“A Treaty on Mannequins” After Brunon Schulz and Wojciech Has
Małgorzata Burzyńska-Keller
kwartalnik.filmowy@ispan.plPolish National Film, Television and Theatre School in Łódź (Poland)
Abstract
Burzyńska-Keller analyzes Wojciech J. Has’s The Hourglass Sanatorium as a peculiar exegesis of A Treaty on Mannequins by Brunon Schulz and his prose in general, especially in the aspect of creative anguish. The film’s panopticon-salon is crowded with many weird mannequins, maybe frozen or enchanted semi-humans and semi-puppets. The mannequins live in the time that has passed. Who is that prospective mannequin maker? This is the Demiurge of dark cruel force who manipulates creatures he has brought to life, insensitive to their suffering. That they have in fact been created in vain is the punchline of their unhappiness. They are unable to express their matter-contained spirituality.
Keywords:
Wojciech Jerzy Has, Brunon Schulz, mannequinReferences
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Authors
Małgorzata Burzyńska-Kellerkwartalnik.filmowy@ispan.pl
Polish National Film, Television and Theatre School in Łódź Poland
Absolwentka szkoły muzycznej w klasie wiolonczeli i fortepianu, college’u Mahon Chana - żydowskiej religijnej jesziwy w Nowym Jorku oraz Wydziału Reżyserii PWSFTviT im. Leona Schillera w Łodzi (1998); prowadzi wykłady w PWSFTviT z zakresu wiedzy praktycznej dotyczącej reżyserii filmu fabularnego; asystentka prof. Wojciecha Hasa.
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Copyright (c) 2000 Małgorzata Burzyńska-Keller
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