Abstract
Introduction. The relevance of this study is explained by the rapid social and political homogenization of Europe; the “disclosure” of many documents indicative of sociocultural changes in Eastern Europe; an increasing chronological gap between the research subject and its researcher that enables to use scientific verification methods instead of ideologically “correct” paradigms.Methods. The methodological basis of this article is the principles of systematicity and objectivity. While conducting this research, the author also used genetic, typological, comparative, hermeneutic and semiotic methods.Results. Throughout the postwar history, Polish filmmakers were bringing stories about World War II to the silver screen. The concept of a war feature film also changed depending on the postwar development of Poland.Discussion. The necessary conditions for studying the evolution of Polish war feature films based on systematicity and objectivity are as follows: the analysis of the Polish sociocultural postwar development (periodization with distinguishing essential characteristics of each period); the determination of main trends in the development of spiritual culture as a part of sociocultural processes; the analysis of the state-party politics in the sphere of culture, art and cinema.Conclusion. Throughout the postwar development, Polish filmmakers were addressing the topic of war. Their attitude to war changed depending on the country’s socio-cultural development and the evolution of its spiritual culture. For instance, war feature films were the most prominent trend in the development of the Polish cinema in the second half of the 1940s and the first half of the 1950s. Between 1956 and 1960, the Polish Film School was established and was characterized by a high interest in war-related films (alongside other topics and problems represented in the cinema of that time). In the 1970s, war feature films were still relevant but gave way to flicks about modern times. In the 1980s, this topic “withdrew into the shadows” not only in cinematography but also in other artistic spheres. It was mostly used in films to better interpret other topics.
Highlights
The relevance of this study is explained by the rapid social and political homogenization of Europe; the “disclosure” of many documents indicative of sociocultural changes in Eastern Europe; an increasing chronological gap between the research subject and its researcher that enables to use scientific verification methods instead of ideologically “correct” paradigms
“The production of feature films started with Leonard Buczkowski’s “Zakazane Piosenki” (1947)” [21, p. 223]. This motion picture did not just symbolize the beginning of the “postwar Polish cinematography, it has been serving as a proof of strict censorship of war feature films for a long time” [26, p. 14]
“Wajda’s generation represents “the first manifestation of new trends anticipating both political and cinematographic changes” [21, p. 290]; “it is the earliest film of a new trend” “expressing the changes experienced by the Polish cinema in detail...” [24, p. 140]; “it draws the line under the dominance of socialist realism in the Polish cinema” [22, p. 12]; “it shows the birth of the Polish Film School and attempts to escape the opposition of positive and negative dogmatic clichés, and create real-life characters” [45, p. 147]
Summary
The relevance of this study is explained by the rapid social and political homogenization of Europe; the “disclosure” of many documents indicative of sociocultural changes in Eastern Europe; an increasing chronological gap between the research subject and its researcher that enables to use scientific verification methods instead of ideologically “correct” paradigms. The study objective is to identify and interpret the evolution of Polish war feature films in the context of sociocultural processes determining the development of the People’s Republic of Poland. To attain this end, the author of the article fulfills the following tasks: distinguishes stages of the country’s postwar development; analyzes the Polish state policy in the field of cinematography; enlists war feature films; reveals the dynamics of the cinematographic concept of war and its eidological characteristics. The evolution of war feature films the following four periods is considered: 1. the second half of the 1940s and the first half of the 1950s – the establishment of people power and transition to the Stalinist model of socialism; 2. 1956-1960s – from the crisis of 1956 to the crisis of 1970; 3. the 1970s – the development of accelerated economy and the formation of opposition; 4. the 1980s – an economic and political crisis in the country
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