Polish Cinema in a Transnational Context

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The idea for this book originated in our observation that while there is a growing body of innovative work dealing with transnationality in world cinemas, studies devoted to this phenomenon tend to omit Eastern European cinemas, including Polish
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    POLISH CINEMA IN A TRANSNATIONAL CONTEXT Edited by Ewa Mazierska and Michael Goddard   CONTENTS Contents List of Illustrations Acknowledgements Introduction: Polish Cinema Beyond Polish Borders Ewa Mazierska and Michael Goddard Section One: The International Reception of Polish Films 1 West of the East: Polish and East European Film in the UK Peter Hames 2 The Shifting British Reception of Wajda’s Work from  Man of Marble (1977)   to  Katyń (2007) Darragh O’Donoghue  3 Affluent Viewers as Global Provinicials: The American Reception of Polish Cinema Helena Goscilo 4 Three Decades of Polish Films at the Venice and Cannes Film Festivals: The 1940s, 1950s, and 1960s Dorota Ostrowska 5 How Polish is Polish?: Silver City (2009) and the National Identity of Documentary Film Charlotte Govaert Section Two: Polish International Co-Productions and Presence in Foreign Films  6 Postcolonial Heterotopias in Marek Piestrak’s Estonian Co -Productions: A Paracinematic Reading Eva Näripea 7 Poland-Russia: Co-Productions, Collaborations, Exchanges   Izabela Kalinowska-Blackwood 8 Train to Hollywood: Polish Actresses in Foreign Films Ewa Mazierska 9 Polish Performance in French Space: Jerzy Radziwiłowicz as a Tra nsnational Actor Alison Smith 10 Polish Actor-Directors Playing Russians: The Cases of Skolimowski and Stuhr Lars Kristensen Section Three: Émigré and Subversive Polish Directors 11 An Island Near the Left Bank: Walerian Borowczyk as a French Left Bank Filmmaker    Jonathan Owen 12 Beyond Polish Moral Realisms: The Subversive Cinema of Andrzej Żuławski  Michael Goddard 13 Polanski and Skolimowski in Swinging London Robert Murphy 14 The Elusive Trap of Freedom? Krzysztof Zanussi’s  International Co-productions Kamila Kuc 15 Agnieszka Holland’s Transnational Nomadism  El ż  bieta Ostrowska  Notes on Contributors  LIST OF ILLUSTRATIONS Cover image : from Walerian Borowczyk, Goto, Island of Love, (1969) (Ligia Branice and Jean-Pierre Andréani) Figure 1.1: Chapter 1, Hames: from Wajda,  Ashes and Diamonds (1958), Zbigniew Cybulski and Ewa Krzyzewska Figure 2.1: Chapter 2, O’Donoghue: from Wajda,  Man of Marble (1977), Krystyna Janda, Bogusław Sobczuk    Figure 2.2: Chapter 2, O’D onoghue: from Wajda,  Man of Iron (1981), Krystyna Janda and Jerzy Radziwiłowicz  Figure 4.1: Chapter 4, D. Ostrowska: from Polanski,  Knife in the Water (1963), Leon Niemczyk and Jolanta Umecka Figure 5.1: Chapter 5, Govaert: from Govaert, Silver City (2009), Peter Figure 5.2: Chapter 5, Govaert: from Govaert, Silver City (2009), Mother and Son Figure 5.3: Chapter 5, Govaert: from Govaert, Silver City (2009), Peter and Agnieszka Figure 6.1: Chapter 6, Näripea: form Piestrak, Test of Pilot Prix (1979) Figure 6.2: Chapter 6, Näripea: from Piestrak, Curse of Snakes Valley (1988) Figure 7.1: Chapter 7, Kalinowska: from Zanussi,  Persona non Grata (2005) Figure 7.2: Chapter 7, Kalinowska: from Kolosov,  Remember your Name (1974) Figure 8.1: Chapter 8, Mazierska: from Szabo, 25 Fireman’s Street (1973), Lucyna Winnicka Figure 9.1: Chapter 9, Smith: Godard,  Passion (1982), Jerzy Radziwiłowicz Figure 9.2: Chapter 9, Smith: Rivette, Secret Defence (1998), Jerzy Radziwiłowicz and Sandrine Bonnaire Figure 9.3: Chapter 9, Smith: Rivette, Story of Marie and Julien (2003), Jerzy Radziwiłowicz and Emmanuelle Béart Figure 10.1: Chapter 10, Kristensen: from Cronenberg,  Eastern Promises (2007), Jerzy Skolimoski Figure 10.2: Chapter 10, Kristensen: from Kachanov,  Ar’e (2008), Jerzy Stuhr Figure 11.1: Chapter 11, Owen: from Borowczyk,  Blanche (1971) Figure 11.2: Chapter 11, Owen: from Borowczyk, Goto, Island of Love, (1969) Figure 11.3: Chapter 11, Owen: from Borowczyk, Goto, Island of Love, (1969) Figure 12.1: Chapter 12, Goddard : from Żuławski, On the Silver Globe (1978/1989) Figure 12.2: Chapter 12, Goddard: from Żuławski,  Possession (1980), Isabelle Adjani Figure 14.1: Chapter 14, Kuc: from Zanussi,  Bluebeard (1984), Margarethe Von Trotta Figure 14.2: Chapter 14, Kuc: form Zanussi,  Paradigm (1985), Benjamin Völz Figure 15.1: Chapter 15, E. Ostrowska: from Holland,  Angry Harvest (1985) Figure 15.2: Chapter 15, E. Ostrowska: from Holland,  Europa, Europa (1990) Figure 15.3: Chapter 15, E. Ostrowska: from Holland, Washington Square (1995)  ACKNOWLEDGEMENTS The book is in part based on papers presented at the conference “Polish Cinema in an International Context”, which took place in December 2009, at Cornerhouse, Manchester. We would like to express our gratitude to the institutions which financially supported this event: the Polish Film Institute, the Polish Consulate in Manchester, the Polish Cultural Institute in London and Adam Mickiewicz Institute. We also thank all colleagues and friends, who helped us to organize this event and attended it, either giving papers or listening and commenting on those presented by others. The lively discussions accompanying the papers affected in a significant way the shape of this volume. We are also grateful to Elżbieta Ostrowska and Lars Kr  istensen who, on top of contributing chapters to this collection, commented on the early draft of its introduction, and to Adam Wyżyński from the Polish Film Archive for helping us to access some of the stills and other secondary material used in this book.
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