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EN
The memoirs of Maksymilian Jarosz constitute a rare source of knowledge on the course of the pacification action during the Poznań June 1956 Uprising. We observe the events from the perspective of a tank driver-mechanic that was forced to participate in actions against the insurgents. From the memoirs of Maksymilian Jarosz emerges a picture of the chaos that arose in Poznań and the lack of organisation and coordination of the communists’ actions, clearly surprised by the strength and development of the socialrevolt. An important aspect of the memoirs is the possibility to learn about the state of morale of the Polish Army soldiers and their attitude towards the protesting and striking inhabitants of Poznań. These memoirs may be of use to the researchers of the Poznań June 1956 as the source supplementing the information contained in documents and other accounts.
PL
Wspomnienia Maksymiliana Jarosza stanowią rzadkie źródło wiedzy na temat przebiegu działań pacyfikacyjnych Poznańskiego Czerwca 1956 r. Wydarzenia obserwujemy tu z perspektywy kierowcy-mechanika czołgu, zmuszonego do prowadzenia akcji przeciwko uczestnikom zrywu. Ze wspomnień wyłania się obraz chaosu, jaki zapanował w Poznaniu, a także braku organizacji i koordynacji działań komunistów, wyraźnie zaskoczonych siłą i rozwojem społecznego buntu. Ważnym aspektem relacji jest możliwość zapoznania się ze stanem morale żołnierzy WP i ich stanowiskiem wobec zbuntowanych mieszkańców Poznania. Wspomnienia te posłużyć powinny badaczom Poznańskiego Czerwca jako materiał uzupełniający informacje zawarte w dokumentach i innych źródłach.
EN
The article presents the making of the first documentary film depicting the traumatic events of the anticommunist uprising in Poznań in June 1956 as well as the difficult fate of the documentary after it had been completed. Its authors, Tadeusz Litowczenko and Mirosław Kwieciński, composed their Poznań 1956  (1981) of two interwoven narrative lines. Archive photographs with off screen commentary make the first narrative line while cinema-verite-like interviews with the participants of historical events make the other. The film analysis is aimed to underline the formal means employed in the film to present the opposing sites of the conflict. It also focuses on the historical context from the times when film was being made in the so called ‘festival of Solidarity movement’ in the early 1980s.
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