The British About the Poles, or Polish Cinema in British Reviews From „Sight & Sound” of the 1950s and 1960s
Abstract
Polish cinema began to appear in the British film press (“Sight & Sound”) roughly from the mid-1950s. The first mentions of Polish films can be found earlier (for example The Final Stage by Wanda Jakubowska), but it is the Canal and Ashes and Diamonds by Andrzej Wajda that open up British critics to Polish cinematography. During the showing of documentary films at the Free Cinema, films from the “black series” are presented, and Lindsay Anderson directs comments towards the editorial team of the “Film”. In 1967 Anderson makes The Singing Lesson in Poland together with students from the Warsaw National Drama School. How did the Polish journalists (e.g. Bolesław Michałek) writing for the British press present Polish cinema? How did the British critics perceive this cinema and did they see us as allies in the ideological battle for film? What can a review of British film journals tell us about Polish cinema? The article attempts to answer these questions.
Keywords:
Sight & Sound, Bolesław Michałek, Polish cinema, foreign pressReferences
“A Note from Poland”, Sight & Sound, 16:62 (1947).
Google Scholar
Anderson, Lindsay. “Cannes 1957”. Sight & Sound, 27:1 (1957).
DOI: https://doi.org/10.2307/1169249
Google Scholar
B. S. “In the Picture. Poland”. Sight & Sound. 37:3 (1968)
Google Scholar
Breen, J. “Edinburgh Festival”. Sight & Sound. 31:4 (1962).
Google Scholar
Dyer, Peter John. “Ashes and Diamonds“. Sight & Sound, 28:3-4 (1959).
Google Scholar
Dyer, Peter John. “Life’a a Pain, Anyway”. Sight and Sound 32:1 (1962-63).
Google Scholar
Dyer, Peter John. “Repulsion”. Sight & Sound 34:3 (1965).
Google Scholar
Dyer, Peter John. “The festivals. Venice”. Sight & Sound. 29:4 (1960).
Google Scholar
Gessner, R. “Report from Łódź”. Sight & Sound. 32:2 (1963).
Google Scholar
Gillet, J.“Cannes”. Sight & Sound”. 32:3 (1963).
Google Scholar
Gillet, John. “London Festival”. Sight & Sound. 29:1 (1959-1960).
Google Scholar
Grenier, C. “East-west Meeting Ground”. Sight & Sound 29:4 (1960).
Google Scholar
McArthur, Colin. “Everything for sale”. Sight & Sound”. 38:3 (1969).
Google Scholar
McArthur, Colin. “The Real Presence”. Sight & Sound. 36:3 (1967).
Google Scholar
Michałek, Bolesław. “The Polish Drama”. Sight & Sound. 29:4 (1960).
Google Scholar
Milne, T. “London Festival”. Sight & Sound. 33:1 (1963-64).
Google Scholar
Moskowitz, Gene. “The Uneasy East and the Polish Cinema”. Sight & Sound. 27:3 (1957-1958).
Google Scholar
Pearson, Gabriel. “Eroica”. Sight & Sound. 30:4 (1961).
Google Scholar
Prouse, D. “Cannes 1961”. Sight & Sound”. 30:3 (1961).
Google Scholar
Rotha, Paul. “The Last Day of Summer”. Sight & Sound. 27:4 (1958).
Google Scholar
Roud, R. “London Film Festival”. „Sight & Sound”. 37:1 (1967-68).
Google Scholar
Thomsen, Ch. B. “Skolimowski”. Sight and Sound. 37:3 (1968).
Google Scholar
Authors
Karolina Kosińskakwartalnik.filmowy@ispan.pl
Institute of Art, Polish Academy of Sciences Poland
Absolwentka kulturoznawstwa (specjalność filmoznawcza) w Instytucie Sztuk Audiowizualnych Uniwersytetu Jagiellońskiego. Pracę magisterską dotyczącą form buntu w kinie brytyjskim obroniła pod kierunkiem prof. dr. hab. Tadeusza Lubelskiego w 2002 roku. Pracę doktorską na temat postaci androgynicznej w brytyjskim filmie i kulturze popularnej obroniła w 2008 roku (promotor: prof. dr hab. Andrzej Pitrus) również w ISzA UJ. Od 2003 roku redaktorka „Kwartalnika Filmowego”.
Statistics
Abstract views: 116PDF downloads: 42
License
Copyright (c) 2016 Karolina Kosińska
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
Most read articles by the same author(s)
- Karolina Kosińska, Architecture, Urban Planning and Community – „Byker” by Sirkka-Liisa Konttinen , Kwartalnik Filmowy: No. 109 (2020): Architectural Space in Film
- Karolina Kosińska, Editorial , Kwartalnik Filmowy: No. 109 (2020): Architectural Space in Film
- Karolina Kosińska, “This Is Your Man – Go with Him”: About the Disrupted Identification in the Films of Alan Clarke , Kwartalnik Filmowy: No. 114 (2021): Contamination, Dirt, Flaw
- Karolina Kosińska, Editorial , Kwartalnik Filmowy: No. 108 (2019): Film Production and Distribution
- Karolina Kosińska, Affective Rhythms: Experience of Trauma in Alan Clarke’s Films from the 1980s , Kwartalnik Filmowy: No. 123 (2023): Pace and Rhythm
- Karolina Kosińska, Editorial , Kwartalnik Filmowy: No. 111 (2020): Senses and Affects
- Karolina Kosińska, Editorial , Kwartalnik Filmowy: No. 113 (2021): Film and Technology
- Karolina Kosińska, Editorial , Kwartalnik Filmowy: No. 118 (2022): One Take
- Karolina Kosińska, Editorial , Kwartalnik Filmowy: No. 115 (2021): Form Film, Content Film
- Karolina Kosińska, Editorial , Kwartalnik Filmowy: No. 116 (2021): Cinema and Social Identity
