I consider it the best lesson about Poland. The movie is a picture of social life in a specific country. The movie subtly convey I have problems of the era.
After the Second World War, the Polish movie is a period of settlement with the drama of the past war. It is a commemoration of the image of harm and the consequences that are difficult to conceal the aggression and division of the world into opposite directions.
1948 – Ulica graniczna
1948 – Ostatni etap
1952 – Celuloza
1954 – Przygoda na Mariensztacie
1954 – Popiol i diament
1957 – Kanal
1958 – Osmy dzien tygodnia
The next stage of the Polish movie and the history of society’s life in this country is disappointment with communism. The authorities treated the film as the basic tool of propaganda and social education, despite the huge emphasis on the exemplary immersial images of satisfied society, it was not possible to hide the truth about the deficit of confidence in power. This is a period of criticism at the authorities meticulously woven into the story to outsmart censorship. Showing an empty ideology in the contrast of a masked reality. The films under red were stopped by censorship.
1960 – Do widzenia do jutra
1960 – Matka Joanna od Aniolow
1960 – Krzyzacy (The first Polish movie in color)
1960 – Niewinni czarodzieje
1960 – Zezowate szczescie
1961 – Szatan z siodmej klasy
1963 – Czlowiek z marmuru
1963 – Pasazerka
1963 – Zbrodnia i kara
1965 – Walkower
1965 – Popioly
1965 – Rekopis znaleziony w Saragossie
1966 – Faraon
1966 – Wojna domowa (series)
1967 – Rece do gory [censure]
1967 – Sami swoi
1968 – Poradnik matrymonialny
1968 – Pan Wolodyjowski
1968 – Lalka
1968 – 4 pancerni i pies (series)
1968 – Stawka wieksza niz zycie (series)
1968 – Wilcze echa
1968 – Tabliczka marzenia
1969 – Wszystko na sprzedaz
1969 – Polowanie na muchy
1969 – Rzeczpospolita babska
1969 – Czlowiek z M3
You can get the process of fatigue with gray reality and the lack of perspectives begins to result in the praise of consumerism as an alternative path to personal happiness. We see this in many movies as a picture of social promotion in material form and not ideological actuality, something that was heavily criticized in the previous decade.
1970 – Brzezina
1970 – Rejs
1970 – Prawdzie w oczy
1971 – Zycie rodzinne
1971 – Nie lubie poniedzialkow
1971 – Dzieciol
1972 – Bariera
1972 – Trzecia czesc nocy
1972 – Poszukiwany, poszukiwana
1973 – Iluminacja
1973 – Chlopi (series)
1974 – Potop
1974 – Janosik (series)
1975 – Ziemia obiecana (series)
1975 – Czterdziestolatek (series)
1976 – Barwy ochronne
1977 – Rekord swiata
1977 – Smierc prezydenta
1978 – Bez znieczulenia
1978 – Wodzirej
1980 – Golem
1980 – Dworzec
1980 – Amator
1980 – Tango
1981 – Dreszcze [censure]
1981 – W bialy dzien
1981 – Kobieta samotna [censure]
1981 – Czlowiek z zelaza
The end of 1981 is a coup government power to the dissatisfied Polish society. The attempt to destroy culture by the power of power caused the depression of humiliated society deepening. There was a wave of emigration of many filmmakers. In an attempt to divert attention from social harm, cash hits of Polish cinema in the form of budget comedies are created.
1982 – Przesluchanie [censure]
1982 – Prognoza pogody
1982 – Niedzielne igraszki
1982 – Wojna swiatow
1982 – Vabank
1983 – Wierna rzeka
1983 – Seksmisja
1984 – Wahadelko
1984 – Yesterday
1984 – Przypadek [censure]
1985 – Chwala bohaterom
1985 – Nadzor
1986 – W zawieszeniu
1987 – Pociag do Hollywood
1997 – Krotki film o zabijaniu
1988 – Kingsize
1988 – Zabic ksiedza
1988 – Krotki film o milosci
1989 – 300 mil do nieba
1989 is political changes in which Poland is becoming a democratic country with a market economy (capitalist). Total reverse. From this time the Polish film ceases to be financed by the state. Paradoxically, after the censorship departure, the fall of the movies fell. This confirms the rule that it mobilizes the state of danger to effort. There was no opponent in this case a criticized host in the role of totalitarian power. Game is over. Crisis of the subject. Independence has gone in movies from social dialogue with the viewer in favor of a commercial movie. The film has become a shallow corresponding to the burns of a fooling society for many years down a leash. There was an imitation of an outdoor lifestyle with acquiring its worst features. The image of the pathology in which the society of the new reality (fashion for crime) was strengthened.
1992 – Rozmowy kontrolowane
1993 – Uprowadzenie Agaty
1993 – Lepiej byc piekna i bogata
1993 – Pora na czarownice
1994 – Smierc jak kromka chleba
1995 – Pestka
1995 – Nocne grafiti
1995 – Mlode wilki
1995 – Wrony
1996 – Sara
1996 – Szamanki
1996 – Matka swojej matki
1996 – Panna nikt
1997 – Sztos
Film reading is a base that is necessary for knowledge and understanding of Polish culture and the state in which it is now. It doesn’t matter that you don’t know the language. The movie is above all a picture that thoroughly observed pots to speak properly and tell a lot. (Brux)
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