Jerzy Hoffman

and Andrzej Wajda

1990 – Elimination of censorship.

“New” old films, such as Interrogation, are shown (previously shelved).

1991 – Lech Wałęsa becomes Poland’s president; the end of one-party rule; democratic changes in all spheres.

Film industry, decentralized since 1989, faces free market economy (limited state subsidies remain). Independent studios appear.

Influx of Hollywood movies.Economic crisis in Polish film

production. Numerous co-productions with Western film studios.

The Script, Production, and Distribution government Agencies organized to save the industry by subsidizing works of cultural value.

Arrival of new themes, styles, genres.

Separation of cinema and politics.The role of television increases.

A nation is an “imagined community” (Benedict Anderson); history is a part of the commonly shared image of a nation.

The role of Polish historical films/adaptations of national classics: kindling national pride; confirming national identity; instilling cultural values.

Born in Kraków; the family deported to Siberia in 1939.

His father, a doctor, fought in the Polish First Army.

Graduated from State Cinema Institute in Moscow.

Made numerous film adaptations of Polish classics.

Film adaptations of Nobel Prize-winning historical novels by Henryk Sienkiewicz.

The trilogy filmed in reverse order: Pan Wołodyjowski (1968), The Deluge (1974, nominated for Oscar), and With Fire and Sword (1999).

Representations of 17th century Poland successfully fighting external enemies.

An epic describing Ukrainian Cossacks’ revolt as a civil war within Polish-Lithuanian Commonwealth.

The “Golden Age” of Poland.

Ignites Polish patriotism, but also calls for unity of Slavic nations.

Made into an extended TV version.

Pan Tadeusz (1999), Wajda’s film adaptation of an epic poem by Adam Mickiewicz (written in 1834).

Attempt to reinforce national identity; “a semi-mythical distillation of Poland and Polishness” (Andrzej Werner).

Mixed reception with the public.