1. Polsko a Andrzej Wajda…………………………………………………………10 1
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The Andrzej Wajda-Philip Morris Freedom Prize
The Andrzej Wajda-Philip Morris Freedom Prize By Ron Holloway Spring 1999 Issue of KINEMA Cinema is not just art and entertainment,” said Polish director Andrzej Wajda in dialogue with German colleague Volker Schlöndorff during a program scheduled at the American Academy in Berlin. ”Cinema also has a social, moral, philosophical function. This is often forgotten today.” Asked for further clarification, Wajda answered, without hesitation but on a note of nostalgia: ”Compare today’s cinema with Italian Neorealism, with postwar Swedish and French cinema, and the gap is evident!” Poland’s most acclaimed film director had his reasons for speaking out so directly and without compromise on the banality of contemporary cinema. On the day before, in the Polish Cultural Institute on Alexanderplatz, he had been honored with the American Cinema Foundation Freedom Award -- indeed, the ceremony was most impressive. Guests from the United States and Poland, among them Agnieszka Holland, Wajda’s favourite collaborator on screenplays, were present. Moreover, the occasion marked the founding of the new ”Andrzej Wajda -- Philip Morris Freedom Prize,” to be awarded annually to a promising filmmaker from Central or Eastern Europe, in whose works are reflected the themes of freedom and democracy. The prize will be awarded together withapurse of $10,000 donated by the Philip Morris Kunstförderung. Each July, during the Karlovy Vary International Film Festival, an international jury will select the winner of the Andrzej Wajda Prize. In February, on the occasion of the Freedom Film Festival in Berlin, the prize will be officially awarded to the winner. ”This is not a lifetime achievement award,” says Gary McVey, director of the American Cinema Foundation, ”but a prize in recognition of an exemplary moral and ethical message in the art of the cinema. -
Contemporary Polish Cinema (Spring Term)
University of Pittsburgh Department of Slavic Languages and Literatures Polish 1450 - Contemporary Polish Cinema (Spring Term) Instructor: Jolanta Lapot (visiting from Lodz Film School of Poland, 1999-2000) Course Meets: W CL249 5:45-10:00 Office Hours: Th, Fr 11:00-2:00 Office:1417 Cathedral of Learning e-mail:[email protected]. Phone: 624-5707 General Course Description The course presents contemporary Polish cinema from 1945 to the present. Concepts will be studied in their historical, political, philosophical, and aesthetic perspective. We will examine the important national themes in modern Polish cinema, relating them to the history of Poland and Eastern Europe. The main trends (schools, movements) in Polish cinema will be examined such as the so-called PolishSchool and the Cinema of Moral Concern. The works of most important modern Polish film-makers will be examined, including the works of Andrzej Wajda, Andrzej Munk, Agnieszka Holland, Roman Polanski, Krzysztof Kieslowski, Wladyslaw Pasikowski, Leszek Wosiewicz, and Ryszard Bugajski. Films to be examined may be divided into three general groups 1. Films representing post-war history and, more specifically, films covering important social and political transformations, but made after the fact. These are sometimes called revisionist films in search of historical truth, previously distorted by political ideology. 2. Films dealing with World War II. We will look at different ways in which the war is treated by film-makers over the course of the post-war period. 3. The final group of films is chosen purely on the basis of artistic merit. The role of film as an art form will be examined during the different periods of the post-World-War-Two era. -
Andrzej Wajda's a Generartion and Man of Marble
Andrzej Wajda’s A Generartion and Man of Marble By Fabian Schuppert Spring 2006 Issue of KINEMA ANDRZEJ WAJDA’S A GENERATION AND MAN OF MARBLE FROM A POLITICAL PERSPECTIVE ’The cinema does not exist in a sublime state of innocence, untouched by the world; it also has a political content, whether conscious or unconscious, hidden or overt.’(1) Andrew Sarris A PIECE of art is always produced in concrete socio-political circumstances; it is a social product. Undoubt- edly art does not come into being or exists in an absolute, free state of self-sufficiency. But to postulate that art is at the same time always political, is quite a different affair. What exactly does it imply to saythat art, or as in the case of Andrew Sarris and this article, that film is political? This paper is going to inquire into the political role, function and use of film. The aim of this paper is to give a short overview on selected theories on the political nature of art and film, before moving on and applying these concepts to two films by Andrzej Wajda. This paper will analyse Wajda’s A Generation (Pokolenie, 1955) and Man of Marble (Człowiek z marmuru, 1976) from a political point of view. Both films were produced in Poland during the times of the communist regime, but under quite different conditions, and with quite different objectives. This article will not only deal with film analysis and interpretation but also critically look at the circumstance of production, which influenced the film: the concrete socio-political situation, including state pressure and censorship. -
May / Maj 2000R
WIADOMOŚCI Z BIBLIOTEKI Maj / Czerwiec 2000 W Numerze: Wajda na ustach świata. Obraz pokolenia artykuł Jana NowakaJeziorańskiego Trzy oblicza Brandysa Od Redakcji Podziękowania Ekslibrisy Biblioteka Polskiego Instytutu Naukowego Adam Ulam Exciting New Books Życie Kulturalne WAJDA NA USTACH ŚWIATA ! Dumni jesteśmy z naszego najsłynniejszego reżysera filmowego, Andrzeja Wajdy, którego uhonorowano tej wiosny nawyższym filmowym odznaczeniem Oskarem za całość jego pracy. Nic dziwnego że miłośnicy srebrnego ekranu uważają go za jednego z najważniejszych reżyserów w historii filmu! Osiągnięcia jego są zaiste imponujące. Wajda zrealizował 36 filmów fabularnych, ponad 30 spektakli teatralnych, kilkanaście programów telewizyjnych. Jest najbardziej znanym w świecie polskim reżyserem. Miał mnóstwo sukcesów, zdobył wiele nagród. Wśród szczególnie prestiżowych była w Canne Srebrna Palma w 1957 r. za Kanał i w 1978 r. zaCzłowieka z marmuru nagroda krytyki FIPRESCI. Popiół i diament przyniósł mu nagrodę krytyki w Wenecji w 1959 r. Andrzeja Wajdę wychował polski patriotyczny dom i szkoła. Ojciec jego był zawodowym oficerem, matka nauczycielką. Dzieciństwo spędził w prowincjonalnych garnizonowych miasteczkach. Miał zaledwie 13 lat gdy wybuchła wojna i ojciec ruszył by bronić ojczyzny. Nie zobaczył go więcej, ale dom był zawsze pełen pamiątek, jego pułkowych odznak, jego Krzyża Virtutu Militari, fotogrfii w mudurze i z szablą. W czasie okupcji Andrzej uczył się w Radomiu na tajnych kompletach. W 1942 r. złożył przysięgę swemu dowódcy w podziemiu. Matka drżała o jego życie. Wcześnie ujawniły się jego zamiłowania artystyczne i zdolności malarskie. Wnet po zakończeniu wojny miał swoją pierwszą wystawę malarską. Czas mu było wyrwać się na szerszy świat. Przeniósł się do Krakowa, gdzie rozpoczął studia malarskie na Akademii Sztuk Pięknych. -
Khanty Mansiysk Autonomous Region Yugra Russia Siberia Россия
Россия Сибирь ХантыМансийский автономный округ Югра KhantyMansiysk Autonomous Region Yugra Russia Siberia ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2007 ОРГКОМИТЕТ ФЕСТИВАЛЯ / ORGANIZING COMMITTEE OF THE FESTIVAL Ìèõàèë Åôèìîâè÷ Øâûäêîé Nail Kashapov Alexey Ovsyannikov Ðóêîâîäèòåëü Ôåäåðàëüíîãî àãåíòñòâà ïî Chief medical officer of the territorial admin- Deputy Chairman of the Government of the êóëüòóðå è êèíåìàòîãðàôèè, ñîïðåäñåäàòåëü istration of Rospotrebnadzor in the Khanty- autonomous district for problems of small îðãêîìèòåòà Mansiysk autonomous district – Yugra nationalities of the North, Director of the Mikhail Shvydkoy Department of the autonomous district for Head of the Federal Agency for Culture and Âÿ÷åñëàâ Ìèõàéëîâè÷ Êîçëîâñêèé problems of small nationalities of the North Cinema, co-chairman of the organizing committee Çàìåñòèòåëü íà÷àëüíèêà Óïðàâëåíèÿ âíóòðåííèõ äåë àâòîíîìíîãî îêðóãà, Çèíàèäà Áîðèñîâíà Ñàõàóòäèíîâà Àëåêñàíäð Âàñèëüåâè÷ Ôèëèïåíêî íà÷àëüíèê ìèëèöèè îáùåñòâåííîé Ïðåäñåäàòåëü Êîìèòåòà ïî âíåøíèì Ãóáåðíàòîð, Ïðåäñåäàòåëü Ïðàâèòåëüñòâà áåçîïàñíîñòè ñâÿçÿì àâòîíîìíîãî îêðóãà àâòîíîìíîãî îêðóãà, ñîïðåäñåäàòåëü îðãêîìèòåòà Vyacheslav Kozlovsky Zinaida Sakhautdinova Alexander Filipenko Deputy Chief of the Department of internal Chairman of the Ñommittee for foreign Governor, Chairman of the Government of affairs of the autonomous district, chief of relations of the autonomous district the Autonomous District, co-chairman police of public safety of the organizing committee Àëåêñàíäð Ïàâëîâè÷ Ñåìåíîâ Àëåêñàíäð Âèòàëüåâè÷ -
Bodily Violence and Resistance in Wojtek Smarzowski's Rose
Article Bodily Violence and Resistance in Wojtek Smarzowski’s Rose (Róża, 2011) ELŻBIETA OSTROWSKA, University of Alberta, Canada; email: [email protected] 38 DOI: 10.2478/bsmr-2018-0003 BALTIC SCREEN MEDIA REVIEW 2018 / VOLUME 6 / ARTICLE ABSTRACT The article argues that Wojtek Smarzowski’s filmRose (Róża, Poland, 2011) undermines the dominant bi- gendered logic of screen death and suffering in the Polish films depicting the experience of World War II. In these films, there is a significant absence of images of female suffering and death, which is striking when compared to the abundant images of wounded and dying male bodies, usually represented as a lavish visual spectacle. This unrepresented female death serves as a ‘structuring absence’ that governs the systematic signifying practices of Polish cinema. Most importantly, it expels the female experience of World War II from the realm of history to the realm of the mythical. This representational regime has been established in the Polish national cinema during the 1950s, especially in Andrzej Wajda’s films, and is still proving its longevity. As the author argues, Smarzowski’s Rose is perhaps the most significant attempt to undermine this gendered cinematic discourse. Specifically, the essay explores the ways in which Smarzowski’s Rose departs from previous dominant modes of representation of the World War II experience in Polish cinema, especially its gendered aspect.1 Firstly, it examines how Rose abandons the generic conventions of both war film and historical drama and instead, utilises selected conventions of melodrama to open up the textual space in which to represent the female experience of historical events. -
Andrzej Wajda'nin Kadrajindan Polonya
TÜRKİYE CUMHURİYETİ ANKARA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ SLAV DİLLERİ VE EDEBİYATLARI ANABİLİM DALI POLONYA DİLİ VE KÜLTÜRÜ BİLİM DALI ANDRZEJ WAJDA’NIN KADRAJINDAN POLONYA EDEBİYATI Doktora Tezi Aybike Kılık Ankara, 2018 TÜRKİYE CUMHURİYETİ ANKARA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ SLAV DİLLERİ VE EDEBİYATLARI ANABİLİM DALI POLONYA DİLİ VE KÜLTÜRÜ BİLİM DALI ANDRZEJ WAJDA’NIN KADRAJINDAN POLONYA EDEBİYATI Doktora Tezi Aybike Kılık Tez Danışmanı Prof. Dr. Neşe M. Yüce Ankara, 2018 İÇİNDEKİLER İÇİNDEKİLER ……………………………………………………………………..i GİRİŞ ……………………………………………………………………………….1 I. BÖLÜM Sinema ve Uyarlama Üzerine…………………………………………………….11 II. BÖLÜM İkinci Dünya Savaşı Sonrası Polonya Sineması ………………………………...26 III. BÖLÜM Andrzej Wajda Kimdir?.........................................................................................61 III.1. Sinema Geçmişi ……………………………………………………...61 III.2. Tiyatro Geçmişi ………………………………………………….…..70 IV. BÖLÜM Romantizm Dönemi ………………………………………………………………72 IV.1. Bay Tadeusz …………………………………………………………74 IV.2. İntikam ……………………………………………………………….81 V. BÖLÜM Genç Polonya Dönemi ……………………………………………………………91 V.1. Genç Polonya Döneminde Drama ……………………………………93 V.2. Genç Polonya Döneminde Roman ……………………………………95 V.3. Düğün …………………………………………………...……………96 V.4. Vaat Edilmiş Toprak ……………………………..…………………122 VI. BÖLÜM İki Savaş Arası Dönem ………………………………………………………….139 VI.1. Wilkolu Kızlar ……………………...………………………………140 VI.2. Danton .………………………………………………………..……155 i VII. BÖLÜM Savaş Konulu Filmler ………………………………………………...…………164 VII.1. Muharebe -
The Shoah on Screen – Representing Crimes Against Humanity Big Screen, Film-Makers Generally Have to Address the Key Question of Realism
Mémoi In attempting to portray the Holocaust and crimes against humanity on the The Shoah on screen – representing crimes against humanity big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has emember been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg’s Schindler’s List, depicting reality in all its details, and more symbolic films such as Roberto Benigni’s Life is beautiful. Some films have been very controversial, and it is important to understand why. Is cinema the best way of informing the younger generations about what moire took place, or should this perhaps be left, for example, to CD-Roms, videos Memoi or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increas- Mémoire ingly younger audiences, inured by the many images of violence conveyed in the media. ireRemem moireRem The Shoah on screen – www.coe.int Representing crimes The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal princi- against humanity ples based on the European Convention on Human Rights and other reference texts on the protection of individuals. -
Mazierska Final.Indd
CHAPTER 3 The 1970s Seeking Change The time of fragmentation In the previous chapter I described the 1960s as a decade that was good for labour in Europe, with high levels of employment, relatively high wages and opportunities to move up the social ladder. This was reflected in European cinema through the focus on characters searching for self-fulfilment rather than the necessities of life. From the perspective of the economy and politics, the 1970s constitute a watershed. At the beginning of the decade, they conformed to the rules set out by Ford and Keynes. By its end they took a new direction; the values that informed the first thirty or so years of European postwar history gave way to a new set of ideas. This change was not immediately visible. Eric Hobsbawm observes that ‘The history of the twenty years after 1973 is that of a world which lost its bearings and slid into instability and crisis. And yet, until the 1980s it was not clear how irretrievably the foundations of the Golden Age had crumbled’ (Hobsbawm 1995: 403). Those who attempt to draw the line between the Golden Age and its aftermath point to 1973: the year of the oil embargo following the Arab-Israeli war, property crashes worldwide and the simultaneous collapse of several financial institutions, coupled with the unraveling of the international Bretton Woods financial arrangements, which established the American Dollar as a world currency (Hobsbawm 1995: 403; Harvey 2005: 5–24; Harvey 2006a: x). In contrast to the preceding decades of stability, since 1973 the European and world economy has been in a perpetual crisis (Harvey 2005; 2010b). -
©2017 Renata J. Pasternak-Mazur ALL RIGHTS RESERVED
©2017 Renata J. Pasternak-Mazur ALL RIGHTS RESERVED SILENCING POLO: CONTROVERSIAL MUSIC IN POST-SOCIALIST POLAND By RENATA JANINA PASTERNAK-MAZUR A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Music Written under the direction of Andrew Kirkman And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey January 2017 ABSTRACT OF THE DISSERTATION Silencing Polo: Controversial Music in Post-Socialist Poland by RENATA JANINA PASTERNAK-MAZUR Dissertation Director: Andrew Kirkman Although, with the turn in the discipline since the 1980s, musicologists no longer assume their role to be that of arbiters of “good music”, the instruction of Boethius – “Look to the highest of the heights of heaven” – has continued to motivate musicological inquiry. By contrast, music which is popular but perceived as “bad” has generated surprisingly little interest. This dissertation looks at Polish post-socialist music through the lenses of musical phenomena that came to prominence after socialism collapsed but which are perceived as controversial, undesired, shameful, and even dangerous. They run the gamut from the perceived nadir of popular music to some works of the most renowned contemporary classical composers that are associated with the suffix -polo, an expression -
Muzyka W Filmie Tatarak Andrzeja Wajdy
BAnna Al-Araj B „W ogóle jestem niechętny dźwiękom”. Muzyka w filmie Tatarak Andrzeja Wajdy ABSTRACT. Al-Araj Anna, „W ogóle jestem niechętny dźwiękom”. Muzyka w filmie „Tatarak” Andrzeja Wajdy [“As a rule, I am reluctant towards sound”. Music in Andrzej Wajda’s film “Sweet Rush”]. „Przestrzenie Teorii” 27. Poznań 2017, Adam Mickiewicz University Press, pp. 117–137. ISSN 1644-6763. DOI 10.14746/pt.2017.27.10. The aim of this article is to interpret the musical layer of Andrzej Wajda’s 2009 movie Tatarak (Sweet Rush ), based on the novel by Jarosław Iwaszkiewicz. In the first part, the author attempts to depict the complex relationship between the literary and film works of these two artists and em- phasizes three main motifs used by both of them: love and death, water and women’s themes. Next, Wajda’s attitude to music is analyzed. He treats sounds as an element of everyday life and, as is typical for our times, he is aware of the “dissolution” of musical works. In the next part, the author articulates the main problems of Sweet Rush , drawing attention to both Iwaszkiewicz’s novel and Wajda’s movie. The director’s adaptation, which is full of intermedia references, re- volves around the theme of death and seems to underestimate the sexual aspect of Iwaszkiewicz’s work. Finally, Pawel Mykietyn’s soundtrack to Sweet Rush is interpreted. The composer used one of his earlier Shakespeare’s Sonnets (2000), which plays the role of a leitmotif , to illustrate the most enigmatic, inexplicable scenes from Wajda’s movie. -
Bdramatyczne Przestrzenie Andrzeja Wajdyb
BDramatyczne przestrzenie Andrzeja Wajdy B ABSTRACT. Krajewska Anna, Dramatyczne przestrzenie Andrzeja Wajdy [Andrzej Wajda’s dramatic space]. „Przestrzenie Teorii” 27. Poznań 2017, Adam Mickiewicz University Press, pp. 7–10. ISSN 1644-6763. DOI 10.14746/pt.2017.27.0. This editorial is an impressionistic work on Andrzej Wajda’s output, predominantly emphasising its dramatic nature. The text presents the uniqueness of Andrzej Wajda’s creative work in such diverse forms of art as if they were one – his painting metamorphosed into film, drawing into screenplay, urban space into a theatre stage. Wajda is seen here not only as a director, but also as a contemporary dramatist, who creates the dramatic space of history’s traps, who dramatises the fate of the individual, and who interprets the drama of the philosophical stage. Po śmierci Andrzeja Wajdy ukazywać się zaczęły numery specjalne licznych czasopism literackich poświęcone Jego pamięci – jednego z naj- wybitniejszych artystów związanych z Krakowem, z Polską, wpisującym się równocześnie w światową kulturę i sztukę. Wajda to polska szkoła filmowa, Wajda to współczesna historia Polski, Wajda to myślenie o dzie- jach wykraczające poza refleksję o losach własnego kraju, ku obszarom historiozofii. Wajda to znawca pamięci, czasu, przemijania. Był twórcą niezwykłym także i dlatego, że uprawiał różne rodzaje sztuk tak, jakby były jednością – malarstwo pod Jego ręką przeistaczało się w kadr filmo- wy, dialogi wynikały z tańca, rysunek przekształcał się w scenografię, przestrzeń miasta – w teatralną