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Polish film and the Holocaust politics and memory

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 the Nazis in Polish-occupied 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). Then, between 1965 and 1980 there was an organized silenceA" 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 Kieslowski's Decalogue 8 (1988), Andrzej Wajda's Korczak (1990), Jan Jakub Kolski's Keep Away from the Window (2002), and Roman Polanski's The Pianist (2002). An important contribution to film studies, this book has wider relevance in addressing theissue of Poland's national memory.

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  • "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 the Nazis in Polish-occupied 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). Then, between 1965 and 1980 there was an organized silenceA" 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 Kieslowski's Decalogue 8 (1988), Andrzej Wajda's Korczak (1990), Jan Jakub Kolski's Keep Away from the Window (2002), and Roman Polanski's The Pianist (2002). An important contribution to film studies, this book has wider relevance in addressing theissue of Poland's national memory."@en
  • "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 the Nazis in Polish-occupied 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). Then, between 1965 and 1980 there was an organized silenceA" 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 Kieslowski's Decalogue 8 (1988), Andrzej Wajda's Korczak (1990), Jan Jakub Kolski's Keep Away from the Window (2002), and Roman Polanski's The Pianist (2002). An important contribution to film studies, this book has wider relevance in addressing theissue of Poland's national memory."
  • "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.--Publisher description."@en
  • "The state of Yucatán has its own distinct culinary tradition, and local people are constantly thinking and talking about food. They use it as a vehicle for social relations but also to distinguish themselves from "Mexicans." This book examines the politics surrounding regional cuisine, as the author argues that Yucatecan gastronomy has been created and promoted in an effort to affirm the identity of a regional people and to oppose the hegemonic force of central Mexican cultural icons and forms. In particular, Yucatecan gastronomy counters the homogenizing drive of a national cuisine based on d."@en

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  • "History"@en
  • "History"
  • "Electronic books"@en
  • "Electronic books"

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  • "Polish film and the Holocaust politics and memory"@en
  • "Polish film and the Holocaust politics and memory"
  • "Polish Film and the Holocaust"
  • "Polish film and the Holocaust : politics and memory"@en
  • "Polish film and the Holocaust : politics and memory"
  • "Foodscapes, Foodfields, and Identities in Yucatán"@en
  • "Polish film and the Holocaust [electronic resource]"@en

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