Bøger af Marek Haltof

This thoroughly revised and updated edition of Marek Haltof's seminal survey takes stock of dramatic shifts in Polish society and to provide an essential account of the nation's cinema from the nineteenth century to today.

Through a chronology; an introductory essay; appendixes, a bibliography; and over 300 cross-referenced dictionary entries on films, directors, actors, producers, and film institutions, a balanced picture of the richness of Polish cinema is presented.

During World War II Poland lost more than six million people, including about three million Polish Jews who perished in the ghettos and extermination camps built by Nazi Germany in occupied Polish territories. This book is the first to address the representation of the Holocaust in Polish film and does so through a detailed treatment of several films, which the author frames in relation to the political, ideological, and cultural contexts of the times in which they were created. Following the chronological development of Polish Holocaust films, the book begins with two early classics: Wanda Jakubowska's The Last Stage (1948) and Aleksander Ford's Border Street (1949), and next explores the Polish School period, represented by Andrzej Wajda's A Generation (1955) and Andrzej Munk's The Passenger (1963). Between 1965 and 1980 there was an "e;organized silence"e; regarding sensitive Polish-Jewish relations resulting in only a few relevant films until the return of democracy in 1989 when an increasing number were made, among them Krzysztof KieA lowski's Decalogue 8 (1988), Andrzej Wajda's Korczak (1990), Jan Jakub Kolski's Keep Away from the Window (2000), and Roman PolaA ski'sThe Pianist(2002). An important contribution to film studies, this book has wider relevance in addressing the issue of Poland's national memory.

The A to Z of Polish Cinema fills the gap in film scholarship, presenting an extensive factual survey of Polish film. Through its chronology, introductory essay, appendixes, bibliography, and cross-referenced dictionary entries on films, directors, actors, producers, and film institutions, a balanced picture of the richness of Polish cinema is presented. Readers with professional interest in cinema will welcome this new work, which would be useful for any senior undergraduate or post-graduate courses in film studies.