The Structures of Memory: The Images of Space-Time in Andrzej Munk’s Film “Passenger”
Abstract
Passenger was the last and uncompleted film by Andrzej Munk who died tragically in 1961. The film was finished by Munk’s friends and collaborators on the basis of the footage left by the director. It is known that Munk was not fully satisfied with all the material and planned to introduce some changes. The film combines in an unusual way two forms of “records of memory” – photography and film. In a very interesting argument Kwiatkowska juxtaposes and interprets various spaces of remembrance that can be found in the movie. [originally published in Polish in Kwartalnik Filmowy 2003, no. 43, pp. 22-47]
Keywords:
Andrzej Munk, Holocaust, memoryReferences
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Authors
Paulina Kwiatkowskakwartalnik.filmowy@ispan.pl
University of Warsaw Poland
Doctor of the Humanities; she teaches at the Institute of Polish Culture (Department of Film and Visual Culture) at the University of Warsaw, and at the Warsaw Film School. She has collaborated with the Polish Film Institute on the projects “School Film Library” and “Academy of Polish Film”. Her research concerns film theory and history (particularly film modernism), anthropology of visual culture, and history of Polish and French culture. She has published i.a. in the academic journals Kwartalnik Filmowy, Konteksty, Kultura Współczesna. She co-edited the monographic volume Nie chcę spać sam. Kino Tsai Ming-Lianga [I Don’t Want to Sleep Alone: The Cinema of Tsai Ming-Liang] (2009) and the academic textbook Antropologia kultury wizualnej [Anthropology of Visual Culture] (2012). In 2011, she published Somatografia. Ciało w obrazie filmowym [Somatography: The Body in Film Image], a book on the bodily aspects of the construction of female characters in European films of the turn of the 1950s and 1960s (currently in translation into Russian). Presently she works on a book entirely devoted to just one film, Alain Resnais’s Last Year at Marienbad; its analysis serves as a point of departure for a reflection on alternative paths in the history of cinema and the theory of the film image.
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