The Portrayal of National Identity in the Films of Małgorzata Szumowska
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SPRAWY NARODOWOŚCIOWE Seria nowa / NATIONALITIES AFFAIRS New series, 49/2017 DOI: 10.11649/sn.1448 Art. No 1448 GRzEGORz WójcIk ThE PORTRAyAL OF NATIONAL IdENTITy IN ThE FILmS OF mAłGORzATA SzumOWSkA A b s t r a c t Małgorzata Szumowska is without a doubt one of a few Polish directors who has managed to distinguish herself on the Eu- ropean film market. Although, Szumowska is a cosmopolitan (in Ulf Hannerz’s terms), she does not forget about her Polish origins. On the contrary, she emphasizes contemporary Polish identity of her protagonists and Polishness in itself but does it from the external perspective. In her feature films, Małgorzata Szumowska defines Polish identity, according to Antonina Kłoskowska’s theory, as a phenomenon which always exists in a specific social and cultural context. From this perspec- tive, Polishness is constantly negotiated and renegotiated by film protagonists. The author will distinguish three categories through which the director defines Polishness, these are: cul- tural trauma, national character and modern Catholic religious- ness. These categories will be analyzed on the basis of spe- cific examples. An applied methodological approach relies on cultural poetics assumptions, also known as new historicism. K e y w o r d s: Polish national identity; the cinema of Małgorzata Szumowska; cultural trauma; national character; Catholicism ............................... GRZEGORZ WÓJCIK Uniwersytet Jagielloński, Kraków PORTRET TOżSAmOścI NAROdOWEj E-mail: [email protected] W FILmAch mAłGORzATy SzumOWSkIEj CITATION: Wójcik, G. (2017). The Portrayal of National Identity in the Films of Małgorzata Szumowska. Streszczenie Sprawy Narodowościowe. Seria nowa, 2017(49). https://doi.org/10.11649/sn.1448 Niewątpliwie Małgorzacie Szumowskiej jako jednej z niewielu This work was supported polskich reżyserek udało się przebić na europejskim rynku fil- by the author’s own resources. mowym. Chociaż Szumowska może być uznana za kosmopo- No competing interests have been declared. This is an Open Access article distributed under the terms of the Creative Commons Attribution 3.0 PL Licen- se (creativecommons.org/licenses/by/3.0/pl/), which permits redistribution, commercial and non-commercial, provided that the article is properly cited. © The Author(s) 2017. Publisher: Institute of Slavic Studies, Polish Academy of Sciences Page 1 of 13 litkę (w rozumieniu Ulfa Hannerza), to nie zapomina ona o swoich polskich korzeniach. Przeciwnie, w swoich filmach podkreśla zainteresowanie współczesną Polską i polskością, ale czyni to niejako z per- spektywy „zewnętrznej”. Wykorzystując teorię tożsamości narodowej autorstwa Antoniny Kłoskow- skiej, autor wskazuje, że Szumowska w swoich filmach fabularnych postrzega tożsamość narodową jako fenomen obecny zawsze w określonych warunkach społeczno–kulturowych. W tym ujęciu pol- skość jest nieustannie negocjowana i renegocjowana przez filmowych protagonistów. Autor wyróżnia trzy kategorie, poprzez które reżyserka określa polskość: traumę kulturową, charakter narodowy oraz religię katolicką, które analizuje na konkretnych filmowych przykładach. Zastosowane podejście meto- dologiczne wykorzystuje postulaty poetyki kulturowej zwanej również nowym historyzmem. S ł o w a k l u c z o w e: polska tożsamość narodowa; kino Małgorzaty Szumowskiej; trauma kul- turowa; charakter narodowy; katolicyzm ałgorzata Szumowska is without a doubt one of the few Polish directors who has managed to distinguish herself in the European film market. Her films are Mmade in cooperation with foreign partners and many of them have received awards at international film festivals—winning the Silver Bear for Best Director for her film Body/ciało at the Berlin International Film Festival in 2015 has been her most im- portant award to date. Szumowska’s international film settings and employment of well- known European actors, such as Juliette Binoche (Sponsoring, 2011) and Julia Jentsch (33 Scenes from Life, 2008) indicate the director’s ability to interact with foreigners. Szu- mowska mentions, in an interview with Agnieszka Wiśniewska, that she owes this to her late parents: “I think that my parents raised me to be very self-confident. I was always inquisitive; therefore, if I had a possibility to talk with someone who lived and worked abroad, I used it”* (Wiśniewska, 2012, p. 110). Szumowska’s ambiguity connected with her intellectual openness and various cultural experiences, has led her to seek contrasts and not unity, making her a model representative of the Hannerz’ cosmopolitan, who has “obvious competence with regard to it, but he can choose to disengage from it. He pos- sesses it, it does not possess him” (Hannerz, 1996, p. 104). Asked about her attitude towards Polishness, Małgorzata Szumowska stated: I do not seem to feel a crazy connection with nationality, the flag, and the anthem … with these shallow signs of patriotism. It seems to me that the world is now more and more uni- fied and we are all Europeans, however stupid it sounds. And my son who is now 4 years old is sure to be a citizen of the world. Many people may take it the wrong way but I truly think so. Yet I like my Polish traits, even very much. Then maybe it is just the word patriotism that is used up (Pietrasik & Szumowska, 2009, p. 61). There seems to be an obvious contradiction in the above quote. On the one hand, Szu- mowska claims that she does not identify with her country of origin and at the same time she values her Polish traits which she defines as “a specific kind of coarseness, I would even say boorishness which is in Polish people” (Wiśniewska, 2012, p. 13). These aporias appear a few more times in her statements. When the director mentions her attitude to- wards Western European citizens she says that she is really pleased with the fact that she grew up in Poland, especially during the times of socialism, because as a result she gained strength which her peers in France or Germany do not possess. She also does not want * All translations of quotations from Polish into English are mine – Grzegorz Wójcik. Page 2 of 13 to leave Poland and she even criticizes Western democracies, for instance Denmark for its lack of tolerance, agreeing with the statement that in Poland there is yet more freedom: We were at a party in Denmark. When you get slightly drunk at this kind of party, break a glass or shout “fuck”, not a minute passes before two security guards are at your side. They twist your arms and cuff you because your behaviour “goes beyond commonly accep- ted norms.” When I saw this and a few other things I started to doubt. I would rather be here in our mess (Wiśniewska, 2012, p. 17). At the same time Małgorzata Szumowska is able to appreciate the achievements of Western culture: In Berlin everyone rents an apartment. Nobody even thinks about buying one. And here in Poland from generation to generation you need to an apartment. Today if you want it to be your own you need to buy it, in order to buy you need to take a loan, and probably your children are also to repay it. When I started to travel the world and meet a lot of new people I realized that it is not necessarily the way to live. I freed myself from Polish burdens (Wiś- niewska, 2012, p. 16). The filmmaker easily finds herself in various environments and cultures, choosing the elements which suit her personality but rooting in none. This attitude directly influences her creations, where a deep attachment to Poland and Polishness, which she still approa- ches critically by distancing herself from national sanctities and many times breaking the local taboo, is shown. In films she focuses on contradictions existing both in the charac- ters she creates and between them, as well as the discrepancies existing in the Polish symbolic universum. Antonina Kłoskowska in her book National cultures at the Grass-Root Level (kultury narodowe u korzeni) states that while analyzing contemporary manifestations of national identity one has to bear in mind ongoing processes of national themes subjected to con- stant debate and subjectivism. In this way, the scholar rejects the phenomenon of “natu- ralization” regarding national identity: One shouldn’t pose questions regarding “Polish identity” of the Poles or ask any questions concerning the Poles in general. “Poles in general” as seen from the identity perspective are either theoretical or ideological or even political fiction. Yet, it doesn’t mean that the existence of the Polish nation or the concept of nation as such is denied here. […] but nation is under- stood as significant, yet one of many social collectives: a broad and complex community of communication as imagined and embodied by culture (Kłoskowska, 2005, p. 103). In Kłoskowska’s opinion, one cannot talk about the essence of national identity under- stood as a tool of identification, because in this way the concept is devoid of relation and contextuality. Kłoskowska assumes a certain vision of national culture understood within culture context as: A universum common to a certain collective, which can’t be learned and comprehended wit- hout taking into account the individual processes of its inner experience by its given mem- bers. Hence, national culture is a subjectively actualized phenomenon, which is inter-subjecti- ve and relates to objective facts: culture associative relations and their roots, which create the canon (Kłoskowska, 2005, p. 79). Kłoskowska’s statements can be related to Małgorzata Szumowska’s cinema and her portrayal of Polishness. This is also the main subject of this article. Szumowska’s prota- gonists are representatives of the middle class city dwellers, who while living in Giddens’ Page 3 of 13 late modernity create their own identity narrative as a reflexive project of the self. It’s mainly about ”maintaining a coherent, although constantly revised set of biographical nar- ratives” (Giddens, 1991, p. 8). The director is interested in how the protagonists re-create and re-interpret the ele- ments of Polishness in their everyday lives.