. 7 This aspect of the film is mentioned but not explored by Kaja Silverman and Harun Farocki, who claim that Jerzy ‘introduces the notion of an international proletariat into the film’ (Silverman and Farocki 1998: 178). 8 A seminal example of this attitude is his Camera-Œil, belonging to the anthology film Loin du Vietnam (1967), which is the response of some French direc- tors to the Vietnam war.

5 Goodbye Lenin or Not: Cinematic Representations of the End of Communism

1 An exception is Jean-Luc Godard, who alluded to the end of communism in a number of his films, and devoted a few films in particular to that subject, most importantly Allemagne 90 neuf zéro (Germany Year 90 Nine Zero, 1991), meaningfully set in East and West Berlin. 2 I received this information in correspondence with Peeter Urbla. 3 The number of Russians living in Estonia, Latvia and Lithuania declined significantly after the fall of communism, from over 1.7 million in 1989 to 1.2 million in 2007. 4 An example is the protest of the Russian inhabitants of Tallinn in April 2007 against the removal of the Bronze Soldier of Tallinn, the Soviet World War II memorial, considered by the majority of Estonians as a symbol of the country’s occupation and oppression by the Soviets. This protest, known as the April Unrest or the Bronze Night, manifested by riots and looting, brought the danger of plunging Estonia into a civil war. Notes to Chapter 6 253

5 Joachim Gauck, for example, who was put in charge of administering the Stasi archives, criticised West Germans for advocating amnesty for former GDR politicians and officials and reconciliation with the past because of their indifference to the GDR’s past (Childs and Popplewell 1999: 193). 6 Peter Siani-Davies discusses this phenomenon of the communist leaders’ detachment from the masses in relation to Ceaus¸escu (Siani-Davies 2005).

6 Twists of Fate: Secret Agents, Communist Collaborators and Secret Files in German, Polish and Czech Films

1 Jeffrey Herf argues that the policy of forgetting led to the marginalisation and even persecution in Germany of the principal victims of the war, the Jews, and allowing many prominent Nazis to retain positions of power (Herf 1997). Tony Judt discusses the policy of forgetting in a wider context of postwar Europe, arguing that putting the blame on the Nazis for all the crimes committed during the war affected postwar politics and history negatively (Judt 1992; see also Chapters 2 and 3). 2 It is worth mentioning that the last incarnation of the secret services in the GDR, Amt fu``r Nationale Sicherkeit, introduced by the government of Hans Modrow in November 1989, has the unfortunate acronym ‘NASI’ (Childs and Popplewell 1999: 191). The association between the apparatus of power in the GDR and Hitler Germany existed already in the communist past. I encoun- tered it, often in a humorous context, when living in communist Poland. 3 Von Donnersmarck was born in 1973 and grew up among the uprooted German aristocracy. His parents fled from the eastern parts of the Reich at the end of the Second World War. His next film, following The Lives of Others, The Tourist (2011) is a Hollywood production with Johnny Depp and Angelina Jolie in the main parts. 4 In the opinion of Childs and Popplewell, the vast majority of Stasi functionar- ies were idealists (Childs and Popplewell 1999). A similar view is presented by Mike Dennis, although he concedes that material privileges also played a role in choosing a career as a Stasi (Dennis 2003: 83–9). 5 This attitude is typical for late communism when the leaders appeared cor- rupt and devoid of charisma or even personality, examples being Leonid Brezhnev, Nicolae Ceaus¸escu and Gustáv Husák. This changed in 1985, when the youthful Mikhail Gorbachev showed the possibility of a different style. 6 This also reflects the fact that the MfS officers in the Honecker era ‘tended to have a lower level of formal educational qualification than their peers in the party and the other state organs’ (Dennis 2003: 79). 7 In his career Mühe also played victims, most importantly in Mein Führer: The Truly Truest Truth About Adolf Hitler, made after The Lives of Others (see Chapter 2). 8 The concept of the panopticon was introduced at the end of the eighteenth century by Jeremy Bentham, but is most widely associated with Michel Foucault, who in Discipline and Punish evoked it as a metaphor for (post)modern society with its penchant for observation and regulation (Foucault 1977b: 195–228). Although Foucault refers to power relations in the Western world, his observa- tions are no less valid in relation to the communist East, as various authors observe. For example, Mary Fulbrook writes in relation to East Germany: ‘There 254 Notes to Chapter 6

was to be no area of “civil society”, no “public sphere” beyond the reach of state control: every aspect of life, work, and leisure in East Germany was to be under the control, ultimately, of the communist state’ (Fulbrook 1995: 58). 9 In the series of articles devoted to The Lives of Others by Sight and Sound there was one by Chris Darke, which discussed von Donnersmarck’s film in conjunction with other recent European films about the culture of surveil- lance, such as Red Road (2006) by Andrea Arnold and Unrequited Love (2006) by Christopher Petit (Darke 2007). 10 This motif is persistent in Polish Holocaust films, such as Passenger by Andrzej Munk and Kornblumenblau (1989) by Leszek Wosiewicz. I discussed the relationship between music and Nazism in my book on Roman Polanski (Mazierska 2007: 106–14). 11 As it was, for example, in Romania, where it resulted in this country adopt- ing ‘transitional justice’ late and the ‘mild’ treatment of ex-employees of the Romanian secret police, Securitate (Stan 2002). 12 The original title of the film, Korowód, means ‘pageant’ or ‘manifestation’. 13 In due course the story of Jasienica and O’Bretenny inspired another Polish film, Róz˙yczka (Little Rose, 2010) by Janusz Kidawa-Błon´ski. 14 Such expectation was very rational. For example, the famous Slovak director Juraj Jakubisko mentioned in an interview that Jirˇí Sýkora, the main actor in his film Vtaˇckovia, siroty a blázni (Birds, Orphans and Fools, 1969), emigrated and worked for the Voice of America. And always on the radio, on the Voice of America, he would reminisce about what a great time he had had making this film. But despite the fact that Jakubisko did not listen to the Voice of America, he always knew when he had been talked about, because the police came and interrogated him (quoted in Hames 2004). References

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Adenauer, Konrad, 93 Bareja, Stanisław, 150 Adjuster, The, 40 Barkai, Avraham, 77, 255 Adorno, Theodor, 24–6, 63, 255 Barrington, Lowell, 175, 255 A fost sau n-a fost? (12:08 East of Barton, Ruth, 126, 255 Bucharest), 20, 176, 199–206 Barwy ochronne (Camouflage), 225 Agamben, Giorgio, 36, 83, 255 Battleship Potemkin (Bronenosets Aimée & Jaguar, 78 Potyomkin), 15 Akerman, Chantal, 46 Baudrillard, Jean, 68 Albers, Patricia, 33, 195, 255 Bauer, Karin, 101–3, 108, 251, 256 Alesina, Alberto, 196 Bauman, Zygmunt, 67, 83–4, 230, Allan, Seán, 190, 197, 255 249, 256 Allemagne 90 neuf zéro (Germany Year Bazin, André, 11–12, 15, 256 90 Nine Zero), 28, 37, 110, 252 Bechmann-Pedersen, Sune, 189, 256 Amelie (Le fabuleux destin d’Amélie Becker, Jillian, 101–3, 106, 256 Poulain), 189 Becker, Wolfgang, 19, 176, 186–99, Amelio, Gianni, 120 212 Anderson, Benedict, 8, 14, 255 Bellocchio, Marco, 20, 99, 117, 251 Anderson, Perry, 3, 24, 66, 88, 255 Bender, Thomas, 9, 255 Andropov, Yuri, 72 Benigni, Roberto, 68, 85 Aragay, Mireya, 16 Benjamin, Walter, 9, 11, 15, 250, 256 Ararat, 17, 19, 22, 38–48, 54, 56–7, Bennett, Dianne, 120 59, 247 Bentham, Jeremy, 253 Arendt, Hannah, 69, 84, 123, 255 Berendse, Gerrit-Jan, 102, 256, 271 Arnold, Andrea, 254 Berger, Stefan, 93, 256 Ashes and Diamonds (Popiół i diament), Berlin Alexanderplatz, 190 141–2, 223, 227 Bertolucci, Bernardo, 120 Assmann, Aleida, 5, 255 Betz, Hans-Georg, 211, 256 Assmann, Jan, 5, 17, 87, 255 Bhabha, Homi, 14, 256 Aust, Stefan, 100, 105–6, 114, 124, Bielik-Robson, Agata, 138, 256 255 Birds, Orphans and Fools (Vtacˇkovia, siroty a blázni), 254 Baader, Andreas, 102, 105–6, 110–15 Birth of a Nation, The, 15 Baader Meinhof Komplex, Der (The Black Box BRD, 105 Baader Meinhof Complex), 19, 20, 86, Bleibtrei, Moritz, 112–13 92, 99–115, 120–4 bleierne Zeit, Die, 115 Bachmann, Josef, 251 Blind Chance (Przypadek), 225, 232 Bad Luck (Zezowate szcze˛s´cie), 154 Blind Spot – Hitler’s Secretary (Im toten Bajon, Filip, 158 Winkel – Hitlers Sekretärin), 250 Bakhtin, Mikhail, 8–9, 20 Błon´ski, Jan, 248, 256 Balabanov, Aleksey, 159 Blow to the Heart (Colpire al cuore), Balti armastuslood (Baltic Love Stories), 120 20, 176–86, 197, 199, 205 Boa, Elizabeth, 190–1, 256 Barbie, Klaus, 32 Body of Evidence, 107

274 Index 275

Bonnie and Clyde, 103 Ceaus¸escu, Nicolae, 72, 200–1, 204–5, Bonsaver, Guido, 124, 256 253 Bormann, Martin, 72 Celan, Paul, 248 Borowski, Tadeusz, 85, 248, 256 Cenckiewicz, Sławomir, 221, 257 Bourdieu, Pierre, 27 chagrin et la pitié, Le (The Sorrow and Boyes, Roger, 233, 256 the Pity), 32 Boym, Svetlana, 40, 179, 189, 194, Chaplin, Charles, 63, 66, 91, 95 257 Charlesworth, Andrew, 58, 257 Bradshaw, Peter, 34, 76–7, 115, 192–3, Chase (Pos´cig), 209 257 Che˛cin´ski, Sylwester, 20, 150–2, 154 Braghetti, Anna Laura, 100, 117 Childs, David, 210–12, 253, 258 Brandt, Willy, 107 Chinoise, La, 14, 98, 133 Brashinsky, Mikhail, 73, 257 Chion, Michel, 187, 258 Braszka, Jerzy Aleksander, 141 Chioni Moore, David, 175, 258 Braun, Eva, 70–1, 73, 92, 248–9 City of Your Final Destination, The, 88 Brecht, Bertolt, 214, 217 Clavin, Patricia, 9, 258 Breloer, Heinrich, 105 Clift, Montgomery, 16 Bremmer, Ian, 186, 257 Coen Brothers, 158 Bresson, Robert, 37 Cole, Tim, 33–4, 43–4, 53, 219, 258 Brezhnev, Leonid, 72, 137, 197, 253 Colombar, Andre Pierre, 32, 258 Brison, Susan, 23, 257 Colpire al cuore (Blow to the Heart), 120 Brody, Richard, 248, 257 Colvin, Sarah, 101, 111, 258 Bromski, Jacek, 156 Combs, Richard, 118, 168, 258 Bronenosets Potyomkin (Battleship Control, 88 Potemkin), 15 Cooke, Paul, 92, 93, 175, 186–7, 190–1, Broszat, Martin, 62, 66–7 193, 198, 258 Bruegel, Pieter, 158 Corbijn, Anton, 88 Brumlik, Micha, 80, 257 Cornils, Ingo, 102, 256, 271 Brussig, Thomas, 188 Cornish, Kimberley, 77, 258 Bugajski, Ryszard, 13, 156, 209 Cortázar, Julio, 54 Bullock, Alan, 64, 257 Cosgrove, Mary, 1, 256 Buongiorno, notte (Good Morning, Cranes are Flying, The (Letyat zhuravli), Night), 20, 99–100, 115 180 Burke, Peter, 5, 7, 11, 257 Crang, Mike, 9, 258 Burleigh, Michael, 67, 93, 255, 257 Crofts, Stephen, 10, 258 Buruma, Ian, 56, 257 Crying Game, The, 126 Cudowne miejsce (Miraculous Place), 54 Cabinet of Doctor Caligari, The (Das Cusack, John, 75 Kabinett des Dr. Caligari), 65 Czas nadziei (Time of Hope), 140–4, 149 Calinescu, Matei, 204, 257 Czekalski, Andrzej, 13 Calvelli, Francesca, 124 Człowiek z … (Man of ...), 154 Camera-Œil, 252 Człowiek z marmuru (Man of Marble), Camouflage (Barwy ochronne), 225 13–14, 147, 154, 156, 169, 178 Cargo 200 (Gruz 200), 159 Człowiek z z˙elaza (Man of Iron), 139, Carrier, Peter, 35, 257 147, 154, 158, 169, 209, 227, 251 Caruth, Cathy, 23, 26–7, 49, 257 Czterej pancerni i pies (Four Tank Men caso Moro, Il (The Case of Moro), 116 and a Dog), 13 Caton-Jones, Michael, 129 Czuchnowski, Wojciech, 221, 229, Cavani, Liliana, 25 258 276 Index

Daldry, Stephen, 217 Dušek, Jaroslav, 241 Dance Leader (Wodzirej), 232 Dutschke, Rudi, 251 Danquart, Didi, 79 Dylan, Bob, 106 Darke, Chris, 254, 258 Dzie˛dziel, Marian, 159 Dark House, The (Dom zły), 158–61 Da un paese lontano (Giovanni Ear, The (Ucho), 209 Paolo II), 157 Edel, Uli, 19, 86, 99, 121, 123, 218 Davies, Norman, 137–8, 252, 258 Educators, The (Die fetten Jahre sind Dean, James, 102 forbei), 93 Death as a Slice of Bread (S´mierc´ jak Egoyan, Atom, 17, 19, 22, 26–7, kromka chleba), 20, 145–50, 152, 38–48, 56–7, 248 154 Ehe der Maria Braun, Die (The Marriage Death Game (Todesspiel), 105 of Maria Braun), 65 Dejczer, Maciej, 165 Eichinger, Bernd, 86–7, 102, 105–6 Delacroix, Eugène, 169 Eichmann, Adolf, 84 Deletant, Dennis, 207, 208, 272 Eisenstein, Sergei, 15, 69 Deleuze, Gilles, 8, 14–15, 20, 36, 47, El Greco, 169 110, 149, 168, 258 Elley, Derek, 88, 259 del Toro, Guillermo, 68 Elliott, Kamilla, 16, 259 Demidowicz, Krzysztof, 227, 258 Éloge de l’amour (In Praise of Love), 17, Demony wojny wedlug Goi (Demons of 19, 22, 27–38, 40, 42, 46, 57, 68, War according to Goya), 221–2 247 Dennis, Mike, 213, 253, 258 Elsaesser, 63, 65, 104–5, 123, 131 Depp, Johnny, 253 Engels, Friedrich, 118, 259 Derrida, Jacques, 2, 174–5, 234–5, 258 Ensslin, Christiane, 122 Despair – Eine Reise ins Licht (Despair), Ensslin, Gudrun, 101–2, 105, 109–11, 72, 80 113–15, 122 D’Est (From the East), 46 Erikson, Kai, 23–4, 259 Deutschland im Herbst (Germany in Eroica, 153 Autumn), 98, 104, 110, 112, 114, Etkind, Alexander, 26–7, 234, 259 122, 126 Ezra, Elizabeth, 10, 99, 256, 259 Diba, Farah, 108 Dignity (Godnos´c´), 139–44, 149–50 fabuleux destin d’Amélie Poulain, Le Divided We Fall (Musíme si pomáhat), (Amelie), 189 239, 241 Falk, Feliks, 232 Döblin, Alfred, 190 Färberböck, Max, 78 Dockhorn, Katharina, 86, 258 Fargo, 158 Dogs (Psy), 220–30, 244 Farocki, Harun, 252, 270 Dogs 2 (Psy 2. Ostatnia krew), 221 Fassbinder, Rainer Werner, 65, 72, 80, Dom zły (The Dark House), 158–61 90, 98, 104, 114, 169, 190 Donnersmarck, Florian Henckel von, Feingold, Henry, 84 19, 210–20, 238, 241–2, 253–4 Felman, Shoshana, 23, 49, 52, 55, 259 Donoso, José, 54 Ferrara, Giuseppe, 116 Dostoyevsky, Fyodor, 69 Fest, Joachim, 60, 62–6, 74–5, 77–8, Downfall (Der Untergang), 19–20, 62, 86–7, 95, 249–50, 259 86–95, 105, 127, 132, 248, 250 fetten Jahre sind forbei, Die (The Drake, Richard, 99–100, 116–17, 133, Educators), 93 251, 259 Fiejdasz, Małgorzata, 221, 259 Dreiser, Theodore, 16 Filipski, Ryszard, 236 Index 277

Film socialisme (Socialism), 28 Geyer, Michael, 67, 247, 260 First Days of the Republic Gibbons, Luke, 269 (Rzeczpospolitej dni pierwsze), 144 Giddens, Anthony, 42, 260–1 Fists in the Pockets (I pugni in tasca), 118 Gilman, Sander, 30, 261 Five Minutes of Heaven, 20, 86, 94, Ginsborg, Paul, 100, 116–17, 122–3 99–100, 125–32 Giovanni Paolo II (Da un paese lontano), Five Moons Plaza (Piazza delle Cinque 157 Lune), 116 Glemp, Józef, 136 Foley, Malcolm, 34, 265 Glin´ski, Robert, 156 Ford, Aleksander, 15 Go-Between, The, 1 Foucault, Michel, 2, 4, 7–9, 12, 15, 32, Godard, Jean-Luc, 14–20, 22, 26–37, 36, 148, 205, 242, 253, 259 48, 51, 56–7, 86, 98, 113, 161, 4 Months, 3 Weeks and 2 Days (4 luni, 169–72, 189, 193, 205, 247–8, 3 saptamâni si 2 zile), 131 251–2, 261 Four Tank Men and a Dog (Czterej Godnos´c´ (Dignity), 139–44, 149 pancerni i pies), 13 Goebbels, Joseph, 72, 81, 85 Freud, Sigmund, 6, 234, 260 Goebbels, Magda, 72, 91–2 Friedlander, Saul, 6, 61, 63, 68, 247, Goeth, Amon, 90 260 Gontarczyk, Piotr, 221, 257 Friedrich, Jörg, 93 Good Bye Lenin!, 19–20, 176, 183, Fritzsche, Peter, 211, 260 187–99, 201, 205, 211–13 From the East (D’Est), 46 Good Morning, Night (Buongiorno, Frycz, Olga, 50 notte), 20, 99–100, 115 Fuchs, Anne, 1, 260 Gorbachev, Mikhail, 194, 253 Fuchs-Schündeln, Nicola, 196, 255 Göring, Hermann, 52 Fuentes, Carlos, 54 Gorky, Arshile, 38, 42–4, 46–7 Fukuyama, Francis, 3, 36, 260 Goya, Francisco, 169 Fulbrook, Mary, 191, 253–4, 260 Graebner, William, 120, 256 Funder, Anna, 211, 212, 219, 260 Great Dictator, The, 63, 66, 81 Funkenstein, Amos, 6, 260 Greenaway, Peter, 250 Greene, Naomi, 32, 261 Gajos, Janusz, 148 Grey Zone, The, 68 Ganz, Bruno, 89 Griffith, D. W., 15 Garton Ash, Timothy, 208–10, 216–18, Grosch, Georg, 77 260 Gross, Jan Tomasz, 51, 53, 56–7, Gary, Romain, 248 160–1, 248, 261 Gattaca, 68 Gruz 200 (Cargo 200), 159 Gauck, Joachim, 210, 253 Grzymkowski, Jerzy, 144 Gaulle, Charles de, 32 guerre est finie, La, 57 Gaulle, Geneviève de, 31 Gupta, Dipak, 97, 261 Gawin, Dariusz, 138, 260 Guzek, Mariusz, 150, 152, 261 Gedeck, Martina, 108, 113, 215 Gemünden, Gerd, 87, 260 Halbwachs, Maurice, 5–7, 248, 261 Genette, Gérard, 16, 260 Hall, Stuart, 170, 198, 261 Germany in Autumn (Deutschland im Halligan, Benjamin, 73, 261 Herbst), 98, 104, 110, 112, 114, 122, Hames, Peter, 254, 261 126, 133 Hanáková, Petra, 188, 261 Germany Year 90 Nine Zero (Allemagne Hands Up! (Re˛ce do góry), 52 90 neuf zéro), 28, 37, 252 Haq, Mubin, 201, 261 278 Index

Harry Potter and the Chamber of Secrets, Hubbard, Phil, 9, 262 187 Huelle, Paweł, 48, 54, 58 Hartley, L. P., 1, 9, 125, 232, 261 Huffman, Richard, 102, 105, 262 Harvey, David, 8, 261 Huizinga, Johan, 11 Haussmann, Leander, 188 Huppert, Isabelle, 171 Havel, Václav, 204, 240–1, 261 Husák, Gustáv, 253 Hegel, Georg Wilhelm Friedrich, 6, Hutton, Patrick, 5, 262 20, 176, 203, 261 Huyssen, Andreas, 3, 262 Helden wie wir (Heroes Like Us), 211 Hellboy, 68 Iannone, Pasquale, 125, 263 Heller, André, 250 Ici et ailleurs (Here and Elsewhere), 98 Herbert, Zbigniew, 230 Identification Marks: None (Rysopis), 52 Here and Elsewhere (Ici et ailleurs), 98 Il portiere di notte (The Night Porter), 25 Herf, Jeffrey, 248, 253, 262 I’m Not a Tourist, I Live Here (Ma ei ole Heroes Like Us (Helden wie wir), 211 turist, ma elan siin), 177 Herold, Horst, 114 Import/Export, 176 Herrendoerfer, Christian, 63, 65 Im toten Winkel – Hitlers Sekretärin Hibbert, Guy, 100, 127, 262 (Blind Spot – Hitler’s Secretary), 250 Hiden, John, 181, 262 Indeks (Index), 209 Higson, Andrew, 10, 262 Inglorious Basterds, 83 Hilberg, Raul, 83–4, 262 In Praise of Love (Éloge de l’amour), 17, Hill, John, 126, 262, 269 19, 22, 27–38, 40, 42, 46, 57, 86, Hillgruber, Andreas, 62, 66–7, 88 247 Himmler, Heinrich, 61, 262 Interrogation (Przesłuchanie), 13, 209 Hirohito, Emperor, 69 Invasion, The, 86 Hiroshima, mon amour, 57 I pugni in tasca (Fists in the Pockets), Hirsch, Joshua, 23–4, 46, 49, 262 118 Hirsch, Marianne, 4, 22–3, 25, 38, 56, Irons, Jeremy, 161 262 Irving, Washington, 192, 199 Hirschbiegel, Oliver, 19–20, 62, 86–95, Irwin-Zarecka, Iwona, 52, 263 99, 127–32 Irzykowski, Karol, 247 Histoire(s) du cinéma, 15, 18, 27, 29, Ivan Groznyy (Ivan the Terrible), 69 37, 189, 247, 251 Ivory, James, 88 Hitler, Adolf, 16–17, 19, 32, 52, 60–96, 103, 213, 248–50 Jacob the Liar, 85 Hitler – eine Karriere (Hitler: A Career), Jähn, Sigmund, 188, 195, 198 63, 65 Jakimowski, Andrzej, 157 Hitler – ein Film aus Deutschland Jakubik, Arkadiusz, 159 (Hitler: A Film from Germany), 63–4, Jakubisko, Juraj, 254 66, 73, 80, 86–7, 95, 105 Jakubowska, Wanda, 53 Hobsbawm, Eric, 1, 7, 9–10, 100, 262 James, William, 33, 195, 255 Hodgkin, Katharine, 23, 262 Jameson, Fredric, 2, 7–9, 12, 68, 72, Hoerschelmann, Olaf, 105, 262 170, 192, 263 Holland, Agnieszka, 161, 225 Jamieson, Alison, 116, 263 Homewood, Chris, 104, 262 Janda, Krystyna, 156, 158 Honecker, Erich, 72, 191–2, 199, 213 Janicka, Boz˙ena, 151, 263 Hope-Jones, Mark, 109, 262 Janion, Maria, 152, 168 Hosenfeld, Wilm, 217 Jankowska-Cies´lak, Jadwiga, 233 Hrˇebejk, Jan, 20, 180, 238–44 Janowska, Katarzyna, 222, 263 Index 279

Jarchovský, Petr, 238–9 King Lear, 28 Jaruzelski, Wojciech, 18, 136–7, 142, Kitchin, Rob, 9, 262 144, 156, 173 Kitty Returns to Auschwitz, 46 Jarvie, Ian, 12, 263 Klausmann, Rainer, 109 Jasienica, Paweł, 233, 254 Klein, Kerwin Lee, 3–5, 264 Jaubert, Maurice, 37 Kleinert, Andreas, 198 Jenkins, Keith, 2, 247, 263 Klejsa, Konrad, 167, 264 Jeunet, Jean-Pierre, 189, 196 Klos, Elmar, 241 JFK, 109 Kluge, Alexander, 90, 98, 104, 114 Jireš, Jaromil, 209 Knights of the Teutonic Order JLG/JLG: Autoportrait de décembre, 251 (Krzyz˙acy), 15 John Paul II (Pope), 137, 157 Kobieta samotna (A Woman Alone), 225 Joke, The (Žert), 209 Koch, Gertrud, 56, 264 Jolie, Angelina, 253 Koch, Sebastian, 215 Jones, Kathryn, 32, 263 Koehler, John, 212, 264 Joplin, Janis, 106–7 Koenen, Gerd, 103, 116, 264 Jordan, Neil, 126, 129 Koepnick, Lutz, 78–80, 264 Judt, Tony, 1, 100, 245, 248, 253, 263 Köhler, Juliane, 248 Junge, Traudl, 70, 87–91, 249, 263 Kolski, Jan Jakub, 53–4, 58, 158 Kondrat, Marek, 49, 225 Kabinett des Dr. Caligari, Das (The Konic, Andrzej, 13, 226 Cabinet of Doctor Caligari), 65 Korczak, 121 Kachynˇa, Karel, 209–10 Kornblumenblau, 254 Kaczyn´ski, Jarosław, 229 Korowód (Twists of Fate), 20, 229–33, Kaczyn´ski, Lech, 229 235–6, 243–4, 254 Kadár, Ján, 241 Kowalewski, Krzysztof, 150 Kaes, Anton, 3, 62–3, 65, 73, 263 Kracauer, Siegfried, 11, 14–16, 62, 65, Kalatozov, Mikhail, 180 264 Kanał (Kanal), 92 Král Šumavy (Smugglers of Death), 209 Kaniewska, Maria, 209 Krzystek, Waldemar, 165 Kansteiner, Wulf, 5, 263 Krzyz˙acy (Knights of the Teutonic Kant, Immanuel, 8, 263 Order), 15 Kaprow, Allan, 167 Kubik, Jan, 135, 252, 264 Karbowiak, Małgorzata, 143, 263 Kugelmass, Jack, 56, 264 Kassovitz, Peter, 85 Kundera, Milan, 238 Katyn´, 15, 42, 54, 252 Kurz, Iwona, 13, 264 Kawalerowicz, Jerzy, 141, 143 Kusý, Miroslav, 240–1, 264 Kawasakiho Ru˚že (Kawasaki Rose), 20, Kutz, Kazimierz, 20, 145–50, 152–4, 237–8, 242–5 264 Kelertas, Violeta, 175, 263 Kwas´niewska, Aleksandra, 231 Kennedy, Michael D., 174, 263 Kwas´niewski, Aleksander, 139, 222, Kershaw, Ian, 61, 63–4, 69, 94–5, 249, 229, 231 263 Kwiatkowski, Tadeusz, 230 Khanjian, Arsinée, 39 Kidawa-Błon´ski, Janusz, 254 LaCapra, Dominick, 23–4, 247, 264 Kiesinger, Georg, 107 Lacouture, Jean, 31 Kies´lowski, Krzysztof, 224, 232 Lalanne, Jean-Marc, 70, 73, 264 Kijowski, Janusz, 209 Lane, Anthony, 214, 264 Kilar, Jerzy, 146 Lang, Berel, 24, 247, 264 280 Index

Lanzmann, Claude, 6, 15, 24, 45, 59, Lubelski, Tadeusz, 53, 58, 149, 154, 82, 264 265 Laqueur, Walter, 97, 264 Ludwig I, 78 Lara, Alexandra Maria, 87–8 Lukacs, John, 61, 69, 265 Last Exit to Brooklyn, 107 Lukas, Florian, 197 Last Ferry, The (Ostatni prom), 165 Lukowski, Jerzy, 140, 252, 265 L’Atalante, 37 4 luni, 3 saptamâni si 2 zile (4 Months, Laub, Dori, 23, 49, 51, 55, 259 3 Weeks and 2 Days), 131 Lauristin, Marju, 180, 264–5 Luxemburg, Rosa, 101 Leben der Anderen, Das (The Lives of Lyotard, Jean-François, 9, 26, 68, 265 Others), 19–20, 85–6, 186, 209–20, 227–8, 236, 239, 241–2, 244, 253 MacBean, James Roy, 169, 265 Leben des Galilei, Das (Life of Galileo), Macbeth, 158 214 Machulski, Juliusz, 156–7 Leben ist eine Baustelle, Das (Life is a Mac´kowiak, Kamil, 231 Building Site), 198–9 Macnab, Geoffrey, 77, 265 Lee, Bruce, 129 Maddin, Guy, 73 Lenin, Vladimir, 69, 178, 199, 265 Ma ei ole turist, ma elan siin (I’m Not a Lennon, John, 34, 265 Tourist, I Live Here), 177 Lengsfeld, Vera, 233, 235 Maier, Charles, 195, 210, 265 Letyat zhuravli (The Cranes are Flying), Man of ... (Człowiek z …), 154 180 Man of Iron (Człowiek z z˙elaza), 139, Levi, Neil, 247, 265 147, 154, 158, 169, 209, 227, 251 Levi, Primo, 219, 248, 250–1, 265 Man of Marble (Człowiek z marmuru), Levy, Dani, 20, 62, 80, 86 13–14, 147, 154, 156, 169, 178 Lewin, Moshe, 69, 263 Mann, Thomas, 61 Life is a Building Site (Das Leben is eine Mantsev, 69, 73, 265 Baustelle), 198–9 Mao Tse-Tung, 99 Life Is Beautiful (La vita è bella), 68, 85 Marcuse, Herbert, 99 Life of Galileo (Das Leben des Galilei), Marczewski, Wojciech, 17, 22, 26–7, 214 48–58, 248 Lilja 4-ever, 176, 179 Marinca, Anamaria, 131 Linda, Bogusław, 225 Markowski, Ryszard, 156 Lisowski, Tomasz, 222, 227, 265 Márquez, Gabriel García, 54 Little Rose (Róz˙yczka), 254 Marriage of Maria Braun, The (Die Ehe Little Sandman (Sandmännchen), 198 der Maria Braun), 65 Lives of Others, The (Das Leben der Martinelli, Renzo, 116 Anderen), 19–20, 85–6, 196, 209–20, Martin-Jones, David, 14, 265 227–8, 236, 239, 241–2, 244, 253 Marwick, Arthur, 115, 265 Loin du Vietnam, 252 Marx, Karl, 6, 20–1, 99, 118, 176, Lorenc, Michał, 144 265 Loshitzky, Yosefa, 24, 33, 247, 265 Masculin féminin, 113 Lost Honour of Katharina Blum, The Mat (Mother), 143 (Die verlorene Ehre der Katharina Mat i syn (Mother and Son), 249 Blum), 97 Matuszewski, Bolesław, 10–11, 15, 17, Lotna, 146 266 Lotringer, Sylvère, 8, 271 Max, 19, 62, 68, 74–80, 82–3, 95 Lotte in Italia (Struggle in Italy), 251 Mazierska, Ewa, 16, 40, 52–4, 188, Lowenthal, David, 1, 265 199, 202, 247, 254, 266, 268 Index 281

Mazowiecki, Tadeusz, 138, 145, 208, Mückenberger, Christiane, 65, 92, 267 221, 230 Mühe, Ulrich, 81, 85, 213–14, 253 McCarthy, Todd, 77, 266 Müller, Jan-Werner, 136, 267 McIlroy, Brian, 126, 251, 266 Müller, Melissa, 87, 263 McSorley, Tom, 40–1, 266 Mungiu, Cristian, 131 Mein Führer – Die wirklich wahrste Munk, Andrzej, 153, 247, 254 Wahrheit über Adolf Hitler (Mein Munslow, Alun, 1–2, 8–9, 267 Führer: The Truly Truest Truth About Muriel, 57 Adolf Hitler), 20, 62, 80–6, 95, 253 Musíme si pomáhat (Divided We Fall), Meinhof, Ulrike, 101–3, 107–8, 239, 241 110–15, 122, 251 Mein Kampf, 74 Naficy, Hamid, 8, 40, 191, 267 Meins, Holger, 111 Nałe˛cki, Konrad, 13 mépris, Le, 248 Napoleon, 61, 63 Meyjes, Menno, 20, 62, 68, 74–80, Näripea, Eva, 8, 177, 196, 267 82, 250 Nasta, Dominique, 200, 267 Michael Collins, 129 Neben der Zeit, 198 Michnik, Adam, 138, 221 Nedelsky, Nadya, 237, 267 Mickiewicz, Adam, 168, 252 Neeson, Liam, 129–30 Miller, Alice, 82, 266 Negri, Antonio, 99 Miłosz, Czesław, 247 Nelson, John, 99, 267 Miodek, Mariusz, 155, 266 Nesbitt, James, 129 Miracle of Bern, The (Das Wunder von Neumann, Iver, 183, 267 Bern), 93 Neupert, Richard, 14, 267 Miraculous Place (Cudowne miejsce), 54 Niccol, Andrew, 68 Mis´ (Teddy Bear), 150 Niedaleko Warszawy (Not Far from Mitscherlich, Alexander, 23, 64, 67, Warsaw), 209 88, 93, 266 Niethammer, Lutz, 3, 36, 267 Mitscherlich, Margarete, 23, 64, 67, Nietzsche, Friedrich, 6, 267 88, 93, 266 Nightingale, Florence, 79 Moeller, Robert, 66, 266 Night Porter, The (Il portiere di notte), 25 Moloch, 12, 62, 69–74, 95 Nirumand, Bahman, 108 Moncourt, André, 103, 251, 266 Niven, Bill, 93, 267 Monroe, Marilyn, 102 Nolte, Ernst, 62, 66–7 Montanelli, Indro, 133 Nora, Pierre, 2–4, 6–7, 18, 28, 56, 267 Moodysson, Lukas, 176, 179 Nørgaard, Ole, 178, 181, 268 Moonlighting, 20, 161–6 Not Far from Warsaw (Niedaleko Moore, Roger, 226 Warszawy), 209 Moran, John, 208, 266 Notre musique, 28, 169, 251 More Than Life at Stake (Stawka wie˛ksza Nouvelle vague, 37 niz˙ z˙ycie), 13, 226 Moretti, Mario, 116 Obchod na korze (A Shop on the High Morgenstern, Andrzej, 13 Street), 241 Moro, Aldo, 100, 116–25 O’Bretenny, Zofia, 233, 254 Morrey, Douglas, 33–5, 37, 171, 266 Odd Man Out, 126 Morrison, Jim, 102 O’Leary, Alan, 115–16, 120–1, 251, Mother (Mat), 143 268 Mother and Son (Mat i syn), 249 Opania, Marian, 151 Mozgovoy, Leonid, 71 Ophüls, Marcel, 32 282 Index

Os, Ben van, 250 Przypadek (Blind Chance), 225, 232 Ostatni prom (The Last Ferry), 165 Psy (Dogs), 220–30, 244 Ostrowska, Elz˙bieta, 53, 268 Psy 2. Ostatnia krew (Dogs 2), 221 Pudovkin, Vsevolod, 143 Paisà, 119 Pupendo, 237–8, 242–3, 244 Pan Tadeusz, 252 Pushkin, Alexander, 252 Papon, Maurice, 32 Putzulu, Bruno, 29 Pasaz˙erka (The Passenger), 247, 254 Pasikowski, Władysław, 221–9 Radstone, Susannah, 23, 262, 268 Pasolini, Pier Paolo, 120, 251, 268 Radziwiłowicz, Jerzy, 147, 156, 158, Passenger, The (Pasaz˙erka), 247, 254 169, 171 Passion, 20, 28, 161, 169–72, 248 Rakowski, Mieczysław, 144, 268 Paul VI (Pope), 99, 123 Rancière, Jacques, 36, 142, 247, 268 Pawlukiewicz, Marek, 143, 268 Ranger, Terence, 7, 262 Pearl in the Crown (Perła w koronie), Rascaroli, Laura, 199, 266 145–7 Raspe, Jan-Karl, 105, 113 Penn, Arthur, 103 Rawlinson, Mark, 24, 268 Perła w koronie (Pearl in the Crown), Reader, Keith, 37, 268 145–7 Reader, The, 217 Perlez, Jane, 226, 268 Re˛ce do góry (Hands Up!), 52 Peterson, Sebastian, 211 Red Road, 254 Petit, Christopher, 254 Reed, Carol, 126 petit soldat, Le, 98, 169 Reitz, Edgar, 98, 104 Pfefferman, Naomi, 79, 268 Rembrandt, Harmenszoon van Rijn, Pianist, The, 92, 217 169 Piazza delle Cinque Lune (Five Moons Remembrance of Things Past, 30, 64 Plaza), 116 Resnais, Alain, 57–8 Pickpocket, 37 Riefenstahl, Leni, 250 Piotrowska, Anita, 232, 268 Roberts, Julia, 34 Piwowski, Marek, 230 Rob Roy, 129 Place in the Sun, A, 16 Rockett, Kevin, 251, 269 Pod gwiazda˛ frygijska˛ (Under the Rodowick, D. N., 12, 269 Phrygian Star), 140, 143 Röhl, Klaus Rainer, 107–8 Polanski, Roman, 92, 217, 254 Romney, Jonathan, 42, 45, 48, 269 Polívka, Bolek, 241 Rooney, David, 124, 269 Pollock, Griselda, 46–7, 268 Rosa, Michał, 229, 233–6, 238, 243 Pollock, Jackson, 38 Rosenbaum, Ron, 69, 78, 82, 269 Popiół i diament (Ashes and Diamonds), Rosenfeld, Alvin, 61, 69, 269 141–2, 223, 227 Rosenstone, Robert, 12–14, 247 Popplewell, Richard, 210, 212, 253, 258 Rossellini, Roberto, 119, 269 Porumboiu, Corneliu, 20, 176, 199, Rostworowski, Karol Hubert, 158 206 Roszak, Theodore, 107, 269 Pos´cig (Chase), 209 Rothberg, Michael, 247, 265 Poster, Mark, 247, 268 Rottmann, Karl, 78 Pouta (Walking too Fast), 238 Rourke, Mickey, 226 Preece, Julian, 105, 251, 268 Rowden, Terry, 10, 99, 256 Priban, Jiri, 238, 268 Róz˙ewicz, Stanisław, 146 Proust, Marcel, 29, 33, 51 Rozmowy kontrolowane (Tapped Przesłuchanie (Interrogation), 13, 209 Conversations), 20, 150–5 Index 283

Róz˙yczka (Little Rose), 254 Siani-Davies, Peter, 200, 203–4, 270 Rubens, Peter Paul, 169 Silverman, Kaja, 252, 270 Rufanova, Yelena, 71 Singing Powder-Box, The (Zpívající Rysa (Scratch), 229, 233–7, 244 pudrˇenka), 209 Rysopis (Identification Marks: None), 52 Skolimowski, Jerzy, 20, 52, 161, 170, Rzeczpospolitej dni pierwsze (First Days 172 of the Republic), 144 Skoller, Jeffrey, 6, 14, 270 Slap the Monster on Page One (Sbatti il Sadowski, Marek, 143, 269 mostro in prima pagina), 118 Said, Edward, 9, 40–1, 248, 269 Slemon, Stephen, 54, 270 Salmon, Patrick, 181, 262 Smarzowski, Wojciech, 158–61, 252 Salt of Black Earth (Sól ziemi czarnej), S´miałowski, Piotr, 233, 235, 270 145, 147 S´mierc´ jak kromka chleba (Death as a Sandmännchen (Little Sandman), 198 Slice of Bread), 20, 145–50, 152, 154 Sansa, Maya, 117 Smugglers of Death (Král Šumavy), 209 Santner, Eric, 23, 46, 65, 67, 269 Sobchack, Vivian, 8, 270 Sartre, Jean-Paul, 99, 103 Sobolewski, Tadeusz, 140, 144, 227, Saxton, Libby, 33, 269 270 Sbatti il mostro in prima pagina (Slap Socialism (Film socialisme), 28 the Monster on Page One), 118 Sofair, Michael, 35, 270 Schenck, Ernst-Günther, 91 Sokurov, Aleksandr, 19, 62, 69–74, Schindler’s List, 13, 24, 33, 35, 46, 53, 249 59, 88, 90, 129, 218–20, 248 Solidarnos´c´, Solidarnos´c´ ... (Solidarity, Schindler, Oskar, 53, 86, 218 Solidarity …), 154–8, 164 Schleyer, Hanns-Martin, 103, 105–6, Solntse (The Sun), 69 113–14, 123 Soltan, Karol, 174, 270 Schlöndorff, Volker, 98, 104, 114, 161 Sól ziemi czarnej (Salt of Black Earth), Schmiderer, Othmar, 250 145, 147 Schmidt, Helmut, 107 Sonnennallee, 188 Schmitz, Helmut, 93, 269 Sontag, Susan, 65, 270 Schneider, Helge, 81, 85 Sophie’s Choice, 43 Schreiber, Gerhard, 66 Sorrow and the Pity, The (Le chagrin et Schwartz, Herman, 208, 269 la pitié), 32 Schygulla, Hanna, 169 Špacˇek, Radim, 238 Sconce, Jeffrey, 66, 269 Speer, Albert, 85, 90, 94 Scratch (Rysa), 229, 233–7, 244 Spiegelman, Art, 25 Scribner, Charity, 135 Spielberg, Steven, 24, 33–5, 68, 80, Seed, Patricia, 40, 269 88, 90, 129, 218 See␤len, Georg, 93 Spitzer, Leo, 56, 262 Sehnsucht der Veronika Voss, Die Springer, Axel, 101, 109 (Veronika Voss), 216 Stalin, Joseph, 62, 69, 124, 197, 249 Seidl, Ulrich, 176 Stam, Robert, 8, 16–17, 179, 270 Ševic´, Željko, 175, 269 Stan, Lavinia, 207–8, 221, 230, 254, Shakespeare, William, 158 270 Sharpley, Richard, 209, 269 Starship Troopers, 68 Shoah, 6, 15, 24, 45–6 Stawka wie˛ksza niz˙ z˙ycie (More Than Shohat, Ella, 179, 269 Life at Stake), 13, 226 Shop on the High Street, A (Obchod na Steinberg, Stefan, 80, 85, 270 korze), 241 Steiner, George, 24 284 Index

Stevens, George, 16 Time of Hope (Czas nadziei), 140–4, Stone, Norman, 250, 270 149 Stone, Oliver, 109 Tismaneanu, Vladimir, 204, 257, 271 Stone, Philip, 34, 269 Tobias, Herbert, 102 Strajk – Die Heldin von Danzig (Strike), Tocqueville, Alexis de, 204 161 Todesspiel (Death Game), 105 Stratton, David, 73, 270 To Kill a Priest, 161 Strike (Strajk – Die Heldin von Danzig), Tomlinson, John, 42, 271 161 Topolski, Feliks, 167 Stroin´ski, Krzysztof, 233, 235 Tourist, The, 253 Struggle in Italy (Lotte in Italia), 251 tragedia di un uomo ridicolo, La (The Strzelczyk, Florentine, 68, 270 Tragedy of a Ridiculous Man), 120 Stuhr, Jerzy, 20, 229–33, 243 Triumph des Willens (Triumph of the Success Is the Best Revenge, 20, 161, Will), 250 166–9 Trotta, Margarethe von, 104, 114–15 Sullivan, Moira, 120, 270 Truman Show, The, 196 Sun, The (Solntse), 69 Trzaskalski, Piotr, 157 Sweets, John, 32, 270 Turim, Maureen, 58, 271 Syberberg, Hans-Jürgen, 63–4, 66, 80, Turned Back, The (Zawrócony), 150, 87, 95–6 152–4 Sýkora, Jirˇí, 254 12:08 East of Bucharest (A fost sau n-a Szaniawski, Jeremi, 69, 72–3, 270 fost?), 20, 176, 199–206 Szczepan´ski, Tadeusz, 54, 271 Twin Peaks, 107 Szczerba, Jacek, 158 Twists of Fate (Korowód), 20, 229–33, Szmak, Andrzej, 227, 271 235–6, 243–4, 254 Szołajski, Konrad, 154 Tym, Stanisław, 150 Szpilman, Władysław, 217 Tyrrell, Ian, 9, 271 Sztompka, Piotr, 174, 271 Szumowska, Małgorzata, 157–8 Ucho (The Ear), 209 Szyma, Tadeusz, 144, 156, 271 Ulysses, 64 Under the Phrygian Star (Pod gwiazda˛ Tamm, Marek, 5, 271 frygijska˛), 140–1, 143 Tapped Conversations (Rozmowy Unrequited Love, 254 kontrolowane), 20, 150–5 Untergang, Der (Downfall), 19–20, 62, Tarantino, Quentin, 83 86–95, 105, 127, 132, 248, 250 Taurus (Telets), 69 Urbanowicz, Stanisław, 209 Taylor, Elizabeth, 16 Urbla, Peeter, 20, 176–87, 252 Taylor, Noah, 74–5 Urry, John, 33, 195, 271 Teddy Bear (Mis´), 150 Ussher, Clarence, 42, 45 Telets (Taurus), 69 Temple, Michael, 15, 271 Vande Winkel, Roel, 87, 93, 250, 271 Tesson, Charles, 37, 271 Varon, Jeremy, 98–9, 102–3, 271 Thatcher, Margaret, 165 Veiel, Andres, 105 Thelen, David, 9, 271 Verhoeven, Paul, 68 Thieme, Thomas, 218 verlorene Ehre der Katharina Blum, 300 mil do nieba (300 Miles to Heaven), Die (The Lost Honour of Katharina 165 Blum), 97 Thrift, Nigel, 9, 258 Veronika Voss (Die Sehnsucht der Tiersen, Yann, 189 Veronika Voss), 216 Index 285

Vidal-Naquet, Pierre, 250, 271 Wilson, Emma, 40, 272 Viehjud Levi, 79 Winter, Jay, 4, 272 Vigo, Jean, 37 Wionczek, Roman, 139–44, 148 Vihalemm, Peeter, 180, 265 Witt, Michael, 15, 272 Virilio, Paul, 8–9, 271 Wittgenstein, Ludwig, 78 vita è bella, La (Life Is Beautiful), 68, Wodzirej (Dance Leader), 232 85–6 Wojciechowski, Piotr, 91, 272 Vošmik, Milan, 209 Wokalek, Johanna, 113 Vtacˇkovia, siroty a blázni (Birds, Wolen´ski, Jan, 208, 221, 229–30 Orphans and Fools), 254 Wolff, Stefan, 97, 272 Wollenberger, Knud, 233, 235 Wagner, Richard, 72, 249–50 Woman Alone, A (Kobieta samotna), 225 Wajda, Andrzej, 13–15, 42, 92, 121, Wood, Nancy, 4, 32, 272 141, 146, 153–4, 156, 164, 169, Wortmann, Sonke, 93 209, 223, 227, 252 Wosiewicz, Leszek, 254 Wałe˛sa, Lech, 136–8, 156–8, 204, 221, Wright, Alan, 15–16, 251, 272 230 Wright, Glendal, 175, 269 Walking too Fast (Pouta), 238 Wunder von Bern, Das (The Miracle of Wang, Ning, 33, 195, 271 Bern), 93 Wedding, The (Wesele), 159, 252 Weil, Simone, 171–2 York, Michael, 169 Weingarten, Hans, 93 Young, James, 248, 272 Weir, Peter, 196 Weiser, 17, 19, 22, 48–58, 247 Zanussi, Krzysztof, 157 Weiser Dawidek, 48 Zapasiewicz, Zbigniew, 225 Welsh, Helga, 208, 271 Zawadzki, Hubert, 140, 252, 265 Wenders, Wim, 65, 87, 90, 94, 272 Zawrócony (The Turned Back), 150, Wesele (The Wedding), 159, 252 152–4 Westerplatte, 146 Žert (The Joke), 209 Where the Truth Lies, 48 Zezowate szcze˛s´cie (Bad Luck), 154 White, Hayden, 12–13, 15, 20, 25, 32, Žižek, Slavoj, 25, 36, 69, 85, 97–8, 36, 91, 109–10, 272 101, 142–3, 164, 199, 213, 219, Whittaker, David, 97, 125, 272 247, 250–1, 273 Wiene, Robert, 65 Zpívající pudrˇenka (The Singing Powder- Wieviorka, Annette, 26, 272 Box), 209 Williams, James, 271 Z˙urawiecki, Bartosz, 232, 273 Williams, Kieran, 207–8, 237, 272 Zwierzchowski, Piotr, 144, 209, 273 Williams, Linda, 106, 110, 272 Zybertowicz, Andrzej, 227, 273