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Or: How Camerimage Festival Tried to Convince Łódź to Stop Worrying and Love Modern Architecture) Konrad Klejsa Uniwersytet Łódzki

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Or: How Camerimage Festival Tried to Convince Łódź to Stop Worrying and Love Modern Architecture) Konrad Klejsa Uniwersytet Łódzki varia 269 Dietrich – wchodzi w bezpośredni kontakt padki przełamywania społecznych tabu. Pro- z publicznością, siadając na kolanach jedne- dukcja ta tworzyła swego rodzaju alternatywny mu z mężczyzn, namiętnie całując go w usta, wąski obieg. Jest bowiem rzeczą niezmiernie a w chwilę później zrywając z głowy blond mało prawdopodobną, by podobnie śmiała perukę, aby zaprezentować się widzom jako pod względem obyczajowym scena z przyczyn mężczyzna. Autor etiudy zdokumentował tutaj cenzuralnych mogła się znaleźć w jakimkolwiek coś, co w tamtym czasie mogło funkcjonować ówczesnym fi lmie fabularnym bądź dokumen- jedynie na obrzeżach życia obyczajowego w Pol- talnym w szerokim rozpowszechnianiu. sce, ale – jak widać – torowało już sobie drogę, przynajmniej w widowisku estradowym. Na zakończenie studiów reżyserskich w łódz- Zaskakująca śmiałość opisanej sceny wykra- kiej PWSFTviT Michał Tarkowski zrealizował – cza daleko poza konwencję estradowego spekta- oceniony przez opiekuna pedagogicznego klu erotycznego. Pod tym względem dokument prof. Wojciecha Jerzego Hasa na notę celują- nakręcony przez Tarkowskiego i Szarka stanowi cą – znakomity fi lm absolutoryjny pt. Przerwane niewątpliwy ewenement obyczajowy w kinie śniadanie Braci Montgolfi er (1979–1980). Orygi- polskim dekady lat 70. Obaj ukazali i zanoto- nalność i klasa artystyczna tego utworu, który wali ślad dokonującej się niepostrzeżenie prze- w niczym nie przypomina ćwiczenia warszta- miany obyczajowej. W etiudach powstających towego, będąc pełnoprawnym dziełem sztuki w łódzkiej Szkole Filmowej niejednokrotnie fi lmowej, zasługuje po latach na uważne przestu- natrafi amy na tego rodzaju graniczne przy- diowanie i analizę w formie osobnego artykułu. Surreal Dreams of a “Creative City” (or: How Camerimage Festival Tried to Convince Łódź to Stop Worrying and Love Modern Architecture) konrad klejsa Uniwersytet Łódzki In January 2012, the New York Times pub- congress center with an avant-garde, building-block lished a tourist report entitled “45 places to go.” shape.[] It included the city of Łódź, which was intro- In 2015, it is already clear that neither Lynch’s duced in the following words: studio nor Gehry’s congress centre will come Th e movie-making headquarters of the country into being due to major shift s in the city’s cul- (with a fi lm school that started the careers of Roman tural policy, which has been widely comment- Polanski and Andrzej Wajda), Łódź has seen its ed upon in both local and national media. Th e labyrinth of textile warehouses and industrial-era following paper presents the most important relics repurposed for artistic and entrepreneurial events and critical voices raised during this ventures. Th e latest is by director, David Lynch, debate, drawing primarily on an analysis of who has a deal to establish a major fi lm studio in a former 19th-century power plant in the city. Its documentary content (newspaper articles and makeover - which will also include a planetarium, a studies on the cultural policy produced by var- library, an exhibition space and a theater – is sched- ious public and non-profi t entities). uled to be shown to the public in 2014. Additionally, [1] R.B. Doyle, “Th e Hollywood of Poland recla- the architect Frank Gehry, whose grandparents ims its industrial past”, Th e New York Times, 2012, were from Łódź, is in talks to design a festival and no. 6 (January 8, 2012). 270 varia Th e setting: HollyŁódź and fi lm culture more as a stigma than a development asset. In With over 710,000 inhabitants, Łódź is the interviews with local fi lmmakers and cultural third largest city in Poland, although its demog- policy makers, one statement was frequently raphy and economics were severely impacted repeated: “Nobody knew what to do.”[] Th e by the decline of the textile industry during premises of the former Fiction Film Production the 1990s. Compared with the rest of Poland, Studio was divided into several sub-sections: Łódź is still predominantly a worker’s city, one was purchased by Opus Film (now one of where middle and high-income groups form the leading fi lm and commercial producers in a small minority. Th e city faces signifi cant so- Poland), and one became the headquarters of cial problems: rising unemployment, a strong Toya Group (which operates a sound-recording sub-urbanization of higher-income families to studio, as well as being a local TV broadcaster peripheral districts, and a consequent social and internet provider). Two buildings remained imbalance, especially in the city centre. state-owned, and up till today have served basi- Th roughout the 1950s, 1960s, and 1970s cally as a storage facility – either for fi lm stock (and up to the mid-1980s), the city was un- (a department of the National Film Archive, deniably the centre of Polish fi lm production, with its headquarters in Warsaw) or for props with quite a few state-owned institutions: the and costumes (a company called the Łódź Film Fiction Film Production Studio (Wytwórnia Centre which now belongs to the city of Łódź). Filmów Fabularnych), where the majority of Studios dedicated to animated (Se-Ma-For) and Polish full-length movies were made, the An- educational fi lms (WFO) underwent similar imated Film Production Studio (Se-Ma-For) transformations: the fi rst became a private com- and the Educational Film Production Studio pany in 1999 and is still struggling to survive by (Wytwórnia Filmów Oświatowych). Th e decline providing services for foreign companies, while of “HollyŁódź” started in the mid-1980s and the former almost ceased to exist, and in 2012 was caused both by poor management deci- was fi nally taken over by the Marshalls Offi ce. sions and the lack of a national policy towards In the late 1990s, Łódź’s eff orts to overcome fi lm production (Th e Polish Film Institute in its stagnation engendered a discussion concern- Warsaw was created as late as 2005). ing the arts and cultural activity as amenities In the early 1990s, the remnants of the city’s for economic development. It was observed that fi lm production studios started to be thought of while fi lm-sector employment in the city had faltered, the number of small fi rms and com- [2] In 2013 and 2014 a research group from the panies had increased. Th is observation led to University of Łódź and the Polish National Film the creation of the Media Cluster initiative. In School conducted 50 in-depth interviews, each June 2007, a letter of intent was signed by over 90 minutes in length. Although there was some variation in the questions depending on the 50 institutions – both commercial (almost every subject, key questions focused on the respon- private company operating in Łódź decided to dents’ views on the following: the most impor- join) and public (including Th e National Film tant projects for fi lm culture in the city, the key School, Th e University of Łódź, Th e Technical issues, events and people that infl uenced the city’s University, and Th e Academy of Fine Arts). Th e approach to cultural policy, and the challenges key objective of the Media Cluster was to “en- they encountered. Th e outcomes of the project hance the effi ciency and competitiveness of the will be presented in an edited volume, which is to regional media industry by reinforcing the net- be published in 2015. [3] List intencyjny – deklaracja współpracy z 26 works linking local entrepreneurs, business and marca 2007 (Letter of Intention, March 26, 2007), professional bodies, research and development available at: <http://www.mediaklaster.pl/wp- centres and support their business projects.”[] -contentuploads/2007/03/list_intencyjny.jpg> Unfortunately, the Media Cluster initiative [accessed: September 14, 2014]. has not been developed into a wider concept, varia 271 mostly due to the fact that it coincided with It is the 23rd of January - minus eighteen degrees. yet another project which has been successful- Th ere are not many cars on the streets of Łódź, as ly pushed forward by city offi cials: Th e New the majority of them have been blocked by banks Centre of Łódź, which was aimed at the rede- of snow. Th e ice-covered streets shine in the bright sunlight. Th e notary’s offi ce on Żwirki street is still velopment of the old industrial area and was empty at 10 a.m. Journalists and press photogra- to be carried out in conjunction with the city’s phers slowly arrive, and fi nally the heroes of the day general urban planning policy, which includ- appear: American director, David Lynch, architect ed a new railway station as its most important and businessman, Andrzej Walczak, and the chief investment. Th e so-called EC1 will material- of the Camerimage fi lm festival, Marek Żydowicz. ize on a vast four-hectare area surrounding a Th ey disappear behind closed doors, which in fact former power plant (built in 1906, it supplied are glass, but the crystal cut distorts and blurs the almost the whole city with electricity until it image, and as a result, not much can be seen. Th e atmosphere is tense and time spent waiting in the was closed in 2005). Along with the New Centre cold air passes slowly. Finally, the doors open. Smil- of Łódź project, new ambitious objectives were ing men are sitting at the table – the three of them set: “now it will become a source of cultural have just set up a foundation.[] spirit and will generate artistic energy” – prom- ised acting mayor of Łódź Tomasz Sadzyński Th e triumvirate seemed attractive and extraor- dinary, each of the founders had a good track in 2010.[] Such statements were in-tune with the “cre- record of original and successful enterprises. Mr ative city” concept, which by the late 1990s had Żydowicz headed (and still does) the Camerim- become popular in a variety of contexts and age Film Festival organised in Toruń from 1993 interpretations, such as Richard Florida’s “cre- to 1999; aft er his confl ict with city authorities, he moved the Festival to Łódź, where the event ative class” theory.[] Within this theoretical framework, culture is increasingly being seen was held from 2000 to 2009.
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