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1

Dynamika niemieckiej pamięci

100%
Brzezińska-Pająk M.
Kwartalnik Filmowy
|
2017
|
issue 97-98 Wędrujące motywy
332-334
PL
Konrad Klejsa w publikacji „Pamięć lat nazizmu w niemieckim filmie fabularnym lat 1946-1965” (2015) mierzy się z problematyką niemieckiej kinematografii powojennej skonfrontowanej z nazizmem i jego kontekstami. Autor podejmuje zagadnienie w sposób złożony, rozbudowany, wykraczając poza typowo filmoznawcze opracowanie, a refleksja na temat filmów współgra z namysłem historycznym i politycznym. Spoiwem łączącym wielowymiarowe rozważania na temat dwudziestu lat historii kina niemieckiego w perspektywie nazistowskiej przeszłości jest problematyka studiów nad pamięcią, które wpisują publikację Klejsy w uniwersalny i międzynarodowy kontekst badawczy. Jego monografia jest rzetelnym, oryginalnym studium problematyki opracowywanej dotąd wybiórczo i niewystarczająco.
EN
Konrad Klejsa in the book “Pamięć lat nazizmu w niemieckim filmie fabularnym lat 1946-1965” [“The Memory of the Nazi Period in the German Feature Film 1946-1965”] (2015) deals with the problems of German post-war cinema confronting Nazism and its contexts. The author takes up the problem in a complex, extended way, going beyond a typical film studies approach, and his thoughts on films are in tune with his historical and political reflection. The connection between multidimensional reflections on the twenty years of German cinema history in the perspective of the Nazi past is the problem of the study of memory, which incorporates Klejsa’s publication into a universal and international research context. His monograph is a reliable, original study of issues so far selectively and insufficiently developed.
2

Ideologie (i) przyjemności

100%
Kempna-Pieniążek M.
Kwartalnik Filmowy
|
2018
|
issue 104 Esej, found footage, film montażowy
247-252
PL
Najnowszy tom wrocławskiej serii „Niemcy – Media – Kultura” wpisuje się w formowany od niedawna nowy, wielowymiarowy obraz dziejów kina niemieckiego, nie stanowi jednak typowego wykładu historycznofilmowego. Autorka recenzji zwraca uwagę na liczne zalety książki Andrzeja Gwoździa „Zaklinanie rzeczywistości. Filmy niemieckie i ich historie 1933-1949” (2018), przede wszystkim na to, że łączy ona w sobie walory interesującej lektury ze skrupulatnym rekonstruowaniem pejzażu audiowizualnego Niemiec lat 1933-1949. Najważniejszy kontekst tego pejzażu stanowią rozmaite ideologie, dlatego też jednym z dominujących wątków monografii jest motyw kina jako narzędzia walki, podporządkowanego różnym instytucjom. Drugim spoiwem filmów analizowanych w książce jest natomiast zasada przyjemnościowa, realizowana zarówno przez kino Trzeciej Rzeszy, jak i przez kinematografie powojennych stref okupacyjnych. Na uwagę zasługuje również trzecia część tomu, oferująca zbiór precyzyjnie zredagowanych pism z omawianej epoki.
EN
The latest volume of the Wrocław series “Germany – Media – Culture” fits in with the new, multifaceted picture of the history of German cinema that has been formed recently, but it is not a typical presentation of film history. The author of the review draws attention to the numerous merits of the book by Andrzej Gwóźdź “Zaklinanie rzeczywistości. Filmy niemieckie i ich historie 1933-1949” [“Enchantment of Reality. German Films and their Histories 1933-1949”] (2018). Above all, it combines the qualities of an interesting reading with the meticulous reconstruction of the audiovisual landscape of Germany of the years 1933-1949. The most important context of this landscape are various ideologies, which is why one of the dominant themes of the monograph is the theme of cinema as a weapon of war, subordinated to various institutions. The second common theme in the films analysed in the book is the pleasure principle, implemented both by the cinema of the Third Reich and by cinematographies of the post-war occupation zones. The third part of the volume, offering a collection of precisely edited writings from the discussed era, is also noteworthy.
3

Emil i naziści. Dzieci w filmie niemieckim lat 1919-1945.

80%
Dondzik M.
Kwartalnik Filmowy
|
2013
|
issue 81
70-82
PL
Film niemiecki lat 1919-1945 tradycyjnie ujmowany jest przez cezurę 1933 r. Rozdzielenie filmu niemieckiego na dwie epoki – weimarską i III Rzeszy – pociąga za sobą pominięcie i zafałszowanie części zjawisk. Jednym z nich jest wątek bohaterów dziecięcych. Najmłodsi stają się najczęściej obiektami pożądania czy ofiarami indoktrynacji. W przypadku znaczących ról, bohaterów dziecięcych odgrywają dorośli. Postacie dzieci znane widzom z kina weimarskiego pojawiają się w nowych rolach w kinie nazistowskim. Paradoksalnie, w Republice Weimarskiej powstał szereg filmów przedstawiających dzieci. Obrazy te wspierały teorię eugeniczne lub stanowiły zapowiedź polityki nazistowskich Niemiec. Natomiast w III Rzeszy konwencja kina rozrywkowego i tematyki szkolnej pozwalała na powstawanie filmów o wymowie anarchistycznej. Przyjęcie perspektywy najmłodszych umożliwia dostrzeżenie ciągłości między obydwiema kinematografiami, a ponadto pozwala przełamać dogmatyczny podział na demokratyczne kino weimarskie i oparty jedynie na propagandzie film nazistowski.
EN
German film in the period of 1919-1945 is usually understood to be divided by the watershed of 1933. The separation of German film into two eras – the Weimar and the Third Reich – entails the omission and misrepresentation of certain events. One of them is the theme of child characters. The young ones are the most common objects of desire or victims of indoctrination. In the case of important roles, children were played by adults. Characters known to viewers from the Weimar cinema appear in new roles in the Nazi cinema. Paradoxically, in the Weimar Republic a range of films depicting children was made. These films supported the theory of eugenics, and constituted the announcement of the policy of Nazi Germany. However in the Third Reich the convention of entertainment and the popular theme of school life allowed for films with an anarchistic message. By adopting the perspective of children one can see the continuity between both cinematographies. It also allows one to break with the stereotyped division of German cinema into the period of democratic Weimar cinema and Nazi propaganda films.
4
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Psychoanaliza w kinie weimarskim

70%
Kłys T.
Zagadnienia Rodzajów Literackich
|
2016
|
vol. 59/119 z. 3
81-94
EN
Film and psychoanalysis were born almost simultaneously in the last decade of the nineteenth century. However, the first significant entrance of psychoanalysis into the cinema took place in the Weimar Republic. The climax of this German cinema’s interest in psychoanalysis was the Ufa project to make Kulturfilm (i.e. — an educational film) Geheimnisse einer Seele (1926). Its task — fulfilled in an artistically excellent way — was to popularize to the mass audience the basic principles of psychoanalysis and methods of its therapy. Despite Freud’s refusal to participate in the project, two of his very close disciples, Karl Abraham and Hanns Sachs, were scientific consultants of filmmakers throughout the making of the film.
5
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Kult przywódcy w III Rzeszy w filmie propagandowym Triumf woli

61%
Wichert W.
Przegląd Zachodniopomorski
|
2015
|
issue 3
79-106
EN
Propaganda was one of the most important spheres of activity for the national socialists in the Weimar Republic and the Third Reich. The central questions of the Nazi propaganda were racism, anti-Semitism, the ideology of an egalitarian national community, militarism and a pseudo-religious cult of Adolf Hitler. The specific feature of the Nazi indoctrination was its close connection with the new mass media, first of all with the film and the radio. The classical cinematographic productions under the sign of the ‘Hakenkreuz’ were the audio-visual documents from the NSDAP conventions, which took place in Nuremberg. The Triumph of the Will directed by Leni Riefenstahl depicts the party congress in 1934, i.e. when the totalitarian foundations of the Nazi regime were being built. The film – meant to be a propagandist instrument of the new rulers of Germany – presents the cult of Hitler as a charismatic leader and a political saviour of the German nation in a convincing way thanks to an appropriate film editing, the organisation of takes and the symbolism of light. The dictator filmed from below (a worm’s eye view) appeared much bigger, and the mass of the people gathered at the convention gave the impression of their smallness compared to the omnipresent Führer. The director of The Triumph of the Will also sought to show an emotional link between the Führer and his people and to underline the unconditional love for Hitler felt by the Germans. The film is still giving rise to controversy among researchers and historians, who even today are engaged in a discussion on its documentary and aesthetic values and the propagandist message in the spirit of the Nazi messianism.
6
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Śladami niemieckich mistrzów

61%
Czerkawski P.
Media – Kultura – Komunikacja Społeczna
|
2014
|
issue 10/1
102-107
7

Obok kanonu, ale w centrum spraw

51%
Helman A.
Kwartalnik Filmowy
|
2012
|
issue 79
222-226
EN
Andrzej Gwozdz’ book Not in the canon. In the Footsteps of German Cinema (Obok kanonu. Tropami kina niemieckiego, 2011) inaugurates a publishing series “Germany – Media – Culture” under the patronage of the Willy Brandt Centre for German and European Studies. The publication is the result of the author’s involvement in a research programme dealing with German cinema. This book is not a work of a film historian who tries to fill in the gaps. Rather it presents a cultural studies point of view, which finds interesting clues and ideas in film images. Such interdisciplinary research leads to innovative and original results. Gwozdz moves in the area of his choice equipped with a kind of compass: a set of preferred theoretical assumptions. For him, the history of the cinema is the history of techniques and forms of imaging, and, therefore, of different discourses and forms of visibility. Helman points to the fact that Gwozdz, even when he is writing about film makers and matters known to Polish cinema goers and researchers, reveals all those details in German cinema that we are unaware of. This is because previously we perceived them in a different way, from a different perspective and in a different context, in a different diachrony and synchrony.
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