"Świat, który przezwyciężamy i pozostawiamy za sobą". Import, rozpowszechnianie i widownia filmów z krajów kapitalistycznych w Polsce Ludowej w latach 1949-1956 w świetle badań archiwalnych

Klejsa, Konrad

doi:10.36744/kf.173

Cited by 4 publications

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“…On a side note, such hatred of American pop culture had a purely ideological justification. In fact, only four feature films made in the United States (including two independent productions), in comparison with 259 films from the Soviet Union, were screened in Poland from 1949 to 1956 (K Klejsa, 2019: 31).…”

Section: Education and Propagandamentioning

confidence: 99%

Animated Film and Socialist Realism in Poland, 1949–1955

Sitkiewicz

2022

Animation

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When the doctrine of socialist realism was proclaimed in Polish cinema in November 1949, the production of animated films was only taking its first steps after World War Two. The industry lacked human resources, equipment, buildings, celluloid sheets, distribution system and success. Animators were forced to achieve new goals that were often both ambitious and contradictory. In this new reality, cartoons and puppet films had to be realistic and subordinated to the dominant political doctrine. Addressed to children exclusively, they presented educational and didactic features and were focused on several contemporary topics such as the construction of communism or official propaganda. At the same time, they were supposed to be artistic, technically perfect, addressed to the millions and compatible with Soviet animation practice from Soyuzmultfilm (which was the most important animation studio in the Soviet Union). This article identifies how Polish filmmakers strived to achieve these goals, and discusses the problems faced by young and inexperienced animators under Stalinist culture’s political pressure. The author examines the films produced in that period, verifies them against their assigned political tasks, and shows the absurdities of socialist realism in animation that wanted to reconcile contradictions such as entertainment and education, realism and fairy tales, artistic values and propaganda. Finally, the article explains the impact of these films on the future of Polish animation.

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Section: Education and Propagandamentioning

confidence: 99%

Animated Film and Socialist Realism in Poland, 1949–1955

Sitkiewicz

2022

Animation

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Cud w Mediolanie Vittoria De Siki na tle recepcji włoskiego neorealizmu w polskim piśmiennictwie filmowym do 1956 roku

Miller-Klejsa

2023

10.14746/i

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After the end of the Second World War, cinema culture in the People’s Republic of Poland underwent a crucial transformation. One of the aspects of this change was the new movie import model: most international sources were replaced by films from the Communist bloc, principally the Soviet Union. Italian movies constituted an important exception. In addition, translations of works by C. Zavattini and U. Barbaro were published (the latter was even appointed a professor at the Film School in Lodz). However, some movies deemed neorealist were either not permitted by the censorship bodies (it banned several of Rossellini’s works) or appeared on Polish screens with a significant delay (which was the case of Umberto D.). The article focuses on the reception of the film Miracle in Milan (dir. Vittorio De Sica) in the Polish movie magazines and books published before 1956. The case of this film seems particularly interesting, as opinions on it have changed over the years (as has the assessment of the neorealist movement as a whole), and the film itself has provoked controversy. In the Stalinist period in Poland, critical opinions dominated, and Italian neorealism (and De Sica’s film) was accused of pessimism and losing sight of “great revolutionary perspectives”. The film’s fairy-tale formula and the “transcendental” themes present in the plot were also difficult to accept. This negative attitude changed during the Thaw, when neorealism became something of a positive example of progressive film aesthetics, an example to follow; the authorities then allowed neorealist films (including Miracle in Milan) to be framed in religious terms.

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Foreign film in Poland, 1964–1975: selection, import and audience. An introduction

Klejsa

2023

10.14746/i

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The topic of this article is part of the broader research project on film distribution in the People’s Republic of Poland. An important base for this text is the archival resources of the Film Polski Export and Import Company, established in 1964, the year therefore chosen as the starting point of the analysis. The point of departure is 1975, when important changes in the film import volume occurred. The article comprises of sections dedicated, respectively, to pre-selection of feature films, new releases and films in circulation. The data on the number of released titles show that in almost the entire period under study, the total number of foreign films from other ‘people’s republics’ was lower in any given calendar year than the number of films from capitalist states. However, the fact that more films from communist countries were imported to Poland did not mean that the former had larger audiences and generated greater revenues.

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"Świat, który przezwyciężamy i pozostawiamy za sobą". Import, rozpowszechnianie i widownia filmów z krajów kapitalistycznych w Polsce Ludowej w latach 1949-1956 w świetle badań archiwalnych

Cited by 4 publications

References 1 publication

Animated Film and Socialist Realism in Poland, 1949–1955

Animated Film and Socialist Realism in Poland, 1949–1955

Cud w Mediolanie Vittoria De Siki na tle recepcji włoskiego neorealizmu w polskim piśmiennictwie filmowym do 1956 roku

Foreign film in Poland, 1964–1975: selection, import and audience. An introduction

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