By Ewa Mazierska
Gender, particularly masculinity, is a standpoint hardly utilized in discourses on cinema of Eastern/Central Europe. Masculinities in Polish, Czech and Slovak Cinema exposes an English-speaking viewers to a wide share of this region's cinema that in the past remained unknown, targeting the connection among illustration of masculinity and nationality within the motion pictures of 2 and later 3 international locations: Poland, Czechoslovakia/the Czech Republic and Slovakia. the target of the ebook is to debate the most varieties of males populating Polish, Czech and Slovak motion pictures: that of soldier, father, heterosexual and gay lover, opposed to a wealthy political, social and cultural heritage. Czech, Slovak and varnish cinema seem to offer very good fabric for comparability as they have been produced in neighbouring international locations which for over 40 years persisted the same political method – kingdom socialism.
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Additional resources for Masculinities in Polish, Czech and Slovak Cinema: Black Peters and Men of Marble
Nałkowska herself was once a prisoner of the focus camp, an establishment that was once born out of feverish nationalism and disregard for person lives. Mazeiska text7:Mazierska textual content 27/8/08 19:51 web page eighty two eighty two | Masculinities in Polish, Czech and Slovak Cinema three. Mira and Antonín Liehm become aware of this in connection with the movies of the past due Fifties and early Nineteen Sixties, yet in my view it will possibly discuss with motion pictures of all sessions. four. i'm omitting from this part Eroica in part simply because I analysed it in different places (Mazierska 2004a) and in part simply because i locate tips to Be enjoyed a extra fascinating polemic with the version of masculinity provided by means of Wajda. This additionally applies to Salto (1965) through Tadeusz Konwicki, which i must omit from my research because of loss of area. Eroica, for my part, principally conforms to Wajda’s version (Werner 1987: 59–64). five. as a result loss of house I current very in brief the historic history of Wajda’s motion pictures. extra specific research are available in Paul Coates’ ebook, The purple and the White (Coates 2005) and in my essay, ‘Wajda on War’, accompanying the DVD model of Wajda’s ‘war trilogy’ (Mazierska 2004b), in addition to within the ancient books dedicated to Polish historical past of the 20 th century, specifically Norman Davies’s God’s Playground (Davies 2005: 322–66). See additionally bankruptcy 1 of this publication. 6. for my part Cybulski’s demise and denigration of the movies during which he performed ‘domesticated males’ encouraged negatively next Polish male stardom. particularly, so much Polish actors intending to the prestige of stars, together with Olbrychski, Linda and Żebrowski, didn't ever possibility relocating past the kind of male pin-ups with demanding muscle tissues and obvious uninterest in these them, as defined by way of Richard Dyer (Dyer 1992). 7. Jackiewicz labored for a few years as a movie critic in Trybuna Ludu, the legitimate newspaper of the get together, so it can be steered that his political allegiance used to be an element in his adverse angle to Maciek. notwithstanding, i think that his overview of Maciek and the placement represented in Wajda’s movie was once actual. eight. in other places i've got argued that during his movies Wajda is biased opposed to working-class characters by means of representing them as simpletons (Mazierska 2002). This scene helps this opinion. nine. The relation among Hrabal e-book and Menzel’s movie is mentioned by way of a few authors, together with Josef Škvorecký, Peter Hames and Jonathan Owen (Škvorecký 1982; Hames 2004; Owen 2007), accordingly i'm leaving it out from my dialogue. 10. The literary roots and the political history of Wajda’s movie are mentioned via Tadeusz Drewnowski (Drewnowski 1992). eleven. Athough the hoop with a topped Eagle warns opposed to and condemns serving the ‘two gods’ of the communist professionals and anti-communist competition, it can be argued that such an ideological place used to be espoused by means of Aleksander Ścibor-Rylski, the writer of the radical on which Wajda’s movie is predicated, and Wajda himself. either artists have been as regards to the institution, enjoying many vital roles within the authentic tradition of People’s Poland and having fun with above-average affluence, but while trying to show of their works feedback of the professionals, as within the well-known Człowiek z marmuru (Man of Marble, 1976), which Ścibor-Rylski scripted and Wajda directed.