Notes Introduction: Is the Past a Foreign Country? 1 In this respect Matuszewski’s writings foreshadow the work of another Polish film theorist, Karol Irzykowski, an author of X Muza (The Tenth Muse), published for the first time in 1924 (on Irzykowski’s views on film’s mimetic capability see Mazierska 1989). 2 However, Godard’s Histoire(s) du cinéma are practically ignored by professional historians. Even Robert Rosenstone, widely regarded as the main authority in the area of history and film, in a recent essay, ‘Space for the Bird to Fly’, published in the collection Manifestos for History (Rosenstone 2007), quotes Godard’s now rather clichéd remark about a beginning, a middle and an end of a story, but does not mention his monumental historical work. None of the essays in this collection, Manifestos for History, including Mark Poster’s ‘Manifesto for a History of the Media’ (Poster 2007), refers to Godard’s work, despite the fact that it fulfils all the main conditions of a ‘manifesto for history’ ( Jenkins et al. 2007).

1 The Burden of the Past and the Lightness of the Present: Dealing with Historic Trauma through Film 1 I refer here to the ‘Holocaust’ not in its original meaning, as ‘ritual purification’, but as a metaphor of the Nazi genocide. Despite the problems inscribed in this term, I find it less ambiguous and controversial than terms such as ‘Auschwitz’. Some scholars, however, object to using it (for example Lang 1990: xx–xxi). 2 The literature about the problems of representation of the Holocaust is huge and still growing. Nevertheless, the collection Probing the Limits of Representation, edited by Saul Friedlander, includes the most important, in my view, arguments about representability or unrepresentability of the Holocaust (Friedlander 1992; see also LaCapra 1994; Loshitzky 1997; Levi and Rothberg 2003; Rancière 2007: 109–38). 3 Žižek’s assertion is supported by the special position of a poem ‘Campo di Fiori’ (1943) by Czesław Miłosz, about the liquidation of the Jewish ghetto in Warsaw, in the Polish memory of the Holocaust. 4 In Praise of Love and Ararat had a cinema audience in Europe of about 150,000 viewers; Weiser, which was shown only in Polish cinemas, 30,000. These and other box-office results quoted in this book are based on the Lumiere database (http://lumiere.obs.coe.int/web/search/), unless a different source is mentioned. 5 This also explains Godard’s fascination with the Polish film about the concentration camps, Pasaz˙erka (The Passenger, 1963) by Andrzej Munk.

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6 On numerous occasions Godard criticised Schindler’s List and even regarded it as his personal failure that he failed ‘to prevent M. Spielberg from rebuilding Auschwitz’ (quoted in Brody 2008: 562). However, Spielberg’s contribution to ‘Holocaust studies’ also includes the Steven Spielberg Film and Video Archive of the US Holocaust Memorial Museum, which comprises over 1000 hours of archival footage. 7 Edgar’s impotence to change his ideas into a tangible product inevitably is reminiscent of Le mépris (1963) and Passion, where Europeans also proved unable to make films or at least had to rely on American funding to complete them. 8 The belated suicides bring to mind the suicides of some famous Jewish and non-Jewish survivors of the war and concentration camps, such as Tadeusz Borowski in 1951, in Poland, Paul Celan in 1970 and Romain Gary in 1980, in France, and Primo Levi in 1987, in Italy. 9 One can guess that for Said the attitude of the Canadian state towards ethnic identities is a form of Orientalism: a way of containing the ‘other’, preventing the emigrants from full assimilation with the West and retaining their original identities. Such criticism is valid, but in my view the practice also has the advantage of allowing the West to learn from the East, which often happens in Egoyan’s films. 10 Marczewski does not refer to Gross’s works, perhaps he did not even read them. Yet, the similarity between these two works supports Halbwachs’s claim that all memory is collective; people belonging to the same culture remember similar things and in a similar way. A factor in the similarity of Gross’s and Marczewski’s take on Polish anti-Semitism is their belonging to the same generation: Marczewski was born in 1944, Gross in 1947. For both of them the year 1968 was thus a formative experience. 11 The attitudes of Poles and artists to the Jews perishing in ghettos are discussed by Jan Błon´ski in his essay ‘Biedni Polacy patrza˛ na getto’ (Poor Poles Look at the Ghetto). This essay, published for the first time in the influential Polish Catholic weekly Tygodnik Powszechny in 1987, played an important role in changing Polish attitudes to the Polish Jewish past (Błon´ski 1987). 12 Juliana is played by Juliane Köhler, who in due course would play Eva Braun in Downfall, where she encapsulates a woman who as close to ‘history’ as anybody can be, but at the same time unable or unwilling to face it, therefore prefers to ‘seize the day’. Her role in Marczewski’s film prefigures this type.

2 ‘Our Hitler’: New Representations of Hitler in European Films 1 The makers of films about Hitler are in this respect in a similar position to artists creating anti-fascist monuments (on anti-fascist countermonuments see Young 2003). 2 This blocking of the memory about involvement in Nazi atrocities and giving into Hitler’s charm was facilitated by the Allied-supported policy of the integration of former Nazis into the new West German society and, in a wider sense, by the realities of the cold war (Herf 1997, 2002; Judt 1992). It was also in a measure a legacy of the First World War (Geyer 1997).

Notes to Chapter 2 249 3 Yet, European cinema is not free of these ‘sins’. Practically all European cinemas have indigenous traditions of melodrama, and commercial pressures also exist in them. 4 The perceptions of Nazism as ultra-modern and anti-modern can be reconciled. The first perception pertains to a victim and observer of Nazism, as privileged in Bauman’s book, which focuses on the industrial and bureaucratic character of Nazi killings. For Hitler’s followers, by contrast, sheltered (at least initially) from Nazi barbarities, what mattered was the promise of returning to an old German bucolic ideal. It can be argued that Hitler attempted to return to a premodern past by accelerating modernity. Not surprisingly, his project failed. 5 Sokurov’s depiction of the Berghof remains in contrast with the image of the Berghof we receive from documentary footage and photographs, some made by Eva Braun, of a spacious mansion set in a sunny, idyllic landscape. However, it partly conforms to the depiction offered by Traudl Junge in her memoirs, who emphasises the fog enwrapping the mountains, the difficulty of leaving the house due to its physical location and being confined by her benevolent master ( Junge 2004: 56–103). 6 The motif of mother and son also reflects the director’s specific taste for the mother–son relationship, as conveyed by his earlier film, Mat i syn (Mother and Son, 1997). 7 As Joachim Fest observes, Hitler himself declared that ‘with the exception of Richard Wagner he had “no forerunners”, and by Wagner he meant not only the composer, but Wagner the personality, “the greatest prophetic figure the German people had had” ’ (Fest 1974: 49). Fest lists many parallels between Hitler and the composer, from their obsessions about the destiny of the German people, affinity for theatricality and pomp, through morbid hatred of Jews, vegetarianism, ‘which Wagner ultimately developed into the ludicrous delusion that humanity must be saved by a vegetarian diet’ (ibid.), an idea to which Hitler also alludes in one of his deranged monologues, included in Sokurov’s film. 8 This attitude, most likely, was true about Hitler – whilst in his public pronouncements he expressed contempt for Stalin and his people, in reality he regarded Stalin as an equal, even surpassing him in some respects. Similarly, he was forced to accept that Russian soldiers proved superior to German soldiers ( Junge 2004: 145–8). 9 As commander of Bavarian Group Command IV, Mayr became one of the ‘midwives of Hitler’s political career’ (Kershaw 1998: 122). He sent Hitler on a course in ‘civic thinking’ (Fest 1974: 113). This course was a reward for Hitler’s achievements as an informant for the commission which was set up to look into the events during the Soviet rule in Bavaria. In due course, Mayr, urged by his superior to write a paper on the subject of ‘the danger Jewry constitutes to our people today’, asked Hitler to do it, ‘addressing him as “My Dear Herr Hitler”, an unusual salutation from a captain to a corporal’ (ibid.: 115). The response Hitler gave was very similar to that we hear in the film. On both occasions Hitler condemned an emotional anti-Semitism, which finds its expression in pogroms, opting for ‘anti-Semitism of reason’, which leads to the planned judicial opposition to and elimination of the privileges of Jews and, ultimately, to the removal of the Jews altogether (ibid.).

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10 Hitler, in reality, being 175 cm tall, was of over-average height. In many photographs we see him as taller than the bulk of men who surround him. However, in most films he is represented as of below-average height, reflecting a desire to undermine him. 11 Hitler’s performances were versatile; he was able to intertwine accusations with expressions of hope, drama with humour. Moreover, as Norman Stone observes, ‘Most speakers who had the mental ability to keep their thoughts in some kind of order were all too pompous and academic in their style to have any mass appeal: they would simply read learned tracts to their audience. On the other hand, men like Drexler [the first leader of the National Socialists], who were quite uneducated, might talk the language of the people, but would have nothing much to say in it. Hitler, educated enough to expound his views coherently, also spoke a popular language. He could be very funny, in an untranslatable, wholly German way’ (Stone 1980: 9). 12 In his approach to life as a form of art (staged, exaggerated, ritualised), Hitler borrowed from Richard Wagner and some minor and nowadays forgotten figures. Some of Hitler’s contemporaries were able to see his project of melding art and politics, most famously Walter Benjamin, as the death of true art (Benjamin 2007). For others, especially Leni Riefenstahl, it amounted to granting art a position which it never enjoyed before. Riefenstahl took full advantage of that making Triumph des Willens (Triumph of the Will, 1935), where Hitler utters the words: ‘For future generations our demonstrations might be no more than spectacles.’ 13 Yet, Hitler fiercely opposed Jewish assimilation into German culture, complaining about the ‘infamous deception of Jews trying to appear “Germanic” ’ (Fest 1974: 23). In this attitude he was not alone. Pierre Vidal-Naquet argues that Western-style anti-Semitism was in part reaction against Jewish assimilation (Vidal-Naquet 1996: 204). 14 Max’s death at the hands of Nazi rowdies can also be regarded as an illustration of Hitler’s tendency to discard people who once helped him. One such man was Reinhold Hanisch, the man with whom Hitler stayed in the house for men in Vienna and formed a partnership, with Hanisch selling Hitler’s watercolours, sharing their proceeds on a 50–50 basis. According to Fest, in 1938, when Hitler could do so, he had Hanisch tracked down and killed, most likely to erase the humiliating memory of his beginnings (Fest 1974: 46). 15 Ben van Os, production designer for Meyjes’s film, was also responsible for the design of a number of films by Peter Greenaway, who in his films also plays with the idea that humans are no more than pawns in a game of fate. 16 In this way Žižek points to the immense subversive potential of ‘paracinema’, as previously mentioned. 17 A detailed analysis of the relationship between Downfall and ‘historical truth’ (or historical discourses) is offered by Roel Vande Winkel. Vande Winkel also surveys previous ‘Führer bunker films’ and discusses critical reception of Hirschbiegel’s film (Vande Winkel 2007). 18 In reality Junge was interviewed by André Heller and Othmar Schmiderer for the documentary Im toten Winkel – Hitlers Sekretärin (Blind Spot – Hitler’s Secretary, 2002). 19 Primo Levi, examining the various ‘grey zones’ existing in Auschwitz, points to the fact that his oppressors were not monsters, and even committed some good

Notes to Chapter 3 251 deeds, but this is not reason to forgive them (Levi 1988). Slavoj Žižek mockingly points out that all great dictators are remembered as the kindest men by the members of their own families and their secretaries (Žižek 2009: 40–1).

3 A Clear Dividing Line?: Cinematic Representations of German, Italian and Irish Terrorism 1 However, as Alan O’Leary observes, in Italy ‘terrorism’ is more associated with left-wing than right-wing extremism. The latter is described as stragismo (large-scale, largely indiscriminate bombing) (O’Leary 2005: 168). 2 Godard, who also recently made Notre musique (2004), deserves the title of the leading film expert on terrorism and leading expert on film terrorism due to his penetrating films concerning the phenomenon of armed resistance against the political order and his talent to subvert the existing cinematic conventions in a way attracting the larger public. 3 The role of the Springer Press in influencing anti-RAF sentiments is reflected in the incident which took place on 1 April 1968. That day a young right-wing worker, Josef Bachmann, shot charismatic student leader Rudi Dutschke three times and, when he was arrested, he said that he was acting to protect his country from communism, which Dutschke threatened, and that he had gained his information from Bild, the Springer Press’s flagship tabloid (Moncourt 2009: 4–5). 4 The RAF was not unique in combining condemnation of the Holocaust with criticism of Israel. We find a similar stance in the work of Godard, for example in Notre musique, autobiographical JLG/JLG: Autoportrait de décembre (1995) and Histoire(s) du cinéma (Wright 2000). 5 Julian Preece quotes over 20 films made on this subject (Preece 2008: 227). 6 The letter is published in Bauer 2008: 171–7. 7 In reality, the gap between her lifestyle and her values did not slip Meinhof’s attention. As Karin Bauer claims, by this point ‘Meinhof was becoming dissatisfied with the limitations of journalism, and the discrepancy between her bourgeois lifestyle and her political objectives’ (Bauer 2008: 38). 8 This does not mean, however, that the targets of the Red Brigades were solely Italian citizens. In December 1981, the group abducted American General James Lee Dozier, who was working as the deputy chief of staff for logistics and administration at NATO’s headquarters in Southern Europe (Drake 1999–2000: 67). 9 The question of the involvement of a middle-class person in a movement whose goal is to liberate the working class is also tackled by Godard in Lotte in Italia (Struggle in Italy, 1969), whose protagonist, Paola, is a member of a post-1968 revolutionary organisation, Lotta Continua (Unceasing Struggle). However, unlike Pasolini and Bellocchio, Godard argues that coming from the bourgeoisie, although an obstacle in fitting into the world of the underprivileged, ultimately does not preclude becoming a revolutionary. 10 According to the bulk of authors writing about the representation of Northern Ireland in cinema, inability or unwillingness to see the conflict between the Catholics and Protestants ‘historically’ is this cinema’s cardinal sin (Rockett et al. 1987; McIlroy 1993).

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4 From Socialist Realism to Postmodernism: Polish Martial Law of 1981 in Polish and Foreign Films * A preliminary version of part of this chapter was published in Communist and Post-Communist, 42, 2, 2009, as ‘Polish Martial Law of 1981 in Polish PostCommunist Films: Between Romanticism and Postmodernism’. 1 The factual part of this section is largely based on the accounts provided by Norman Davies and Jerzy Lukowski and Hubert Zawadzki (see Lukowski and Zawadzki 2001; Davies 2005). 2 Such an interpretation of Polish history follows the loss of Polish statehood at the end of the eighteenth century. 3 After Man of Iron there were few and mostly unsuccessful attempts in Poland to unite the nation through film, and if it did happen, the filmmakers used as their material events more distant in time, such as the Katyn´ massacre, depicted in Katyn´ (2007) by Andrzej Wajda. 4 Jan Kubik draws attention to the importance of symbols in Polish resistance towards communism, especially to symbols and ceremonies used by Solidarity (Kubik 1994). 5 Such perspective is applied also in Smarzowski’s The Wedding. 6 Adam Mickiewicz is regarded as the greatest Polish Romantic poet and one of the greatest Slavic poets, inferior only to Alexander Pushkin. In Poland he has also the status of the model Polish patriot, yet one who paradoxically spent a large part of his life abroad, mostly in Paris, where he wrote his famous epic poem, Pan Tadeusz, published in 1834. 7 This aspect of the film is mentioned but not explored by Kaja Silverman and Harun Farocki, who claim that Jerzy ‘introduces the notion of an international proletariat into the film’ (Silverman and Farocki 1998: 178). 8 A seminal example of this attitude is his Camera-Œil, belonging to the anthology film Loin du Vietnam (1967), which is the response of some French directors to the Vietnam war.

5 Goodbye Lenin or Not: Cinematic Representations of the End of Communism 1 An exception is Jean-Luc Godard, who alluded to the end of communism in a number of his films, and devoted a few films in particular to that subject, most importantly Allemagne 90 neuf zéro (Germany Year 90 Nine Zero, 1991), meaningfully set in East and West Berlin. 2 I received this information in correspondence with Peeter Urbla. 3 The number of Russians living in Estonia, Latvia and Lithuania declined significantly after the fall of communism, from over 1.7 million in 1989 to 1.2 million in 2007. 4 An example is the protest of the Russian inhabitants of Tallinn in April 2007 against the removal of the Bronze Soldier of Tallinn, the Soviet World War II memorial, considered by the majority of Estonians as a symbol of the country’s occupation and oppression by the Soviets. This protest, known as the April Unrest or the Bronze Night, manifested by riots and looting, brought the danger of plunging Estonia into a civil war.

Notes to Chapter 6 253 5 Joachim Gauck, for example, who was put in charge of administering the Stasi archives, criticised West Germans for advocating amnesty for former GDR politicians and officials and reconciliation with the past because of their indifference to the GDR’s past (Childs and Popplewell 1999: 193). 6 Peter Siani-Davies discusses this phenomenon of the communist leaders’ detachment from the masses in relation to Ceaus¸escu (Siani-Davies 2005).

6 Twists of Fate: Secret Agents, Communist Collaborators and Secret Files in German, Polish and Czech Films 1 Jeffrey Herf argues that the policy of forgetting led to the marginalisation and even persecution in Germany of the principal victims of the war, the Jews, and allowing many prominent Nazis to retain positions of power (Herf 1997). Tony Judt discusses the policy of forgetting in a wider context of postwar Europe, arguing that putting the blame on the Nazis for all the crimes committed during the war affected postwar politics and history negatively ( Judt 1992; see also Chapters 2 and 3). 2 It is worth mentioning that the last incarnation of the secret services in the GDR, Amt f u ``r Nationale Sicherkeit, introduced by the government of Hans Modrow in November 1989, has the unfortunate acronym ‘NASI’ (Childs and Popplewell 1999: 191). The association between the apparatus of power in the GDR and Hitler Germany existed already in the communist past. I encountered it, often in a humorous context, when living in communist Poland. 3 Von Donnersmarck was born in 1973 and grew up among the uprooted German aristocracy. His parents fled from the eastern parts of the Reich at the end of the Second World War. His next film, following The Lives of Others, The Tourist (2011) is a Hollywood production with Johnny Depp and Angelina Jolie in the main parts. 4 In the opinion of Childs and Popplewell, the vast majority of Stasi functionaries were idealists (Childs and Popplewell 1999). A similar view is presented by Mike Dennis, although he concedes that material privileges also played a role in choosing a career as a Stasi (Dennis 2003: 83–9). 5 This attitude is typical for late communism when the leaders appeared corrupt and devoid of charisma or even personality, examples being Leonid Brezhnev, Nicolae Ceaus¸escu and Gustáv Husák. This changed in 1985, when the youthful Mikhail Gorbachev showed the possibility of a different style. 6 This also reflects the fact that the MfS officers in the Honecker era ‘tended to have a lower level of formal educational qualification than their peers in the party and the other state organs’ (Dennis 2003: 79). 7 In his career Mühe also played victims, most importantly in Mein Führer: The Truly Truest Truth About Adolf Hitler, made after The Lives of Others (see Chapter 2). 8 The concept of the panopticon was introduced at the end of the eighteenth century by Jeremy Bentham, but is most widely associated with Michel Foucault, who in Discipline and Punish evoked it as a metaphor for (post)modern society with its penchant for observation and regulation (Foucault 1977b: 195–228). Although Foucault refers to power relations in the Western world, his observations are no less valid in relation to the communist East, as various authors observe. For example, Mary Fulbrook writes in relation to East Germany: ‘There

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10

11

12 13 14

Notes to Chapter 6 was to be no area of “civil society”, no “public sphere” beyond the reach of state control: every aspect of life, work, and leisure in East Germany was to be under the control, ultimately, of the communist state’ (Fulbrook 1995: 58). In the series of articles devoted to The Lives of Others by Sight and Sound there was one by Chris Darke, which discussed von Donnersmarck’s film in conjunction with other recent European films about the culture of surveillance, such as Red Road (2006) by Andrea Arnold and Unrequited Love (2006) by Christopher Petit (Darke 2007). This motif is persistent in Polish Holocaust films, such as Passenger by Andrzej Munk and Kornblumenblau (1989) by Leszek Wosiewicz. I discussed the relationship between music and Nazism in my book on Roman Polanski (Mazierska 2007: 106–14). As it was, for example, in Romania, where it resulted in this country adopting ‘transitional justice’ late and the ‘mild’ treatment of ex-employees of the Romanian secret police, Securitate (Stan 2002). The original title of the film, Korowód, means ‘pageant’ or ‘manifestation’. In due course the story of Jasienica and O’Bretenny inspired another Polish film, Róz˙yczka (Little Rose, 2010) by Janusz Kidawa-Błon´ski. Such expectation was very rational. For example, the famous Slovak director Juraj Jakubisko mentioned in an interview that Jirˇí Sýkora, the main actor in his film Vtaˇckovia, siroty a blázni (Birds, Orphans and Fools, 1969), emigrated and worked for the Voice of America. And always on the radio, on the Voice of America, he would reminisce about what a great time he had had making this film. But despite the fact that Jakubisko did not listen to the Voice of America, he always knew when he had been talked about, because the police came and interrogated him (quoted in Hames 2004).

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Index Adenauer, Konrad, 93 Adjuster, The, 40 Adorno, Theodor, 24–6, 63, 255 A fost sau n-a fost? (12:08 East of Bucharest), 20, 176, 199–206 Agamben, Giorgio, 36, 83, 255 Aimée & Jaguar, 78 Akerman, Chantal, 46 Albers, Patricia, 33, 195, 255 Alesina, Alberto, 196 Allan, Seán, 190, 197, 255 Allemagne 90 neuf zéro (Germany Year 90 Nine Zero), 28, 37, 110, 252 Amelie (Le fabuleux destin d’Amélie Poulain), 189 Amelio, Gianni, 120 Anderson, Benedict, 8, 14, 255 Anderson, Perry, 3, 24, 66, 88, 255 Andropov, Yuri, 72 Aragay, Mireya, 16 Ararat, 17, 19, 22, 38–48, 54, 56–7, 59, 247 Arendt, Hannah, 69, 84, 123, 255 Arnold, Andrea, 254 Ashes and Diamonds (Popiół i diament), 141–2, 223, 227 Assmann, Aleida, 5, 255 Assmann, Jan, 5, 17, 87, 255 Aust, Stefan, 100, 105–6, 114, 124, 255 Baader, Andreas, 102, 105–6, 110–15 Baader Meinhof Komplex, Der (The Baader Meinhof Complex), 19, 20, 86, 92, 99–115, 120–4 Bachmann, Josef, 251 Bad Luck (Zezowate szcze˛s´cie), 154 Bajon, Filip, 158 Bakhtin, Mikhail, 8–9, 20 Balabanov, Aleksey, 159 Balti armastuslood (Baltic Love Stories), 20, 176–86, 197, 199, 205 Barbie, Klaus, 32

Bareja, Stanisław, 150 Barkai, Avraham, 77, 255 Barrington, Lowell, 175, 255 Barton, Ruth, 126, 255 Barwy ochronne (Camouflage), 225 Battleship Potemkin (Bronenosets Potyomkin), 15 Baudrillard, Jean, 68 Bauer, Karin, 101–3, 108, 251, 256 Bauman, Zygmunt, 67, 83–4, 230, 249, 256 Bazin, André, 11–12, 15, 256 Bechmann-Pedersen, Sune, 189, 256 Becker, Jillian, 101–3, 106, 256 Becker, Wolfgang, 19, 176, 186–99, 212 Bellocchio, Marco, 20, 99, 117, 251 Bender, Thomas, 9, 255 Benigni, Roberto, 68, 85 Benjamin, Walter, 9, 11, 15, 250, 256 Bennett, Dianne, 120 Bentham, Jeremy, 253 Berendse, Gerrit-Jan, 102, 256, 271 Berger, Stefan, 93, 256 Berlin Alexanderplatz, 190 Bertolucci, Bernardo, 120 Betz, Hans-Georg, 211, 256 Bhabha, Homi, 14, 256 Bielik-Robson, Agata, 138, 256 Birds, Orphans and Fools (Vtacˇkovia, siroty a blázni), 254 Birth of a Nation, The, 15 Black Box BRD, 105 Bleibtrei, Moritz, 112–13 bleierne Zeit, Die, 115 Blind Chance (Przypadek), 225, 232 Blind Spot – Hitler’s Secretary (Im toten Winkel – Hitlers Sekretärin), 250 Błon´ski, Jan, 248, 256 Blow to the Heart (Colpire al cuore), 120 Boa, Elizabeth, 190–1, 256 Body of Evidence, 107

274

Index Bonnie and Clyde, 103 Bonsaver, Guido, 124, 256 Bormann, Martin, 72 Borowski, Tadeusz, 85, 248, 256 Bourdieu, Pierre, 27 Boyes, Roger, 233, 256 Boym, Svetlana, 40, 179, 189, 194, 257 Bradshaw, Peter, 34, 76–7, 115, 192–3, 257 Braghetti, Anna Laura, 100, 117 Brandt, Willy, 107 Brashinsky, Mikhail, 73, 257 Braszka, Jerzy Aleksander, 141 Braun, Eva, 70–1, 73, 92, 248–9 Brecht, Bertolt, 214, 217 Breloer, Heinrich, 105 Bremmer, Ian, 186, 257 Bresson, Robert, 37 Brezhnev, Leonid, 72, 137, 197, 253 Brison, Susan, 23, 257 Brody, Richard, 248, 257 Bromski, Jacek, 156 Bronenosets Potyomkin (Battleship Potemkin), 15 Broszat, Martin, 62, 66–7 Bruegel, Pieter, 158 Brumlik, Micha, 80, 257 Brussig, Thomas, 188 Bugajski, Ryszard, 13, 156, 209 Bullock, Alan, 64, 257 Buongiorno, notte (Good Morning, Night), 20, 99–100, 115 Burke, Peter, 5, 7, 11, 257 Burleigh, Michael, 67, 93, 255, 257 Buruma, Ian, 56, 257 Cabinet of Doctor Caligari, The (Das Kabinett des Dr. Caligari), 65 Calinescu, Matei, 204, 257 Calvelli, Francesca, 124 Camera-Œil, 252 Camouflage (Barwy ochronne), 225 Cargo 200 (Gruz 200), 159 Carrier, Peter, 35, 257 Caruth, Cathy, 23, 26–7, 49, 257 caso Moro, Il (The Case of Moro), 116 Caton-Jones, Michael, 129 Cavani, Liliana, 25

275

Ceaus¸escu, Nicolae, 72, 200–1, 204–5, 253 Celan, Paul, 248 Cenckiewicz, Sławomir, 221, 257 chagrin et la pitié, Le (The Sorrow and the Pity), 32 Chaplin, Charles, 63, 66, 91, 95 Charlesworth, Andrew, 58, 257 Chase (Pos´cig), 209 Che˛cin´ski, Sylwester, 20, 150–2, 154 Childs, David, 210–12, 253, 258 Chinoise, La, 14, 98, 133 Chion, Michel, 187, 258 Chioni Moore, David, 175, 258 City of Your Final Destination, The, 88 Clavin, Patricia, 9, 258 Clift, Montgomery, 16 Coen Brothers, 158 Cole, Tim, 33–4, 43–4, 53, 219, 258 Colombar, Andre Pierre, 32, 258 Colpire al cuore (Blow to the Heart), 120 Colvin, Sarah, 101, 111, 258 Combs, Richard, 118, 168, 258 Control, 88 Cooke, Paul, 92, 93, 175, 186–7, 190–1, 193, 198, 258 Corbijn, Anton, 88 Cornils, Ingo, 102, 256, 271 Cornish, Kimberley, 77, 258 Cortázar, Julio, 54 Cosgrove, Mary, 1, 256 Cranes are Flying, The (Letyat zhuravli), 180 Crang, Mike, 9, 258 Crofts, Stephen, 10, 258 Crying Game, The, 126 Cudowne miejsce (Miraculous Place), 54 Cusack, John, 75 Czas nadziei (Time of Hope), 140–4, 149 Czekalski, Andrzej, 13 Człowiek z … (Man of ...), 154 Człowiek z marmuru (Man of Marble), 13–14, 147, 154, 156, 169, 178 Człowiek z z˙elaza (Man of Iron), 139, 147, 154, 158, 169, 209, 227, 251 Czterej pancerni i pies (Four Tank Men and a Dog), 13 Czuchnowski, Wojciech, 221, 229, 258

276

Index

Daldry, Stephen, 217 Dance Leader (Wodzirej), 232 Danquart, Didi, 79 Darke, Chris, 254, 258 Dark House, The (Dom zły), 158–61 Da un paese lontano (Giovanni Paolo II ), 157 Davies, Norman, 137–8, 252, 258 Dean, James, 102 Death as a Slice of Bread (S´mierc´ jak kromka chleba), 20, 145–50, 152, 154 Death Game (Todesspiel), 105 Dejczer, Maciej, 165 Delacroix, Eugène, 169 Deletant, Dennis, 207, 208, 272 Deleuze, Gilles, 8, 14–15, 20, 36, 47, 110, 149, 168, 258 del Toro, Guillermo, 68 Demidowicz, Krzysztof, 227, 258 Demony wojny wedlug Goi (Demons of War according to Goya), 221–2 Dennis, Mike, 213, 253, 258 Depp, Johnny, 253 Derrida, Jacques, 2, 174–5, 234–5, 258 Despair – Eine Reise ins Licht (Despair), 72, 80 D’Est (From the East), 46 Deutschland im Herbst (Germany in Autumn), 98, 104, 110, 112, 114, 122, 126 Diba, Farah, 108 Dignity (Godnos´c´ ), 139–44, 149–50 Divided We Fall (Musíme si pomáhat), 239, 241 Döblin, Alfred, 190 Dockhorn, Katharina, 86, 258 Dogs (Psy), 220–30, 244 Dogs 2 (Psy 2. Ostatnia krew), 221 Dom zły (The Dark House), 158–61 Donnersmarck, Florian Henckel von, 19, 210–20, 238, 241–2, 253–4 Donoso, José, 54 Dostoyevsky, Fyodor, 69 Downfall (Der Untergang), 19–20, 62, 86–95, 105, 127, 132, 248, 250 Drake, Richard, 99–100, 116–17, 133, 251, 259 Dreiser, Theodore, 16

Dušek, Jaroslav, 241 Dutschke, Rudi, 251 Dylan, Bob, 106 Dzie˛dziel, Marian, 159 Ear, The (Ucho), 209 Edel, Uli, 19, 86, 99, 121, 123, 218 Educators, The (Die fetten Jahre sind forbei), 93 Egoyan, Atom, 17, 19, 22, 26–7, 38–48, 56–7, 248 Ehe der Maria Braun, Die (The Marriage of Maria Braun), 65 Eichinger, Bernd, 86–7, 102, 105–6 Eichmann, Adolf, 84 Eisenstein, Sergei, 15, 69 El Greco, 169 Elley, Derek, 88, 259 Elliott, Kamilla, 16, 259 Éloge de l’amour (In Praise of Love), 17, 19, 22, 27–38, 40, 42, 46, 57, 68, 247 Elsaesser, 63, 65, 104–5, 123, 131 Engels, Friedrich, 118, 259 Ensslin, Christiane, 122 Ensslin, Gudrun, 101–2, 105, 109–11, 113–15, 122 Erikson, Kai, 23–4, 259 Eroica, 153 Etkind, Alexander, 26–7, 234, 259 Ezra, Elizabeth, 10, 99, 256, 259 fabuleux destin d’Amélie Poulain, Le (Amelie), 189 Falk, Feliks, 232 Färberböck, Max, 78 Fargo, 158 Farocki, Harun, 252, 270 Fassbinder, Rainer Werner, 65, 72, 80, 90, 98, 104, 114, 169, 190 Feingold, Henry, 84 Felman, Shoshana, 23, 49, 52, 55, 259 Ferrara, Giuseppe, 116 Fest, Joachim, 60, 62–6, 74–5, 77–8, 86–7, 95, 249–50, 259 fetten Jahre sind forbei, Die (The Educators), 93 Fiejdasz, Małgorzata, 221, 259 Filipski, Ryszard, 236

Index Film socialisme (Socialism), 28 First Days of the Republic (Rzeczpospolitej dni pierwsze), 144 Fists in the Pockets (I pugni in tasca), 118 Five Minutes of Heaven, 20, 86, 94, 99–100, 125–32 Five Moons Plaza (Piazza delle Cinque Lune), 116 Foley, Malcolm, 34, 265 Ford, Aleksander, 15 Foucault, Michel, 2, 4, 7–9, 12, 15, 32, 36, 148, 205, 242, 253, 259 4 Months, 3 Weeks and 2 Days (4 luni, 3 saptamâni si 2 zile), 131 Four Tank Men and a Dog (Czterej pancerni i pies), 13 Freud, Sigmund, 6, 234, 260 Friedlander, Saul, 6, 61, 63, 68, 247, 260 Friedrich, Jörg, 93 Fritzsche, Peter, 211, 260 From the East (D’Est), 46 Frycz, Olga, 50 Fuchs, Anne, 1, 260 Fuchs-Schündeln, Nicola, 196, 255 Fuentes, Carlos, 54 Fukuyama, Francis, 3, 36, 260 Fulbrook, Mary, 191, 253–4, 260 Funder, Anna, 211, 212, 219, 260 Funkenstein, Amos, 6, 260 Gajos, Janusz, 148 Ganz, Bruno, 89 Garton Ash, Timothy, 208–10, 216–18, 260 Gary, Romain, 248 Gattaca, 68 Gauck, Joachim, 210, 253 Gaulle, Charles de, 32 Gaulle, Geneviève de, 31 Gawin, Dariusz, 138, 260 Gedeck, Martina, 108, 113, 215 Gemünden, Gerd, 87, 260 Genette, Gérard, 16, 260 Germany in Autumn (Deutschland im Herbst), 98, 104, 110, 112, 114, 122, 126, 133 Germany Year 90 Nine Zero (Allemagne 90 neuf zéro), 28, 37, 252

277

Geyer, Michael, 67, 247, 260 Gibbons, Luke, 269 Giddens, Anthony, 42, 260–1 Gilman, Sander, 30, 261 Ginsborg, Paul, 100, 116–17, 122–3 Giovanni Paolo II (Da un paese lontano), 157 Glemp, Józef, 136 Glin´ski, Robert, 156 Go-Between, The, 1 Godard, Jean-Luc, 14–20, 22, 26–37, 48, 51, 56–7, 86, 98, 113, 161, 169–72, 189, 193, 205, 247–8, 251–2, 261 Godnos´c´ (Dignity), 139–44, 149 Goebbels, Joseph, 72, 81, 85 Goebbels, Magda, 72, 91–2 Goeth, Amon, 90 Gontarczyk, Piotr, 221, 257 Good Bye Lenin!, 19–20, 176, 183, 187–99, 201, 205, 211–13 Good Morning, Night (Buongiorno, notte), 20, 99–100, 115 Gorbachev, Mikhail, 194, 253 Göring, Hermann, 52 Gorky, Arshile, 38, 42–4, 46–7 Goya, Francisco, 169 Graebner, William, 120, 256 Great Dictator, The, 63, 66, 81 Greenaway, Peter, 250 Greene, Naomi, 32, 261 Grey Zone, The, 68 Griffith, D. W., 15 Grosch, Georg, 77 Gross, Jan Tomasz, 51, 53, 56–7, 160–1, 248, 261 Gruz 200 (Cargo 200), 159 Grzymkowski, Jerzy, 144 guerre est finie, La, 57 Gupta, Dipak, 97, 261 Guzek, Mariusz, 150, 152, 261 Halbwachs, Maurice, 5–7, 248, 261 Hall, Stuart, 170, 198, 261 Halligan, Benjamin, 73, 261 Hames, Peter, 254, 261 Hanáková, Petra, 188, 261 Hands Up! (Re˛ce do góry), 52 Haq, Mubin, 201, 261

278

Index

Harry Potter and the Chamber of Secrets, 187 Hartley, L. P., 1, 9, 125, 232, 261 Harvey, David, 8, 261 Haussmann, Leander, 188 Havel, Václav, 204, 240–1, 261 Hegel, Georg Wilhelm Friedrich, 6, 20, 176, 203, 261 Helden wie wir (Heroes Like Us), 211 Hellboy, 68 Heller, André, 250 Herbert, Zbigniew, 230 Here and Elsewhere (Ici et ailleurs), 98 Herf, Jeffrey, 248, 253, 262 Heroes Like Us (Helden wie wir), 211 Herold, Horst, 114 Herrendoerfer, Christian, 63, 65 Hibbert, Guy, 100, 127, 262 Hiden, John, 181, 262 Higson, Andrew, 10, 262 Hilberg, Raul, 83–4, 262 Hill, John, 126, 262, 269 Hillgruber, Andreas, 62, 66–7, 88 Himmler, Heinrich, 61, 262 Hirohito, Emperor, 69 Hiroshima, mon amour, 57 Hirsch, Joshua, 23–4, 46, 49, 262 Hirsch, Marianne, 4, 22–3, 25, 38, 56, 262 Hirschbiegel, Oliver, 19–20, 62, 86–95, 99, 127–32 Histoire(s) du cinéma, 15, 18, 27, 29, 37, 189, 247, 251 Hitler, Adolf, 16–17, 19, 32, 52, 60–96, 103, 213, 248–50 Hitler – eine Karriere (Hitler: A Career), 63, 65 Hitler – ein Film aus Deutschland (Hitler: A Film from Germany), 63–4, 66, 73, 80, 86–7, 95, 105 Hobsbawm, Eric, 1, 7, 9–10, 100, 262 Hodgkin, Katharine, 23, 262 Hoerschelmann, Olaf, 105, 262 Holland, Agnieszka, 161, 225 Homewood, Chris, 104, 262 Honecker, Erich, 72, 191–2, 199, 213 Hope-Jones, Mark, 109, 262 Hosenfeld, Wilm, 217 Hrˇebejk, Jan, 20, 180, 238–44

Hubbard, Phil, 9, 262 Huelle, Paweł, 48, 54, 58 Huffman, Richard, 102, 105, 262 Huizinga, Johan, 11 Huppert, Isabelle, 171 Husák, Gustáv, 253 Hutton, Patrick, 5, 262 Huyssen, Andreas, 3, 262 Iannone, Pasquale, 125, 263 Ici et ailleurs (Here and Elsewhere), 98 Identification Marks: None (Rysopis), 52 Il portiere di notte (The Night Porter), 25 I’m Not a Tourist, I Live Here (Ma ei ole turist, ma elan siin), 177 Import/Export, 176 Im toten Winkel – Hitlers Sekretärin (Blind Spot – Hitler’s Secretary), 250 Indeks (Index), 209 Inglorious Basterds, 83 In Praise of Love (Éloge de l’amour), 17, 19, 22, 27–38, 40, 42, 46, 57, 86, 247 Interrogation (Przesłuchanie), 13, 209 Invasion, The, 86 I pugni in tasca (Fists in the Pockets), 118 Irons, Jeremy, 161 Irving, Washington, 192, 199 Irwin-Zarecka, Iwona, 52, 263 Irzykowski, Karol, 247 Ivan Groznyy (Ivan the Terrible), 69 Ivory, James, 88 Jacob the Liar, 85 Jähn, Sigmund, 188, 195, 198 Jakimowski, Andrzej, 157 Jakubik, Arkadiusz, 159 Jakubisko, Juraj, 254 Jakubowska, Wanda, 53 James, William, 33, 195, 255 Jameson, Fredric, 2, 7–9, 12, 68, 72, 170, 192, 263 Jamieson, Alison, 116, 263 Janda, Krystyna, 156, 158 Janicka, Boz˙ena, 151, 263 Janion, Maria, 152, 168 Jankowska-Cies´lak, Jadwiga, 233 Janowska, Katarzyna, 222, 263

Index Jarchovský, Petr, 238–9 Jaruzelski, Wojciech, 18, 136–7, 142, 144, 156, 173 Jarvie, Ian, 12, 263 Jasienica, Paweł, 233, 254 Jaubert, Maurice, 37 Jenkins, Keith, 2, 247, 263 Jeunet, Jean-Pierre, 189, 196 JFK, 109 Jireš, Jaromil, 209 JLG/JLG: Autoportrait de décembre, 251 John Paul II (Pope), 137, 157 Joke, The (Žert), 209 Jolie, Angelina, 253 Jones, Kathryn, 32, 263 Joplin, Janis, 106–7 Jordan, Neil, 126, 129 Judt, Tony, 1, 100, 245, 248, 253, 263 Junge, Traudl, 70, 87–91, 249, 263 Kabinett des Dr. Caligari, Das (The Cabinet of Doctor Caligari), 65 Kachyn ˇa, Karel, 209–10 Kaczyn´ski, Jarosław, 229 Kaczyn´ski, Lech, 229 Kadár, Ján, 241 Kaes, Anton, 3, 62–3, 65, 73, 263 Kalatozov, Mikhail, 180 Kanał (Kanal), 92 Kaniewska, Maria, 209 Kansteiner, Wulf, 5, 263 Kant, Immanuel, 8, 263 Kaprow, Allan, 167 Karbowiak, Małgorzata, 143, 263 Kassovitz, Peter, 85 Katyn´, 15, 42, 54, 252 Kawalerowicz, Jerzy, 141, 143 Kawasakiho Ru˚že (Kawasaki Rose), 20, 237–8, 242–5 Kelertas, Violeta, 175, 263 Kennedy, Michael D., 174, 263 Kershaw, Ian, 61, 63–4, 69, 94–5, 249, 263 Khanjian, Arsinée, 39 Kidawa-Błon´ski, Janusz, 254 Kiesinger, Georg, 107 Kies´lowski, Krzysztof, 224, 232 Kijowski, Janusz, 209 Kilar, Jerzy, 146

279

King Lear, 28 Kitchin, Rob, 9, 262 Kitty Returns to Auschwitz, 46 Klausmann, Rainer, 109 Klein, Kerwin Lee, 3–5, 264 Kleinert, Andreas, 198 Klejsa, Konrad, 167, 264 Klos, Elmar, 241 Kluge, Alexander, 90, 98, 104, 114 Knights of the Teutonic Order (Krzyz˙acy), 15 Kobieta samotna (A Woman Alone), 225 Koch, Gertrud, 56, 264 Koch, Sebastian, 215 Koehler, John, 212, 264 Koenen, Gerd, 103, 116, 264 Koepnick, Lutz, 78–80, 264 Köhler, Juliane, 248 Kolski, Jan Jakub, 53–4, 58, 158 Kondrat, Marek, 49, 225 Konic, Andrzej, 13, 226 Korczak, 121 Kornblumenblau, 254 Korowód (Twists of Fate), 20, 229–33, 235–6, 243–4, 254 Kowalewski, Krzysztof, 150 Kracauer, Siegfried, 11, 14–16, 62, 65, 264 Král Šumavy (Smugglers of Death), 209 Krzystek, Waldemar, 165 Krzyz˙acy (Knights of the Teutonic Order), 15 Kubik, Jan, 135, 252, 264 Kugelmass, Jack, 56, 264 Kundera, Milan, 238 Kurz, Iwona, 13, 264 Kusý, Miroslav, 240–1, 264 Kutz, Kazimierz, 20, 145–50, 152–4, 264 Kwas´niewska, Aleksandra, 231 Kwas´niewski, Aleksander, 139, 222, 229, 231 Kwiatkowski, Tadeusz, 230 LaCapra, Dominick, 23–4, 247, 264 Lacouture, Jean, 31 Lalanne, Jean-Marc, 70, 73, 264 Lane, Anthony, 214, 264 Lang, Berel, 24, 247, 264

280

Index

Lanzmann, Claude, 6, 15, 24, 45, 59, 82, 264 Laqueur, Walter, 97, 264 Lara, Alexandra Maria, 87–8 Last Exit to Brooklyn, 107 Last Ferry, The (Ostatni prom), 165 L’Atalante, 37 Laub, Dori, 23, 49, 51, 55, 259 Lauristin, Marju, 180, 264–5 Leben der Anderen, Das (The Lives of Others), 19–20, 85–6, 186, 209–20, 227–8, 236, 239, 241–2, 244, 253 Leben des Galilei, Das (Life of Galileo), 214 Leben ist eine Baustelle, Das (Life is a Building Site), 198–9 Lee, Bruce, 129 Lenin, Vladimir, 69, 178, 199, 265 Lennon, John, 34, 265 Lengsfeld, Vera, 233, 235 Letyat zhuravli (The Cranes are Flying), 180 Levi, Neil, 247, 265 Levi, Primo, 219, 248, 250–1, 265 Levy, Dani, 20, 62, 80, 86 Lewin, Moshe, 69, 263 Life is a Building Site (Das Leben is eine Baustelle), 198–9 Life Is Beautiful (La vita è bella), 68, 85 Life of Galileo (Das Leben des Galilei), 214 Lilja 4-ever, 176, 179 Linda, Bogusław, 225 Lisowski, Tomasz, 222, 227, 265 Little Rose (Róz˙yczka), 254 Little Sandman (Sandmännchen), 198 Lives of Others, The (Das Leben der Anderen), 19–20, 85–6, 196, 209–20, 227–8, 236, 239, 241–2, 244, 253 Loin du Vietnam, 252 Lorenc, Michał, 144 Loshitzky, Yosefa, 24, 33, 247, 265 Lost Honour of Katharina Blum, The (Die verlorene Ehre der Katharina Blum), 97 Lotna, 146 Lotringer, Sylvère, 8, 271 Lotte in Italia (Struggle in Italy), 251 Lowenthal, David, 1, 265

Lubelski, Tadeusz, 53, 58, 149, 154, 265 Ludwig I, 78 Lukacs, John, 61, 69, 265 Lukas, Florian, 197 Lukowski, Jerzy, 140, 252, 265 4 luni, 3 saptamâni si 2 zile (4 Months, 3 Weeks and 2 Days), 131 Luxemburg, Rosa, 101 Lyotard, Jean-François, 9, 26, 68, 265 MacBean, James Roy, 169, 265 Macbeth, 158 Machulski, Juliusz, 156–7 Mac´kowiak, Kamil, 231 Macnab, Geoffrey, 77, 265 Maddin, Guy, 73 Ma ei ole turist, ma elan siin (I’m Not a Tourist, I Live Here), 177 Maier, Charles, 195, 210, 265 Man of ... (Człowiek z …), 154 Man of Iron (Człowiek z z˙elaza), 139, 147, 154, 158, 169, 209, 227, 251 Man of Marble (Człowiek z marmuru), 13–14, 147, 154, 156, 169, 178 Mann, Thomas, 61 Mantsev, 69, 73, 265 Mao Tse-Tung, 99 Marcuse, Herbert, 99 Marczewski, Wojciech, 17, 22, 26–7, 48–58, 248 Marinca, Anamaria, 131 Markowski, Ryszard, 156 Márquez, Gabriel García, 54 Marriage of Maria Braun, The (Die Ehe der Maria Braun), 65 Martinelli, Renzo, 116 Martin-Jones, David, 14, 265 Marwick, Arthur, 115, 265 Marx, Karl, 6, 20–1, 99, 118, 176, 265 Masculin féminin, 113 Mat (Mother), 143 Mat i syn (Mother and Son), 249 Matuszewski, Bolesław, 10–11, 15, 17, 266 Max, 19, 62, 68, 74–80, 82–3, 95 Mazierska, Ewa, 16, 40, 52–4, 188, 199, 202, 247, 254, 266, 268

Index Mazowiecki, Tadeusz, 138, 145, 208, 221, 230 McCarthy, Todd, 77, 266 McIlroy, Brian, 126, 251, 266 McSorley, Tom, 40–1, 266 Mein Führer – Die wirklich wahrste Wahrheit über Adolf Hitler (Mein Führer: The Truly Truest Truth About Adolf Hitler), 20, 62, 80–6, 95, 253 Meinhof, Ulrike, 101–3, 107–8, 110–15, 122, 251 Mein Kampf, 74 Meins, Holger, 111 mépris, Le, 248 Meyjes, Menno, 20, 62, 68, 74–80, 82, 250 Michael Collins, 129 Michnik, Adam, 138, 221 Mickiewicz, Adam, 168, 252 Miller, Alice, 82, 266 Miłosz, Czesław, 247 Miodek, Mariusz, 155, 266 Miracle of Bern, The (Das Wunder von Bern), 93 Miraculous Place (Cudowne miejsce), 54 Mis´ (Teddy Bear), 150 Mitscherlich, Alexander, 23, 64, 67, 88, 93, 266 Mitscherlich, Margarete, 23, 64, 67, 88, 93, 266 Moeller, Robert, 66, 266 Moloch, 12, 62, 69–74, 95 Moncourt, André, 103, 251, 266 Monroe, Marilyn, 102 Montanelli, Indro, 133 Moodysson, Lukas, 176, 179 Moonlighting, 20, 161–6 Moore, Roger, 226 Moran, John, 208, 266 More Than Life at Stake (Stawka wie˛ksza niz˙ z˙ycie), 13, 226 Moretti, Mario, 116 Morgenstern, Andrzej, 13 Moro, Aldo, 100, 116–25 Morrey, Douglas, 33–5, 37, 171, 266 Morrison, Jim, 102 Mother (Mat), 143 Mother and Son (Mat i syn), 249 Mozgovoy, Leonid, 71

281

Mückenberger, Christiane, 65, 92, 267 Mühe, Ulrich, 81, 85, 213–14, 253 Müller, Jan-Werner, 136, 267 Müller, Melissa, 87, 263 Mungiu, Cristian, 131 Munk, Andrzej, 153, 247, 254 Munslow, Alun, 1–2, 8–9, 267 Muriel, 57 Musíme si pomáhat (Divided We Fall), 239, 241 Naficy, Hamid, 8, 40, 191, 267 Nałe˛cki, Konrad, 13 Napoleon, 61, 63 Näripea, Eva, 8, 177, 196, 267 Nasta, Dominique, 200, 267 Neben der Zeit, 198 Nedelsky, Nadya, 237, 267 Neeson, Liam, 129–30 Negri, Antonio, 99 Nelson, John, 99, 267 Nesbitt, James, 129 Neumann, Iver, 183, 267 Neupert, Richard, 14, 267 Niccol, Andrew, 68 Niedaleko Warszawy (Not Far from Warsaw), 209 Niethammer, Lutz, 3, 36, 267 Nietzsche, Friedrich, 6, 267 Nightingale, Florence, 79 Night Porter, The (Il portiere di notte), 25 Nirumand, Bahman, 108 Niven, Bill, 93, 267 Nolte, Ernst, 62, 66–7 Nora, Pierre, 2–4, 6–7, 18, 28, 56, 267 Nørgaard, Ole, 178, 181, 268 Not Far from Warsaw (Niedaleko Warszawy), 209 Notre musique, 28, 169, 251 Nouvelle vague, 37 Obchod na korze (A Shop on the High Street), 241 O’Bretenny, Zofia, 233, 254 Odd Man Out, 126 O’Leary, Alan, 115–16, 120–1, 251, 268 Opania, Marian, 151 Ophüls, Marcel, 32

282

Index

Os, Ben van, 250 Ostatni prom (The Last Ferry), 165 Ostrowska, Elz˙bieta, 53, 268 Paisà, 119 Pan Tadeusz, 252 Papon, Maurice, 32 Pasaz˙erka (The Passenger), 247, 254 Pasikowski, Władysław, 221–9 Pasolini, Pier Paolo, 120, 251, 268 Passenger, The (Pasaz˙erka), 247, 254 Passion, 20, 28, 161, 169–72, 248 Paul VI (Pope), 99, 123 Pawlukiewicz, Marek, 143, 268 Pearl in the Crown (Perła w koronie), 145–7 Penn, Arthur, 103 Perła w koronie (Pearl in the Crown), 145–7 Perlez, Jane, 226, 268 Peterson, Sebastian, 211 Petit, Christopher, 254 petit soldat, Le, 98, 169 Pfefferman, Naomi, 79, 268 Pianist, The, 92, 217 Piazza delle Cinque Lune (Five Moons Plaza), 116 Pickpocket, 37 Piotrowska, Anita, 232, 268 Piwowski, Marek, 230 Place in the Sun, A, 16 Pod gwiazda˛ frygijska˛ (Under the Phrygian Star), 140, 143 Polanski, Roman, 92, 217, 254 Polívka, Bolek, 241 Pollock, Griselda, 46–7, 268 Pollock, Jackson, 38 Popiół i diament (Ashes and Diamonds), 141–2, 223, 227 Popplewell, Richard, 210, 212, 253, 258 Porumboiu, Corneliu, 20, 176, 199, 206 Pos´cig (Chase), 209 Poster, Mark, 247, 268 Pouta (Walking too Fast), 238 Preece, Julian, 105, 251, 268 Priban, Jiri, 238, 268 Proust, Marcel, 29, 33, 51 Przesłuchanie (Interrogation), 13, 209

Przypadek (Blind Chance), 225, 232 Psy (Dogs), 220–30, 244 Psy 2. Ostatnia krew (Dogs 2), 221 Pudovkin, Vsevolod, 143 Pupendo, 237–8, 242–3, 244 Pushkin, Alexander, 252 Putzulu, Bruno, 29 Radstone, Susannah, 23, 262, 268 Radziwiłowicz, Jerzy, 147, 156, 158, 169, 171 Rakowski, Mieczysław, 144, 268 Rancière, Jacques, 36, 142, 247, 268 Ranger, Terence, 7, 262 Rascaroli, Laura, 199, 266 Raspe, Jan-Karl, 105, 113 Rawlinson, Mark, 24, 268 Reader, Keith, 37, 268 Reader, The, 217 Re˛ce do góry (Hands Up!), 52 Red Road, 254 Reed, Carol, 126 Reitz, Edgar, 98, 104 Rembrandt, Harmenszoon van Rijn, 169 Remembrance of Things Past, 30, 64 Resnais, Alain, 57–8 Riefenstahl, Leni, 250 Roberts, Julia, 34 Rob Roy, 129 Rockett, Kevin, 251, 269 Rodowick, D. N., 12, 269 Röhl, Klaus Rainer, 107–8 Romney, Jonathan, 42, 45, 48, 269 Rooney, David, 124, 269 Rosa, Michał, 229, 233–6, 238, 243 Rosenbaum, Ron, 69, 78, 82, 269 Rosenfeld, Alvin, 61, 69, 269 Rosenstone, Robert, 12–14, 247 Rossellini, Roberto, 119, 269 Rostworowski, Karol Hubert, 158 Roszak, Theodore, 107, 269 Rothberg, Michael, 247, 265 Rottmann, Karl, 78 Rourke, Mickey, 226 Rowden, Terry, 10, 99, 256 Róz˙ewicz, Stanisław, 146 Rozmowy kontrolowane (Tapped Conversations), 20, 150–5

Index Róz˙yczka (Little Rose), 254 Rubens, Peter Paul, 169 Rufanova, Yelena, 71 Rysa (Scratch), 229, 233–7, 244 Rysopis (Identification Marks: None), 52 Rzeczpospolitej dni pierwsze (First Days of the Republic), 144 Sadowski, Marek, 143, 269 Said, Edward, 9, 40–1, 248, 269 Salmon, Patrick, 181, 262 Salt of Black Earth (Sól ziemi czarnej), 145, 147 Sandmännchen (Little Sandman), 198 Sansa, Maya, 117 Santner, Eric, 23, 46, 65, 67, 269 Sartre, Jean-Paul, 99, 103 Saxton, Libby, 33, 269 Sbatti il mostro in prima pagina (Slap the Monster on Page One), 118 Schenck, Ernst-Günther, 91 Schindler’s List, 13, 24, 33, 35, 46, 53, 59, 88, 90, 129, 218–20, 248 Schindler, Oskar, 53, 86, 218 Schleyer, Hanns-Martin, 103, 105–6, 113–14, 123 Schlöndorff, Volker, 98, 104, 114, 161 Schmiderer, Othmar, 250 Schmidt, Helmut, 107 Schmitz, Helmut, 93, 269 Schneider, Helge, 81, 85 Schreiber, Gerhard, 66 Schwartz, Herman, 208, 269 Schygulla, Hanna, 169 Sconce, Jeffrey, 66, 269 Scratch (Rysa), 229, 233–7, 244 Scribner, Charity, 135 Seed, Patricia, 40, 269 See␤len, Georg, 93 Sehnsucht der Veronika Voss, Die (Veronika Voss), 216 Seidl, Ulrich, 176 Ševic´, Željko, 175, 269 Shakespeare, William, 158 Sharpley, Richard, 209, 269 Shoah, 6, 15, 24, 45–6 Shohat, Ella, 179, 269 Shop on the High Street, A (Obchod na korze), 241

283

Siani-Davies, Peter, 200, 203–4, 270 Silverman, Kaja, 252, 270 Singing Powder-Box, The (Zpívající pudrˇenka), 209 Skolimowski, Jerzy, 20, 52, 161, 170, 172 Skoller, Jeffrey, 6, 14, 270 Slap the Monster on Page One (Sbatti il mostro in prima pagina), 118 Slemon, Stephen, 54, 270 Smarzowski, Wojciech, 158–61, 252 S´miałowski, Piotr, 233, 235, 270 S´mierc´ jak kromka chleba (Death as a Slice of Bread), 20, 145–50, 152, 154 Smugglers of Death (Král Šumavy), 209 Sobchack, Vivian, 8, 270 Sobolewski, Tadeusz, 140, 144, 227, 270 Socialism (Film socialisme), 28 Sofair, Michael, 35, 270 Sokurov, Aleksandr, 19, 62, 69–74, 249 Solidarnos´c´, Solidarnos´c´ ... (Solidarity, Solidarity …), 154–8, 164 Solntse (The Sun), 69 Soltan, Karol, 174, 270 Sól ziemi czarnej (Salt of Black Earth), 145, 147 Sonnennallee, 188 Sontag, Susan, 65, 270 Sophie’s Choice, 43 Sorrow and the Pity, The (Le chagrin et la pitié), 32 Špacˇek, Radim, 238 Speer, Albert, 85, 90, 94 Spiegelman, Art, 25 Spielberg, Steven, 24, 33–5, 68, 80, 88, 90, 129, 218 Spitzer, Leo, 56, 262 Springer, Axel, 101, 109 Stalin, Joseph, 62, 69, 124, 197, 249 Stam, Robert, 8, 16–17, 179, 270 Stan, Lavinia, 207–8, 221, 230, 254, 270 Starship Troopers, 68 Stawka wie˛ksza niz˙ z˙ycie (More Than Life at Stake), 13, 226 Steinberg, Stefan, 80, 85, 270 Steiner, George, 24

284

Index

Stevens, George, 16 Stone, Norman, 250, 270 Stone, Oliver, 109 Stone, Philip, 34, 269 Strajk – Die Heldin von Danzig (Strike), 161 Stratton, David, 73, 270 Strike (Strajk – Die Heldin von Danzig), 161 Stroin´ski, Krzysztof, 233, 235 Struggle in Italy (Lotte in Italia), 251 Strzelczyk, Florentine, 68, 270 Stuhr, Jerzy, 20, 229–33, 243 Success Is the Best Revenge, 20, 161, 166–9 Sullivan, Moira, 120, 270 Sun, The (Solntse), 69 Sweets, John, 32, 270 Syberberg, Hans-Jürgen, 63–4, 66, 80, 87, 95–6 Sýkora, Jirˇí, 254 Szaniawski, Jeremi, 69, 72–3, 270 Szczepan´ski, Tadeusz, 54, 271 Szczerba, Jacek, 158 Szmak, Andrzej, 227, 271 Szołajski, Konrad, 154 Szpilman, Władysław, 217 Sztompka, Piotr, 174, 271 Szumowska, Małgorzata, 157–8 Szyma, Tadeusz, 144, 156, 271 Tamm, Marek, 5, 271 Tapped Conversations (Rozmowy kontrolowane), 20, 150–5 Tarantino, Quentin, 83 Taurus (Telets), 69 Taylor, Elizabeth, 16 Taylor, Noah, 74–5 Teddy Bear (Mis´ ), 150 Telets (Taurus), 69 Temple, Michael, 15, 271 Tesson, Charles, 37, 271 Thatcher, Margaret, 165 Thelen, David, 9, 271 Thieme, Thomas, 218 300 mil do nieba (300 Miles to Heaven), 165 Thrift, Nigel, 9, 258 Tiersen, Yann, 189

Time of Hope (Czas nadziei), 140–4, 149 Tismaneanu, Vladimir, 204, 257, 271 Tobias, Herbert, 102 Tocqueville, Alexis de, 204 Todesspiel (Death Game), 105 To Kill a Priest, 161 Tomlinson, John, 42, 271 Topolski, Feliks, 167 Tourist, The, 253 tragedia di un uomo ridicolo, La (The Tragedy of a Ridiculous Man), 120 Triumph des Willens (Triumph of the Will), 250 Trotta, Margarethe von, 104, 114–15 Truman Show, The, 196 Trzaskalski, Piotr, 157 Turim, Maureen, 58, 271 Turned Back, The (Zawrócony), 150, 152–4 12:08 East of Bucharest (A fost sau n-a fost? ), 20, 176, 199–206 Twin Peaks, 107 Twists of Fate (Korowód), 20, 229–33, 235–6, 243–4, 254 Tym, Stanisław, 150 Tyrrell, Ian, 9, 271 Ucho (The Ear), 209 Ulysses, 64 Under the Phrygian Star (Pod gwiazda˛ frygijska˛), 140–1, 143 Unrequited Love, 254 Untergang, Der (Downfall), 19–20, 62, 86–95, 105, 127, 132, 248, 250 Urbanowicz, Stanisław, 209 Urbla, Peeter, 20, 176–87, 252 Urry, John, 33, 195, 271 Ussher, Clarence, 42, 45 Vande Winkel, Roel, 87, 93, 250, 271 Varon, Jeremy, 98–9, 102–3, 271 Veiel, Andres, 105 Verhoeven, Paul, 68 verlorene Ehre der Katharina Blum, Die (The Lost Honour of Katharina Blum), 97 Veronika Voss (Die Sehnsucht der Veronika Voss), 216

Index Vidal-Naquet, Pierre, 250, 271 Viehjud Levi, 79 Vigo, Jean, 37 Vihalemm, Peeter, 180, 265 Virilio, Paul, 8–9, 271 vita è bella, La (Life Is Beautiful), 68, 85–6 Vošmik, Milan, 209 Vtacˇkovia, siroty a blázni (Birds, Orphans and Fools), 254 Wagner, Richard, 72, 249–50 Wajda, Andrzej, 13–15, 42, 92, 121, 141, 146, 153–4, 156, 164, 169, 209, 223, 227, 252 Wałe˛sa, Lech, 136–8, 156–8, 204, 221, 230 Walking too Fast (Pouta), 238 Wang, Ning, 33, 195, 271 Wedding, The (Wesele), 159, 252 Weil, Simone, 171–2 Weingarten, Hans, 93 Weir, Peter, 196 Weiser, 17, 19, 22, 48–58, 247 Weiser Dawidek, 48 Welsh, Helga, 208, 271 Wenders, Wim, 65, 87, 90, 94, 272 Wesele (The Wedding), 159, 252 Westerplatte, 146 Where the Truth Lies, 48 White, Hayden, 12–13, 15, 20, 25, 32, 36, 91, 109–10, 272 Whittaker, David, 97, 125, 272 Wiene, Robert, 65 Wieviorka, Annette, 26, 272 Williams, James, 271 Williams, Kieran, 207–8, 237, 272 Williams, Linda, 106, 110, 272

285

Wilson, Emma, 40, 272 Winter, Jay, 4, 272 Wionczek, Roman, 139–44, 148 Witt, Michael, 15, 272 Wittgenstein, Ludwig, 78 Wodzirej (Dance Leader), 232 Wojciechowski, Piotr, 91, 272 Wokalek, Johanna, 113 Wolen´ski, Jan, 208, 221, 229–30 Wolff, Stefan, 97, 272 Wollenberger, Knud, 233, 235 Woman Alone, A (Kobieta samotna), 225 Wood, Nancy, 4, 32, 272 Wortmann, Sonke, 93 Wosiewicz, Leszek, 254 Wright, Alan, 15–16, 251, 272 Wright, Glendal, 175, 269 Wunder von Bern, Das (The Miracle of Bern), 93 York, Michael, 169 Young, James, 248, 272 Zanussi, Krzysztof, 157 Zapasiewicz, Zbigniew, 225 Zawadzki, Hubert, 140, 252, 265 Zawrócony (The Turned Back), 150, 152–4 Žert (The Joke), 209 Zezowate szcze˛s´cie (Bad Luck), 154 Žižek, Slavoj, 25, 36, 69, 85, 97–8, 101, 142–3, 164, 199, 213, 219, 247, 250–1, 273 Zpívající pudrˇenka (The Singing PowderBox), 209 Z˙urawiecki, Bartosz, 232, 273 Zwierzchowski, Piotr, 144, 209, 273 Zybertowicz, Andrzej, 227, 273