Abstract
The author of the reviewed book for the first time shows how and why film preferences of the inhabitants of Breslau in the years 1896–1932 and 1933–1945 differed in relation to the choices of cinema audiences in other European cities during the same period. He uses the POPSTAT statistical method proposed for this purpose by the German researcher Joseph Potter. He also uses the scientific ideas of „attraction cinema” developed by André Gaudreault. He bases his research on analyzing film success rankings and to measure viewer preferences.
Highlights
E author of the reviewed book for the rst time shows how and why lm preferences of the inhabitants of Breslau in the years – and – di ered in relation to the choices of cinema audiences in other European cities during the same period
Historia kina we Wrocławiu w latach
He uses the POPSTAT statistical method proposed for this purpose by the German researcher Joseph Potter
Summary
E author of the reviewed book for the rst time shows how and why lm preferences of the inhabitants of Breslau in the years – and – di ered in relation to the choices of cinema audiences in other European cities during the same period. Przywołując pamięcią pierwszą dekadę kinowego Wrocławia po zakończeniu II wojny światowej, informując o zmianie nazw czterech kin, które przetrwały ponury czas nazizmu (Warszawa to dawny Palast- eater; Polonia to Odertor-Lichtspiele; Pionier zainstalowano w budynku Titania- eater; Capitol stał się kinem Śląsk), o pierwszych lmach (jak Majdanek – cmentarzysko Europy), wojennych radzieckich produkcjach (Trzewiczki) i tych przedwojennych (Strachy, Znachor, ale też Wielki walc i W cieniu krzyża) granych z myślą o Polakach, ale oglądanych również przez Niemców, którzy jeszcze miasta nie opuścili, Dębski umieszcza opowieść o dwóch różnych „magnatach” niemieckiego kina we Wrocławiu, którzy po wojnie z powodzeniem kontynuowali kariery na Zachodzie.
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