By Marek Haltof
In 1902, scientist and inventor Kazimierz Prószyński made the 1st Polish narrative film, The go back of a Merry Fellow. in view that then, the Polish movie has produced a various physique of labor, starting from patriotic melodramas and epic diversifications of the nationwide literary canon to Yiddish cinema and movies portraying the corrupt facet of communism. Poland has produced numerous across the world recognized movies, together with Andrzej Wajda’s battle trilogy, A Generation (1955), Kanal (1957), and Ashes and Diamonds (1958); Roman Polański’s Knife within the Water (1962); and Andrzej Munk’s The Passenger (1963). usually appearing particular political and cultural tasks for his or her country, Polish filmmakers have been good conscious of their function as educators, entertainers, social activists, and political leaders.
This moment version of Historical Dictionary of Polish Cinema fills the space in movie scholarship, proposing an in depth actual survey of Polish movie. via a chronology; an introductory essay; appendixes, a bibliography; and over three hundred cross-referenced dictionary entries on motion pictures, administrators, actors, manufacturers, and movie associations, a balanced photograph of the richness of Polish cinema is gifted. Readers with specialist curiosity in cinema will welcome this new paintings, to be able to improve senior undergraduate or postgraduate classes in movie studies.
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Additional info for Historical Dictionary of Polish Cinema
See also ADAPTATION. –B– BAD LUCK (AKA COCKEYED LUCK, ZEZOWATE SZCZĘŚCIE, 1960). One of the landmarks of the Polish School, Andrzej Munk’s merciless satire of opportunism and bureaucracy, scripted by Jerzy Stefan Stawiński. Set between the 1930s and the 1950s, the film introduces a perspective on Polish history that is atypical for Polish cinema. Its protagonist, Jan Piszczyk (Bogumił Kobiela), is a Polish everyman who desperately wants to play an important role in the course of events, yet, without luck on his side, he becomes another victim of history.
Particularly well known are documentaries by Kazimierz Karabasz and Władysław Ślesicki, such as Where the Devil Says Good Night (Gdzie diabeł mówi dobranoc, 1957) and People from Nowhere (Ludzie z pustego obszaru, 1957). The title of the latter became a description of the criminal segment of life. Sometimes the term “Black Realism” is also used to describe a group of realistic, yet stylistically different, films belonging to the Polish School phenomenon, which were characterized by a dark (“noir”) presentation of reality.
Cinematographer, film director, and film producer. After graduating in 1969 from the Łódź Film School, Adamek initially worked as a camera operator and then as a cinematographer on several classic Polish films, including Janusz Zaorski’s The Mother of Kings (1982/1987), Wiesław Saniewski’s Custody (1985), and Krzysztof Kieślowski’s A Short Film about Love (1988). He often collaborated with director Radosław Piwowarski, for example on Yesterday (1985), Train to Hollywood (1987), and The Sequence of Feelings (1993), and with Juliusz Machulski, for whom he photographed Squadron (1992) and Girl Guide (1995).