Suchergebnisse

CINEMA IN THE LABYRINTH OF FREEDOM: POLISH FEATURE FILM AFTER 1989 "Freedom does not exist. We should aim towards it but the hope that we will be free is ridiculous."Krzysztof Kieślowski1 This essay is the continuation of my previous deliberations on the evolution of the Polish feature film during socialist realism, which summarized its output and pondered its future after the victory of the Solidarity movement. In the paper "Cinema Under Political Pressure…" (1993), I wrote inter alia: "Those serving the Tenth Muse did not notice that martial law was over; they failed to record on film the takeover of the government by the political opposition in Poland. […] In the new political situation, the society has been trying to create a true democratic order; most of the filmmakers' strategies appeared to be useless. Incipit vita nova! Will the filmmakers know how to use the.

"WE LIVE IN THE WORLD LACKING IDEA ON ITSELF: KRZYSZTOF KIEŚLOWSKI's ART OF FILM" OUR "little stabilization" -- this ironic phrase by Tadeusz Różewicz, the poet and playwright, rightly characterized the low living standards of Poles and the state of apathy of the society in the 1960s. It also reflected well the situation of the Polish culture which, at that time, was put under strong political pressure and, except for very few instances, half- truths and newspeak replaced the clear dichotomy of truth and falsity. However, it finds its strongest expression if seen against the background of the Polish cinema of that time, since the cinema was, so to say, the "light in the eyes" of the Workers' Party activists devoutly building the 'real socialism' state. After the period of the political thaw which, among other things, brought to life artistically courageous works of the 'Polish film school', the.

CINEMA UNDER POLITICAL PRESSURE: A BRIEF OUTLINE OF AUTHORIAL ROLES IN POLISH POST-WAR FEATURE FILM 1945-1995 Before the spread of television in the middle of the Fifties, film -- the Tenth Muse -- was the light in the eyes of politicians who recognised its communication, entertainment and artistic values, and before all, its ability to create a feeling of reality in viewers minds. Not accidentally the leaders of the world powers and countries conducting colonial politics called it "the most important of all arts" (Lenin), "a great means of mass propaganda" (Stalin), "the strongest weapon" (Mussolini) and "the chronicler and commentator of contemporary events" (Hitler). The cinema, as in a distorting mirror, has always reflected ideologists' utopian visions of the world. Film's ideological stance continued to be cultivated after World War II; in several countries (including Poland) it efficiently limited the natural process of film art development. In 1945.