Adaptation and the Issue of Authorship in Cinema of Socialist Realism
Abstract
Zwierzchowski considers the 1950s to be one of the most exciting decades in the history of Poland’s cinema owing to the road it had taken from the Congress of Filmmakers in Wisła and the dominance of the doctrine of Socialist Realism until the eruption of talents and exceptional artistic individualities of the „Polish film school.” Zwierzchowski claims that the issue of authorship in Socialist Realism was resolved in a very peculiar way. Literary adaptations provide very interesting research material. The artist (novelist, screenwriter and film director) does not only express his/her vision of the world but also reflects party’s vision, the only acceptable idea. Translating a novel into the film medium, the film director should make efforts to perfect, enrich but also „explain” and update it ideologically. The author of the article compares the theories of art of Socialist Realism (developed in the Soviet Union and adapted by Polish propagandists) with the contemporary conceptions of film adaptations and sociology of art.
Keywords:
adaptation, socrealism, Socialist RealismReferences
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Authors
Piotr Zwierzchowskikwartalnik.filmowy@ispan.pl
Kazimierz Wielki Academy of Bydgoszcz Poland
Filmoznawca, pracuje w Instytucie Filologii Polskiej Akademii Bydgoskiej im. Kazimierza Wielkiego. Opublikował m in.: Zapomniani bohaterowie. O bohaterach filmowych polskiego socrealizmu (2000), Piękny sen pedagoga. Literackie i filmowe portrety świata edukacji (2005), Kino polskie wobec umierania i śmierci (2005, współred ); redaktor naczelny „Bloku. Międzynarodowego pisma poświęconego kulturze stalinowskiej i post- stalinowskiej”.
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