When we ask about Polish directors of the 20th century, the most common names are Barbara Sass, Agnieszka Holland and Magdalena Łazarkiewicz. How is that possible erstwhile the walls of movie schools have left much more women? The problem appears in further stages.
Working with a husband whose wife's ideas and accomplishments passed through, making marginalized films, most frequently for the youngest, the curse of debutants – if cinema were a woman, we would have a herstory of effective the exclusion strategy.
From directors who made the first movie in the 1970s or 1980s, only 3 (!) managed to appear permanently in the feature film. Since the 1990s, there have been more of them, although they debut later than their colleagues, and at the time of their debut they mostly have more achievements. The fact that it's harder for them, you can see at first glance. When the planet strives for equality, the Polish movie manufacture does not gain on the economics of equality, it inactive pays off credit for sexism and misogyny.
When we ask about Polish directors of the 20th century, the most common names are Barbara Sass, Agnieszka Holland and Magdalena Łazarkiewicz. How is that possible erstwhile the walls of movie schools have left much more women? The problem appears in further stages. The another directors were treated by the strategy as deposits with the lowest or zero interest rates. In spite of the unquestionable successes, the strategy simply erased them.
Wanda Jakubowska remains the only female who not only directed the movie in the 1930s, but besides turned out to be 1 of the most crucial and most influential characters of post-war cinematography. Her “Last Stage” was established in 1948 and was mostly based on the director's individual experience, which was an Auschwitz prisoner. Jakubowska's movie not only changed the scenery of Polish cinema just after planet War II, but besides for the first time provided global prestige. He went on screens in over 50 countries. The planet press considered it a work of large format. The manager was active throughout the PRL. The last movie was made in the late 1980s. Her work was rapidly forgotten, and she was considered persona non grata. Over the years, “Last Stage” was available to viewers only in the form of a 35 mm show copy and SD version. The painting was dark, any dialogues, essential to knowing the film's plot, even inaudible. Neither the negative movie nor any of the distribution copies produced on a flammable average in the 1940s were preserved in the FINA archive. With the aid of technology. Psix affirmative and negative materials were tested, and the full movie was scanned in the 4K standard. Counter-negativity was taken as the basis for image and sound reconstruction. The gaps in the cages were supplemented with affirmative media. The planet premiere of the restored movie was held in February 2020 during Berlinale, in the Berlinale Classics section.
After all, “no 1 knows children as well as women.” As a result, they were most frequently "detached" to carry out images for the young viewer, production of the undervalued, reluctantly discussed. Although they made further films and even imported awards from abroad festivals, they functioned on the outskirts of cinematography. That's what happened with Maria Kanevska "The conflict of Fairy", "Satan of the 7th Class", "Lady of the Window", "The Enchanted Court"). besides Jadwiga Kędzierzewska She focused in her career on production for the youngest, but in her case it was a continuation of the subject initiated by short films ("Murzynek" – award in Venice in 1960, "Small sorrows" – Diploma at the Children's MFF in Tehran in 1968 and award in Krakow in 1968). Her daughter – Dorota Kędzierzewska – began her career by making films about children, but rapidly recovered from the genre scheme. The most common choice was between doing what manufacture allows or not doing at all.
Some directors remained debutees forever, although the films made were groundbreaking. A perfect example is Hanna Włodarczyk, one of the fewer Polish voices in feminist cinema. In her debut “Blue” (a co-writer of the movie was Anda Rottenberg) The main character is Kinga, a 33-year-old divorcee who raises the kid herself. The word “self” perfectly characterises it. She decides her own sexuality, realizes that her value does not depend on whether she has a man by her side, ends her own failed relation and rejects her ex-husband's proposal to be together again. It is besides the only Polish film, where the main character's friends are not just a decoration, but they scroll all the time and play an crucial function in Kinga's life (the outstanding roles of Grażyna Szapolowska and Ewa Błaszczyk). "Blue" was honored with "Jantarem'83" at XI Koszalin movie Meetings "Young and Film". To this day, he remains 1 of the most underestimated Polish films.
If individual cares about women's interests in Poland, they are most frequently women. erstwhile Agnieszka Holland, Małgorzata Szumowska, Agnieszka Smoczyńska, Jagoda Szelc, were successful, they won awards in Berlin, in Cannes, they were distinguished by the European movie Academy, in decision-making bodies that decided on the distribution of financial resources and the future of Polish movie cinematography was not almost at all. This is contrary to the EU Directive on the audiovisual sector of the associate States, which states that from 2020, 50 percent of women should be included in all decision-making bodies. Law enforcement is being watched Women's movie Initiative – The date of its attachment coincided with the National Women's Strike. Despite large-scale activities, there are inactive situations specified as the fresh 1 associated with Marek Żydowicz. manager of Cameraimage – in the manufacture magazine Cinematography World – He identified female cinematography with mediocrity. In view of the sharp reactions from around the world, he published an apologising message in which he declared his readiness to participate in a broad debate. but here you request action, not words.
In 2021, for the first time in 70 years at the movie School in Łódź, women themselves got into the Directing Department. There were 23 people in 1 place, a full of over 160 candidates and candidates. In another directions, specified as stagewriting, movie editing or a girl's photograph were besides a majority representation. In the academic year 2022/2023 – 8 people (4 women/ 4 men), 9 people (3 women/ 6 men), and 10 people (7 women/ 3 men) began their studies in the academic year. If we're going to talk about statistical balance, it's preserved. It is only to be hoped that, at the time of leaving the walls of the school, women will not be forced to take manufacture loans with advanced interest rates, as we have in herstorical movie tradition.
