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2015
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tom 17
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nr 26
119-127
EN
To Preserve Memory, to Save a Soul, to Save Art: Th e Saving Role of Chopin’s Music in Roman Polanski’s The Pianist The author examines the music from Roman Polanski’s The Pianist, focusing on the functions performed in the film by fragments of four compositions by Fryderyk Chopin: Nocturne in C-sharp minor (Posthumous), Grande Polonaise Brillante in E-fl at major (Op. 22 - Allegro molto), Ballade in G- minor (No 1, Op. 23) and Concerto in E-minor (No 1, Op. 11). Proposed are both a contextual view (Chopin’s music in the collective memory of Poles) and an analytical one (music as an element of the structure of a film). The symbolic and expressive functions of the compositions used in the film are placed at the forefront, as well as their connections with other elements of the soundtrack in the context of building meaning. In conclusion, the article states that Chopin’s music in The Pianist, compared to Polanski’s other movies containing classical music, has been functionalized in a most creative way.
PL
To Preserve Memory, to Save a Soul, to Save Art: Th e Saving Role of Chopin’s Music in Roman Polanski’s The Pianist The author examines the music from Roman Polanski’s The Pianist, focusing on the functions performed in the film by fragments of four compositions by Fryderyk Chopin: Nocturne in C-sharp minor (Posthumous), Grande Polonaise Brillante in E-fl at major (Op. 22 - Allegro molto), Ballade in G- minor (No 1, Op. 23) and Concerto in E-minor (No 1, Op. 11). Proposed are both a contextual view (Chopin’s music in the collective memory of Poles) and an analytical one (music as an element of the structure of a film). The symbolic and expressive functions of the compositions used in the film are placed at the forefront, as well as their connections with other elements of the soundtrack in the context of building meaning. In conclusion, the article states that Chopin’s music in The Pianist, compared to Polanski’s other movies containing classical music, has been functionalized in a most creative way.
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nr 77-78
319-322
EN
A book review of Marek Haltof’s Polish Film and the Holocaust. Politics and Memory (2012), in which the author takes up the question of representation of Holocaust in Polish film. Haltof carries out a meticulous analyses of films, and relates them to the political, ideological and cultural contexts of time in which they were made. Amongst others he considers: Wanda Jakubowska’s The Last Stage, Aleksander Ford’s Border Street, Andrzej Wajda’s Generation and Andrzej Munk’s The Passenger. Haltof also discusses films made after the end of 1989, after a period of silence (the years of 1965-1980), when the subject of the Holocaust was reluctantly taken up by film-makers. Amongst others he considers Andrzej Wajda’s Korczak and Roman Polański’s The Pianist. Haltof’s book can also be viewed in terms of an important contribution towards the discussion of Polish national memory.
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