Polish film and the Holocaust : politics and memory
Author(s)
Bibliographic Information
Polish film and the Holocaust : politics and memory
(Berghahn on film)
Berghahn, 2014
- : pbk
Available at 1 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
"First paperback edition published in 2014"--T. p. verso
Filmography: p. [230]-249
Includes bibliographical references (p. [250]-264) and index
Description and Table of Contents
Description
During World War II Poland lost more than six million people, including about three million Polish Jews who perished in the ghettos and extermination camps built by Nazi Germany in occupied Polish territories. This book is the first to address the representation of the Holocaust in Polish film and does so through a detailed treatment of several films, which the author frames in relation to the political, ideological, and cultural contexts of the times in which they were created. Following the chronological development of Polish Holocaust films, the book begins with two early classics: Wanda Jakubowska's The Last Stage (1948) and Aleksander Ford's Border Street (1949), and next explores the Polish School period, represented by Andrzej Wajda's A Generation (1955) and Andrzej Munk's The Passenger (1963). Between 1965 and 1980 there was an "organized silence" regarding sensitive Polish-Jewish relations resulting in only a few relevant films until the return of democracy in 1989 when an increasing number were made, among them Krzysztof Kieslowski's Decalogue 8 (1988), Andrzej Wajda's Korczak (1990), Jan Jakub Kolski's Keep Away from the Window (2000), and Roman Polanski's The Pianist (2002). An important contribution to film studies, this book has wider relevance in addressing the issue of Poland's national memory.
Table of Contents
List of Illustrations
Acknowledgments
Acronyms and Abbreviations
Introduction
Chapter 1. Postwar Poland: Geopolitics and Cinema
Chapter 2. Wanda Jakubowska's Return to Auschwitz: The Last Stage (1948)
Chapter 3. Commemorating the Warsaw Ghetto Uprising in Border Street (1949)
Chapter 4. Images of the Holocaust during the Polish School Period (1955-1965)
Chapter 5. Years of Organized Forgetting (1965-1980)
Chapter 6. Return of the Repressed: "The Poor Poles Look at the Ghetto" (1981- )
Chapter 7. Andrzej Wajda Responds:Korczak (1990) and Holy Week (1996)
Chapter 8. Documentary Archaeology of the Holocaust and Polish-Jewish Past
Afterword
Filmography
Bibliography
Index
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