Reportaże z pamięci. O rekonstruowaniu rzeczywistości minionej w filmach dokumentalnych Mariana Marzyńskiego

• Authors: Mikołaj Jazdon

Title variants

EN

Reports from Remembering. Marian Marzyński’s Documentary Reconstructions of the Past Reality

• Languages of publication: PL

Abstracts

PL

Reports from Remembering. Marian Marzyński’s Documentary Reconstructions of the Past Reality The article focuses on autobiographical films by Polish-American documentary filmmaker whose most personal project is Never Forget to Lie (2012) about Jews rescued from the Warsaw ghetto in their early childhood. Marzyński is a Holocaust survivor himself and a television reporter who emigrated from communist Poland in 1969. He has been gradually transforming the style of the documentary films he made in the West to make them more and more personal by referring to his biography. Marzyński’s cinéma vérité techniques include initiating emotional in-front-of-the-camera interviews with Holocaust survivors and witnesses of History in the meaningful surrounding of historical places. In this way, the filmmaker makes the architecture, landscape and personal objects “speak” about the past or uses them to stimulate the memory of the interviewed people. The only quoted film material, or found footage, comes from his own archives, where he has been collecting his released documentaries together with never used scenes and takes.

EN

The article focuses on autobiographical films by Polish-American documentary filmmaker whose most personal project is Never Forget to Lie (2012) about Jews rescued from the Warsaw ghetto in their early childhood. Marzyński is a Holocaust survivor himself and a television reporter who emigrated from communist Poland in 1969. He has been gradually transforming the style of the documentary films he made in the West to make them more and more personal by referring to his biography. Marzyński’s cinéma vérité techniques include initiating emotional in-front-of-the-camera interviews with Holocaust survivors and witnesses of History in the meaningful surrounding of historical places. In this way, the filmmaker makes the architecture, landscape and personal objects “speak” about the past or uses them to stimulate the memory of the interviewed people. The only quoted film material, or found footage, comes from his own archives, where he has been collecting his released documentaries together with never used scenes and takes.

Keywords

PL

documentary; autobiography; Holocaust; history; Poland; Marian Marzyński

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2012
• Volume: 11
• Issue: 20
• Pages: 65-74

Dates

published

2012-06-13

Contributors

author

Mikołaj Jazdon

• Katedra Filmu, Telewizji i Nowych Mediów UAM

References

• M. Zaleski, Formy pamięci, Gdańsk 2004, s. 5.
• D. Draaisma, Dlaczego życie płynie szybciej, gdy się starzejemy. O pamięci autobiograficznej, przeł. E. Jusewicz-Kalter, Warszawa 2006, s. 5.
• M. Kula, Nośniki pamięci historycznej, Warszawa 2002, s. 7–8.
• H. White, Historiografia i historiofotia, przeł. Ł. Zaremba, w: Film i historia. Antologia, pod red. I. Kurz, Warszawa 2008, s. 117.
• J. Le Goff, Historia i pamięć, przeł. A. Gronowska
• i J. Stryjczyk, Warszawa 2007, s. 152–153.
• P. Sztompka, Socjologia wizualna. Fotografia jako metoda badawcza, Warszawa 2005, s. 66.

Identifiers

DOI

10.14746/i.2012.20.05