EMPTY SPACE. AUTOBIOGRAPHICAL STRATEGIES IN DOCUMENTARY FILMS ON HOLOCAUST (Puste miejsce. Strategie autobiograficzne w filmie dokumentalnym o Zagladzie)
Languages of publication
Autobiographism relies on a kind of agreement with a viewer, listener or reader on basis of which culture text is deciphered as a record of an author's experience. It can be understood only when an artist's biography is known and functions in society. As Maka-Malatynska argues, autobiographical convention is rarely used in documentary films on Holocaust, which appears to be a consequence of psychological resistance to describing own experiences and overwhelming power of images in which the past is brought back to life. In the strict sense only a few films represent this trend in documentary cinema. An autobiography, an experience of a Holocaust is a theme in films by Mira Hamermesh and Marian Marzynski. In broader sense documentaries co-created by Survivors in which they are protagonists and narrators and where their stories determine film construction can be treated a autobiographical, e.g. 'Miejsce urodzenia' (Birthplace) by Pawel Lozinski (1992). More frequently autobiographical motifs are used in fiction films, although in such case they are not autobiographical in a narrow sense. Filmmakers, like Roman Polanski in Pianist (2002), hide behind someone else's story telling about their own experiences and emotions at the same time.
Publication order reference
CEJSH db identifier