Visualizing Contemporary Polish Cultural Identity
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Women in Power About Aspen
No. 04 ASPEN.REVIEW 2017 CENTRAL EUROPE COVER STORIES Małgorzata Fidelis, Konrad Niklewicz, Dita Přikrylová, Matthew Qvortrup, Iveta Radičová POLITICS Andrii Portnov ECONOMY Ivan Mikloš CULTURE Michał Lubina INTERVIEW Agnieszka Holland, Teddy Cruz 9 771805 679005 No. 04/2017 Women — in Power Women in Power Women Quo— Vadis, Central and Eastern Europe? — Thinking Architecture without Buildings About Aspen Aspen Review Central Europe quarterly presents current issues to the general public in the Aspenian way by adopting unusual approaches and unique viewpoints, by publishing analyses, interviews and commentaries by world-renowned professionals as well as Central European journalists and scholars. The Aspen Review is published by the Aspen Institute Central Europe. Aspen Institute Central Europe is a partner of the global Aspen network and serves as an independent platform where political, business, and non-prof-it leaders, as well as personalities from art, media, sports and science, can interact. The Institute facilitates interdisciplinary, regional cooperation, and supports young leaders in their development. The core of the Institute’s activities focuses on leadership seminars, expert meetings, and public conferences, all of which are held in a neutral manner to encourage open debate. The Institute’s Programs are divided into three areas: — Leadership Program offers educational and networking projects for outstanding young Central European professionals. Aspen Young Leaders Program brings together emerging and experienced leaders for four days of workshops, debates, and networking activities. — Policy Program enables expert discussions that support strategic thinking and interdisciplinary approach in topics as digital agenda, cities’ development and creative placemaking, art & business, education, as well as transatlantic and Visegrad cooperation. -
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. -
Film in the Shadow of History Józef Lejtes and Polish School
Kamila Żyto Department of Media and Audiovisual Culture University of Łódź Film in the Shadow of History Józef Lejtes and Polish School National history has always been one of the crucial topics in Polish cinema. Almost from the beginning of its existence films have been de- picting storms of historic changes. Why does the situation look like that? The answer could be either obvious or not easy at all. At first, it is worth to realize that Polish history was cruel, painful, dramatic and complicated, which is of course not a convincing, final argument. Many countries expe- rienced cruelty of fate, were forced to struggle for their independence, suf- fered from inconveniences of wars. But expectations and the role attributed to fine arts deeply rooted in national variant of romanticism are typically “Polish”. Creating and upholding national identity, which for years was in danger of disappearing, seems to be considered as an act of courage and the way of manifesting patriotism. As a result, one of the main aims of literature, painting and then, from the beginning of 20th century, cinema was to support “spirit of Polish character”. Paradoxically, or maybe as a con- sequence of “being on duty”, film directors quite often rebel against roman- tic paradigm and instead of paying tribute to the motherland by guarding national unity, they were trying to deconstruct and show the weakness of national mythology, which was glorifying lonely and utopian heroism of individuals. As a result, film directors, whose works will be discussed as case studies, were in some respect the heirs of literary heritage of romanticism aware of its power and long lasting influence. -
Burning Bush
presents BURNING BUSH A Film by Agnieszka Holland 2013 / Czech Republic / in Czech with English subtitles / Color A Kino Lorber Release from Kino Lorber, Inc. 333 West 39 St., Suite 503 New York, NY 10018 (212) 629-6880 Publicity Contact: Rodrigo Brandão – [email protected] Matt Barry – [email protected] SHORT SYNOPSIS The three-part drama, directed by the Polish director Agnieszka Holland, is HBO Europe’s most ambitious, big-budget project to date. The film returns to a pivotal time in modern Czech history, ignored in Czech cinema until now. It begins with a reconstruction of the shocking act of a Czech university student, who in protest of the Soviet occupation of Czechoslovakia, set himself on fire in Prague’s Wenceslas Square on January 16, 1969, and died four days later. Through the story of the brave defense attorney Dagmar Burešová, who defended Palach’s legacy in a doomed lawsuit, the film examines the transformations taking place in Czechoslovak society after the invasion of the armies of the Warsaw Pact in August of 1968 and the installation of a hardline Communist government. It depicts the beginnings of Czech and Slovak resistance against the occupation, which reached its apex with the mass protests during Palach’s funeral. It also shows the nation’s gradual resignation under the pressure of fear and harsher persecution. LONG SYNOPSIS Part I On the 16th of January1969 on Wenceslas Square in Prague, a young student sets himself on fire in front of dozens of passers-by. Police Major Jireš (Ivan Trojan) investigates the circumstances of Palach’s actions. -
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. -
Gazeta Volume 28, No. 1 Winter 2021
Volume 28, No. 1 Gazeta Winter 2021 Orchestra from an orphanage led by Janusz Korczak (pictured center) and Stefania Wilczyńska. Warsaw, 1923. Courtesy of the Emanuel Ringelblum Jewish Historical Institute. Used with permission A quarterly publication of the American Association for Polish-Jewish Studies and Taube Foundation for Jewish Life & Culture Editorial & Design: Tressa Berman, Daniel Blokh, Fay Bussgang, Julian Bussgang, Shana Penn, Antony Polonsky, Aleksandra Sajdak, William Zeisel, LaserCom Design, and Taube Center for Jewish Life and Learning. CONTENTS Message from Irene Pipes ............................................................................................... 4 Message from Tad Taube and Shana Penn ................................................................... 5 FEATURE ARTICLES Paweł Śpiewak: “Do Not Close the Experience in a Time Capsule” ............................ 6 From Behind the Camera: Polish Jewish Narratives Agnieszka Holland and Roberta Grossman in Conversation ................................... 11 EXHIBITIONS When Memory Speaks: Ten Polish Cities/Ten Jewish Stories at the Galicia Jewish Museum Edward Serrota .................................................................................................................... 15 Traces of Memory in Japan ............................................................................................ 19 Where Art Thou? Gen 3:9 at the Jewish Historical Institute ........................................ 20 REPORTS Libel Action Against Barbara Engelking -
This Is How Andrzej Wajda, Born in Poland in 1926 and Thirteen-Years
“GOD’S PLAYGROUND”: POLAND AND THE SECOND WORLD WAR IN WAJDA’S CINEMA GABRIELLA ELINA IMPOSTI Suddenly, in 1939, everything collapsed. My father was lost; he went to war and never came back. My mother could not stay at home, she had to go to work, we became workers. Our intelligentsia family found itself in completely different surroundings .… My father, Jakub Wajda, lived only to the age of 40. He was captain in the 72nd Infantry Regiment and died at Katyń. But until 1989 we were not allowed to make an inscription on the family tomb, saying where he was killed. This is how Andrzej Wajda, born in Poland in 1926 and thirteen-years old at the outbreak of the Second World War, remembers the shattering events of those years and their aftermath. Young Andrzej did not have “good papers”, so in order to survive, he had to work in his uncle’s locksmith’s shop in Krakow: Thanks to my father’s brothers, I was able to survive the occupation; I probably owe them my life, because my papers [documents] were very insufficient. I had to stay at home, I was scared even to go to the tram stop, because there was always some kind of control going on …. This work later helped me understand what physical labour really means, what it means to work every day, to go to work in the morning, and when later, in the 50’s, there was talk about the workers, the working class, I could say to myself ‘I have also been a worker’. -
The Czech Cinematography Will Be Represented at the Oscars by The
The film Charlatan directed by Agnieszka Holland is taking off to fight for an Oscar The Czech Film and Television Academy (CFTA), which presents the Czech Lion awards, also nominates the Czech Republic’s candidate for the Oscar every year. This year, it is sending the drama Charlatan directed by Agnieszka Holland to fight for the most prestigious film award. Agnieszka Holland’s latest film is inspired by the real life of the healer Jan Mikolášek and the script was written by Marek Epstein. Ivan Trojan and his son Josef Trojan starred in the leading roles. The film was premiered at the 70th Berlinale International Film Festival this year. The ceremonial gala evening of the 93rd awards of the American Academy of Motion Picture Arts and Sciences will take place on 25th April 2021 in Los Angeles. The academics were choosing from 10 Czech feature films and documentary features that had been submitted by their producers. The voting took place from 1st to 11th October 2020. The film Charlatan was created within the framework of a Czech-Irish-Polish-Slovak co-production and it presents a stirring biographical drama of an exceptional man gifted with unique healing powers against the background of historical events. The plot is inspired by real fortunes of the healer Jan Mikolášek who throughout his career answered the pleas of thousands of people from all the social classes and also some of the most prominent figures of the political and cultural milieu. Mikolášek is a person without official medical education who possesses the unique as well as unfathomable talent to diagnose illnesses and heal people by herbs even when the doctors are at a loss. -
February Volume Editorial VOL
EDITORIAL February Volume Editorial VOL. 38 (FEBRUARY 2014) BY EDITORS Colette de Castro and Konstanty Kuzma will be at the Berlinale (February 6-16) to cover the event for EEFB. In this month’s editorial, we offer a short outline of film politics in Poland. In both Czechoslovakia and Poland, Socialist rule after 1945 coexisted with an unequalled flourishing of the national film culture, with the Polish film school taking off in the late 1950s and the Czechsolovak New Wave in the 1960s. Both movements emerged around state film schools (Łódź and Prague respectively), and soon gained acclaim beyond ideological and national borders. That includes mutual inspiration of the two neighbors who have never had strong feelings for each other: Agnieszka Holland, from Poland, moved to Prague early on, witnessing the Prague Spring and graduating from FAMU, the Czech national film school, in 1971. But the Socialist authorities didn’t always welcome auteurs propagating original ideas about art, politics or society. With the crackdown of Czechsolovakia’s reformist aspirations after 1968, filmmakers were banned or obstructed in pursuing their careers. Others, like Miloš Forman, turned away from their home country, seeking careers elsewhere (in Forman’s case, with considerable success). Still, those artists who revoked their criticism of the Prague Spring were given a second chance and thus able to continue making films in Czechoslovakia: though his 1969 film Larks on a String was banned until 1990, Jiří Menzel is but one prime example (in 1987, he even received an Academy Award nomination for My Sweet Little Village). In Poland, things turned uglier. -
May 2015 at BFI Southbank
May 2015 at BFI Southbank SEASONS Martin Scorsese Presents: Masterpieces of Polish Cinema / Onstage: Witold Sobocinski, Piotr Sobocinski Jnr Robert Siodmak: Prince of Shadows Southern Gothic: Love, Death and Religion in the American Deep South Noël Coward on TV: Tears in Champagne / Onstage: Dame Penelope Keith, Alistair McGowan, Barry Day The Ottoman Empire: from the Birth of Cinema to Gallipoli EVENTS AND PREVIEWS YouTube at 10 Sci-Fi London / Onstage: Roland Joffé, Jon Schnepp, Michael Madsen Chinese Visual Festival / Onstage: Gu Tao Phoenix (Christian Petzold, 2015) The Tribe (Myroslav Slaboshpytskiy, 2014) The New Girlfriend (François Ozon, 2014) REGULAR STRANDS AFRICAN ODYSSEYS: World Premiere of Looking for Love (Menelik Shabazz, 2014) BAFTA MASTERCLASS: Hair, Makeup and Prosthetics / Onstage: Jan Sewell FAMILY FUNDAY: Moomins on the Riviera (Xavier Picard, Hanna Hemilä, 2014) CULT: Two Thousand Maniacs! (Herschell Gordon, 1964), Eaten Alive (Tobe Hooper, 1977) SONIC CINEMA: World Premiere of Industrial Soundtrack For The Urban Decay (Amélie Ravalec, Travis Collins, 201 5) / Onstage: Amélie Ravalec, Travis Collins MEMBER EXCLUSIVES: Audience Choice - Federico Fellini ESSENTIAL EXPERIMENTS: Focus on Zhang Peili’s Chinese Video Art / Onstage: Zhang Peili EXTENDED RUNS 8½ (Federico Fellini, 1963), re-released by the BFI on Friday 1 May Only Angels Have Wings (Howard Hawks, 1939) Timbuktu (Abderrahmane Sissako, 2014) Cry of the City (Robert Siodmak, 1948) Far from the Madding Crowd (John Schlesinger, 1967) A Fuller Life (Samantha Fuller, 2014) The Tale of Princess Kaguya (Isao Takahata, 2013) PLEASE SEE BELOW FOR FURTHER SEASON DETAIL AND NOTES TO EDITORS FOR FULL EVENTS LISTINGS MARTIN SCORSESE PRESENTS: MASTERPIECES OF POLISH CINEMA Continuing throughout May at BFI Southbank, in partnership with the KINOTEKA Polish Film Festival and Filmhouse Edinburgh, will be Martin Scorsese Presents: Masterpieces of Polish Cinema. -
Isbn 978-83-232-2284-2 Issn 1733-9154
Managing Editor: Marek Paryż Editorial Board: Paulina Ambroży-Lis, Patrycja Antoszek, Zofia Kolbuszewska, Karolina Krasuska, Zuzanna Ładyga Advisory Board: Andrzej Dakowski, Jerzy Durczak, Joanna Durczak, Jerzy Kutnik, Zbigniew Lewicki, Elżbieta Oleksy, Agata Preis-Smith, Tadeusz Rachwał, Agnieszka Salska, Tadeusz Sławek, Marek Wilczyński Reviewers for Vol. 5: Tomasz Basiuk, Mirosława Buchholtz, Jerzy Durczak, Joanna Durczak, Jacek Gutorow, Paweł Frelik, Jerzy Kutnik, Jadwiga Maszewska, Zbigniew Mazur, Piotr Skurowski Polish Association for American Studies gratefully acknowledges the support of the Polish-U.S. Fulbright Commission in the publication of the present volume. © Copyright for this edition by Wydawnictwo Naukowe UAM, Poznań 2011 Cover design: Ewa Wąsowska Production editor: Elżbieta Rygielska ISBN 978-83-232-2284-2 ISSN 1733-9154 WYDAWNICTWO NAUKOWE UNIWERSYTETU IM. ADAMA MICKIEWICZA 61-701 POZNAŃ, UL. FREDRY 10, TEL. 061 829 46 46, FAX 061 829 46 47 www.press.amu.edu.pl e-mail:[email protected] Ark. wyd.16,00. Ark. druk. 13,625. DRUK I OPRAWA: WYDAWNICTWO I DRUKARNIA UNI-DRUK s.j. LUBOŃ, UL PRZEMYSŁOWA 13 Table of Contents Julia Fiedorczuk The Problems of Environmental Criticism: An Interview with Lawrence Buell ......... 7 Andrea O’Reilly Herrera Transnational Diasporic Formations: A Poetics of Movement and Indeterminacy ...... 15 Eliud Martínez A Writer’s Perspective on Multiple Ancestries: An Essay on Race and Ethnicity ..... 29 Irmina Wawrzyczek American Historiography in the Making: Three Eighteenth-Century Narratives of Colonial Virginia ........................................................................................................ 45 Justyna Fruzińska Emerson’s Far Eastern Fascinations ........................................................................... 57 Małgorzata Grzegorzewska The Confession of an Uncontrived Sinner: Edgar Allan Poe’s “The Tell-Tale Heart” 67 Tadeusz Pióro “The death of literature as we know it”: Reading Frank O’Hara ............................... -
1 INTRODUCTION This Dissertation Will Discuss the Perception of Polish
Cut off by the 'Iron Curtain' Item Type Thesis Authors Draniewicz, Anna B. Rights <a rel="license" href="http://creativecommons.org/licenses/ by-nc-nd/3.0/"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/l/by- nc-nd/3.0/88x31.png" /></a><br />The University of Bradford theses are licenced under a <a rel="license" href="http:// creativecommons.org/licenses/by-nc-nd/3.0/">Creative Commons Licence</a>. Download date 24/09/2021 13:59:05 Link to Item http://hdl.handle.net/10454/4927 INTRODUCTION This dissertation will discuss the perception of Polish Cinema in English- language literature. During the collection of my secondary data, which concentrated mainly on English-language books but also includes newspapers and Internet resources, I encountered many interesting issues. These are divided here into three categories discussed in three chapters: ‘Stereotypes and Errors’ that result from the lack of knowledge thus causing misunderstandings, ‘Deficiencies’ about the absence of some films and directors in the English-speaking world and ‘Different Perspectives’ that reveal some interesting comparisons. The judgements applied to define these sections are respectively: accuracy (correctness of the facts), novelty (unknown trends) and originality of ideas (absent in Polish film criticism). During my research I have discovered the main factors distorting the perception of Polish cinema. I talked about them during my presentation entitled ‘English-Language Critical Engagements with Polish Cinema’ during the ‘Polish Cinema in an International Context’ conference held in Manchester in December 2009. Most of these issues are addressed in Chapter One, which outlines the problems that English-language authors seem to have with the Polish language, the background political issues and the lack of knowledge about some of the periods of Polish cinema.