Pianista – obraz getta w filmowym języku Romana Polańskiego

• Authors: Anna Śliwińska

Title variants

EN

The Pianist – the image of a ghetto in the film language of Roman Polanski

• Languages of publication: PL

Abstracts

EN

The Pianist – the image of a ghetto in the film language of Roman Polanski   The work of Roman Polański has always been a unique example of both craftsmanship and interesting subjects. Each of his films (even of those crushed by the superficial interpretations of the reviewers) functioned perfectly well in popular culture and as an artistic accomplishment. It reconciled the tastes of both sophisticated viewers and those who looked for simple entertainment. Roman Polański’s method of creation entails the use of a number of curtains (genres, popular culture subjects, popular patterns) which cover the deeply hidden truth about the world and relations among people. In The Pianist the subject of the Holocaust was used as the key to show the mechanisms that rule the world. Also in this case the most obvious diagnosis proves to be the least important. The Pianist is not an autobiography dealing with the memories from a getto. Definitely more significant is the attempt to juxtapose the image of a ghetto and its inhabitants with the film language of Roman Polański. It makes it possible to read the problem of the Holocaust against the motifs always present in his work, including the context of the cinema of the kind. In The Pianist Polański joins the precision of a craftsman with the memory of a witness. As a result, using the solutions known from Hollywood films, he tells the story of a ghetto, which is seen as the metapher of the whole world.

Keywords

PL

film language; Roman Polański’s style; the image of a ghetto; film genre

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2011
• Volume: 9
• Issue: 17-18
• Pages: 53-68

Dates

published

2011-01-13

Contributors

author

Anna Śliwińska

• Katedra Filmu, Telewizji i Nowych Mediów UAM

References

• G. Stachówna, Polański od A do Z, Kraków 2002, s. 7.
• J. Hirsch, Afterimage. Film, Trauma and the Holocaust, Philadelphia 2004, s. 115.
• M. Jankun-Dopartowa, Labirynt Polańskiego, Kraków 2003, s. 185-188.
• J. Błoński, Biedni Polacy patrzą na getto, Kraków 2008, s. 24.
• M. Owczarek, Karnawał grozy (Bal wampirów), w: Roman Polański, red. B. Zmudziński, Kraków 1995, s. 105.
• G. Stachówna, Roman Polański i jego filmy, Warszawa 1994, s. 230-231.
• K. Loska, Hitchcock – autor wśród gatunków, Kraków 2002, s. 7-9.
• M. Hendrykowski, Gatunki filmowe (15): Film biograficzny, „Film” 1998 nr 5, s. 125.
• A. Ziębińska-Witek, Holocaust – problemy przedstawiania, Lublin 2005, s. 125-126.
• M. Amiel, Interpretacje świata Polańskiego, przeł. I. Dembowski, „Film na Świecie” 1980, nr 8-9, s. 67.
• Cz. Miłosz, Poezje, Warszawa 1988, s. 74-76.
• A. Mencwel, Wyobraźnia antropologiczna. Próby i studia, Warszawa 2006, s. 328.
• R. Marszałek, Polański i kultura masowa, w: Roman Polański, pod red. B. Zmudzińskiego, Kraków 1995, s. 54. Przedruk z: Kamień w wodę, Warszawa 1980, s. 46.

Identifiers

DOI

10.14746/i.2011.17.18.03