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2011 | 73 | 64-79

Article title

EMPTY SPACE. AUTOBIOGRAPHICAL STRATEGIES IN DOCUMENTARY FILMS ON HOLOCAUST (Puste miejsce. Strategie autobiograficzne w filmie dokumentalnym o Zagladzie)

Title variants

Languages of publication

PL

Abstracts

EN
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.

Keywords

Year

Issue

73

Pages

64-79

Physical description

Document type

ARTICLE

Contributors

  • Katarzyna Maka-Malatynska, Katedra Filmu, Telewizji i Nowych MediĆ³w, Uniwersytet im. Adama Mickiewicza, ul. A. Fredry 10, 61-701 Poznan; Poland

References

Document Type

Publication order reference

Identifiers

CEJSH db identifier
11PLAAAA09686

YADDA identifier

bwmeta1.element.20d6a65d-d0ff-3f50-a30a-8df953e2bab2
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