The paper is an attempt to view the Polish cinema of the sound breakthrough (1929–1933) from the multiple perspectives that are merged by subjectively understood anxiety. It resorts to the voices of the then criticism disturbed both by technological revolution and by the level of domestic film production (whose dominating trends are also sketched), mixed with the audience’s enthusiasm and reflections of a modern female archivist: she is anxious about the impossibility to verify a part of the assessment since not all the discussed movies have survived until this day.
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