“ Men
in skirts in communists Poland “
After
World War II many historical issues made a long way towards communism
rules in Poland. Communism party follow the idea of equal
opportunities for women and men , in different work places like
factories , fields, schools, but still men dominated some
professionals. It was so hard to find women , who achieve success as
master in some jobs . During few decades women graduate Film Schools
and made some films, but only few succeeded. In this essay I want to
show great achievement of the “men in skirts” in Polish communist
era. It was not easy to enter the world of Polish cinematography
dominated with men. Before the war a few women were writers and
screenwriters, only three stand behind the camera.
The
situation hardly became any better after 1945. Theoretically the
universities accepted both genders, but the real chance to direct
films were given only to men and only men.
Women
were also pushed toward directing for children and eventually they
dominated the field. This kind of cinema is not appreciated much in
Poland ,so female directors existed outside the mainstream, and were
not commonly known. They successfully adapted child literature, often
were prized at International Children's Film Festivals.
Bielinska
Halina Nutcracker ,1967
There
were a dozen or so successful debutantes who were never given a
chance to repeat it. Only three women are accredited Polish directors
before 1990: Barbara Sass-Zdort, Magdalena Lazarkiewicz and her
sister Agnieszka Holland.
Finally
Agnieszka Holland by all means belongs not only to the Polish, but to
the world cinematography. She does not represent any specific women'
film school or feminist cinema. She is a great auteur creating
discussion about women cinema as continuity, opening dialogue with
different works, offering new answers for universal, repeated
questions.
Her
determination to realize the professional plans and ability to manage
the film set became legendary and ridiculed by the male directors
.She was called “the only man” in her movie studio. She was like
“men in the skirt”, which know that to expect from herself and
from others.
Agnieszka
Holland is an excellent representative of the auteur cinema. She
wrote many of the screenplays she filmed. The most important subject
in Holland's movies is human and his various complicated, difficult
relations. She explores different environments, opportunities in
which one can fulfill. She does not hesitate to broad controversial
issues as social or political and religious matters.
The
first Oscar nomination for Best Foreign Language Film Holland
received for her ”Gorzkie żniwa” (“Angry Harvest, 1985) This
was German production trying to tackle with World War II, to show
different attitudes in the face of fatal danger and complicated,
abusive relations between women and men, wife and husband.
Angry
Harvest ,1985 (c)
She
also tried to show forbidden homosexual love affair of XIX poets
Arthur Rimbaud and Paul Verlain in “Całkowite
zaćmienie”
(“Total
eclipse”,1995). The relation full of brutality and emotional
tensions prompted Holland to strong conclusion: “It doesn't matter
that this is love between two men. I am touched by those carrying
their ugliness and desperately fighting over their place in the love
world” (7).
From
time to time the the metaphysical world enters to Holland's work.
First signals were present in „Olivier
Olivier” („Olivier, Olivier”,1991) and in „Tajemniczy ogród”
(“The secret garden”, 1993)- her only movie made for younger
viewers.
The
secret garden , 1993 (d)
Agnieszka
Holland does not escape from historical and political issues which
influence her characters. “Gorączka” (“The fever”, 1980)
tells about Polish revolutionists and anarchists, “Zabić
księdza” (“To Kill a Priest”, 1988), a political drama, is
based on the true story of father Jerzy Popieluszko and her
international recognized film “Europa, Europa”,1990.
In
conclusion , now Polish audience have a freedom , communism
government stop decide about what to see in the movies , but we
haven't see too much women production like Holland or Sass. The young
women film makers try to find the way to bigger audience, but still
financial problems and male domination stay on the way to studio
directors.. I think independent media and internet give some
chances to find and discover new talents and bright women , who have
something to say and make great movies. Sometimes without big
financial cost, with help of young, passion actors new generation of
women filmmakers can star exist. We as audience have to support
independent productions and women producers.
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