Transferując Chopina : Chopin, piewca wolności Gézy von Bolváry’ego

2012
journal article
article
dc.abstract.en"Abschiedswalzer", the biography of Frederic Chopin made in the Third Reich, is usually seen as a surprisingly friendly towards Poland and Polish people. The film is regarded by contemporary film historians opposed to the typical argument that film entertainment during the Nazi era was extremely politicised, as well crafted, and free of ideological elements typical of cinematic entertainment of the time. However an analysis of how Chopin’s music is used, the construction of the main characters, omissions and distortions of historical facts, gender strategies applied and the role of the language leads to a different conclusion. The film shows a deep ambivalence towards Chopin. An affirmation of his music is accompanied by discrediting him as a man and as a patriot, which results in visible “germanization” of Chopin presented in the film, which germanization however remains incomplete. From the film it might be inferred what were the official priorities of the German foreign policy of the time (correct relations with the neighbouring states, and also an anti-soviet direction) but also the expansionist ambitions of the Third Reich. Before the Germans began to realize the idea of colonising the East by military means, the expansion was a cultural one, and was served by films such as "Chopin, the Bard of Freedom".pl
dc.abstract.en"Abschiedswalzer", the biography of Frederic Chopin made in the Third Reich, is usually seen as a surprisingly friendly towards Poland and Polish people. The film is regarded by contemporary film historians opposed to the typical argument that film entertainment during the Nazi era was extremely politicised, as well crafted, and free of ideological elements typical of cinematic entertainment of the time. However an analysis of how Chopin’s music is used, the construction of the main characters,omissions and distortions of historical facts, gender strategies applied and the role of the language leads to a different conclusion. The film shows a deep ambivalence towards Chopin. An affirmation of his music is accompanied by discrediting him as a man and as a patriot, which results in visible “germanization” of Chopin presented in the film, which germanization however remains incomplete. From the film it might be inferred what were the official priorities of the German foreign policy of the time (correct relations with the neighbouring states, and also an anti-soviet direction) but also the expansionist ambitions of the Third Reich. Before the Germans began to realize the idea of colonising the East by military means, the expansion was a cultural one, and was served by films such as "Chopin, the Bard of Freedom".pl
dc.abstract.plZrealizowana w III Rzeszy biografia Fryderyka Chopina uchodzi za film zaskakująco przyjazny wobec Polski i Polaków. Uważa się go za przykład sprawnego warsztatowo, wolnego od ideologicznych serwitutów kina rozrywkowego, stanowiącego – zdaniem współczesnych historyków polemizujących z tradycyjną tezą o jego skrajnym upolitycznieniu – nurt zdecydowanie dominujący za rządów narodowych socjalistów. Jednak analiza sposobu wykorzystania muzyki kompozytora, konstrukcji głównych postaci, pominięć i przeinaczeń faktów historycznych, zastosowanych strategii genderowych, wreszcie roli języka prowadzi do innych wniosków. Film ten zdradza głęboką ambiwalencję wobec bohatera. Afirmacji jego twórczości towarzyszy dyskredytowanie go jako mężczyzny i patrioty, co skutkuje zauważalną „germanizacją” filmowego Chopina, która pozostaje jednak niepełna i niekonsekwentna. Z filmu von Bolváry’ego można wnioskować nie tylko o oficjalnych priorytetach niemieckiej polityki zagranicznej (poprawne stosunki z sąsiednim państwem, a zarazem antysowieckość), lecz także o ekspansjonizmie III Rzeszy. Zanim Niemcy zaczęły realizować ideę skolonizowania Wschodu za pomocą środków militarnych, ich ekspansja miała charakter kulturowy, a służyły jej takie filmy, jak Chopin, piewca wolności.pl
dc.affiliationWydział Zarządzania i Komunikacji Społecznej : Instytut Kulturypl
dc.contributor.authorSowińska, Iwona - 174265 pl
dc.date.accessioned2014-09-11T13:16:02Z
dc.date.available2014-09-11T13:16:02Z
dc.date.created2012pl
dc.date.issued2012pl
dc.description.number77-78pl
dc.description.physical6-24pl
dc.description.volume34pl
dc.identifier.issn0452-9502pl
dc.identifier.urihttp://ruj.uj.edu.pl/xmlui/handle/item/889
dc.languagepolpl
dc.language.containerpolpl
dc.rights.licencebez licencji
dc.subject.enFrederic Chopinpl
dc.subject.en"Abschiedswalzer"pl
dc.subject.enhistory of Polandpl
dc.subject.enCinema in Third Reichpl
dc.subtypeArticlepl
dc.titleTransferując Chopina : Chopin, piewca wolności Gézy von Bolváry’egopl
dc.title.alternativeTransfering Chopin : Géza von Bolváry’s Abschiedswalzer (Chopin, the bard of freedom)pl
dc.title.journalKwartalnik Filmowypl
dc.title.volumePolskie mity, polskie kompleksypl
dc.typeJournalArticlepl
dspace.entity.typePublication
dc.abstract.enpl
"Abschiedswalzer", the biography of Frederic Chopin made in the Third Reich, is usually seen as a surprisingly friendly towards Poland and Polish people. The film is regarded by contemporary film historians opposed to the typical argument that film entertainment during the Nazi era was extremely politicised, as well crafted, and free of ideological elements typical of cinematic entertainment of the time. However an analysis of how Chopin’s music is used, the construction of the main characters, omissions and distortions of historical facts, gender strategies applied and the role of the language leads to a different conclusion. The film shows a deep ambivalence towards Chopin. An affirmation of his music is accompanied by discrediting him as a man and as a patriot, which results in visible “germanization” of Chopin presented in the film, which germanization however remains incomplete. From the film it might be inferred what were the official priorities of the German foreign policy of the time (correct relations with the neighbouring states, and also an anti-soviet direction) but also the expansionist ambitions of the Third Reich. Before the Germans began to realize the idea of colonising the East by military means, the expansion was a cultural one, and was served by films such as "Chopin, the Bard of Freedom".
dc.abstract.enpl
"Abschiedswalzer", the biography of Frederic Chopin made in the Third Reich, is usually seen as a surprisingly friendly towards Poland and Polish people. The film is regarded by contemporary film historians opposed to the typical argument that film entertainment during the Nazi era was extremely politicised, as well crafted, and free of ideological elements typical of cinematic entertainment of the time. However an analysis of how Chopin’s music is used, the construction of the main characters,omissions and distortions of historical facts, gender strategies applied and the role of the language leads to a different conclusion. The film shows a deep ambivalence towards Chopin. An affirmation of his music is accompanied by discrediting him as a man and as a patriot, which results in visible “germanization” of Chopin presented in the film, which germanization however remains incomplete. From the film it might be inferred what were the official priorities of the German foreign policy of the time (correct relations with the neighbouring states, and also an anti-soviet direction) but also the expansionist ambitions of the Third Reich. Before the Germans began to realize the idea of colonising the East by military means, the expansion was a cultural one, and was served by films such as "Chopin, the Bard of Freedom".
dc.abstract.plpl
Zrealizowana w III Rzeszy biografia Fryderyka Chopina uchodzi za film zaskakująco przyjazny wobec Polski i Polaków. Uważa się go za przykład sprawnego warsztatowo, wolnego od ideologicznych serwitutów kina rozrywkowego, stanowiącego – zdaniem współczesnych historyków polemizujących z tradycyjną tezą o jego skrajnym upolitycznieniu – nurt zdecydowanie dominujący za rządów narodowych socjalistów. Jednak analiza sposobu wykorzystania muzyki kompozytora, konstrukcji głównych postaci, pominięć i przeinaczeń faktów historycznych, zastosowanych strategii genderowych, wreszcie roli języka prowadzi do innych wniosków. Film ten zdradza głęboką ambiwalencję wobec bohatera. Afirmacji jego twórczości towarzyszy dyskredytowanie go jako mężczyzny i patrioty, co skutkuje zauważalną „germanizacją” filmowego Chopina, która pozostaje jednak niepełna i niekonsekwentna. Z filmu von Bolváry’ego można wnioskować nie tylko o oficjalnych priorytetach niemieckiej polityki zagranicznej (poprawne stosunki z sąsiednim państwem, a zarazem antysowieckość), lecz także o ekspansjonizmie III Rzeszy. Zanim Niemcy zaczęły realizować ideę skolonizowania Wschodu za pomocą środków militarnych, ich ekspansja miała charakter kulturowy, a służyły jej takie filmy, jak Chopin, piewca wolności.
dc.affiliationpl
Wydział Zarządzania i Komunikacji Społecznej : Instytut Kultury
dc.contributor.authorpl
Sowińska, Iwona - 174265
dc.date.accessioned
2014-09-11T13:16:02Z
dc.date.available
2014-09-11T13:16:02Z
dc.date.createdpl
2012
dc.date.issuedpl
2012
dc.description.numberpl
77-78
dc.description.physicalpl
6-24
dc.description.volumepl
34
dc.identifier.issnpl
0452-9502
dc.identifier.uri
http://ruj.uj.edu.pl/xmlui/handle/item/889
dc.languagepl
pol
dc.language.containerpl
pol
dc.rights.licence
bez licencji
dc.subject.enpl
Frederic Chopin
dc.subject.enpl
"Abschiedswalzer"
dc.subject.enpl
history of Poland
dc.subject.enpl
Cinema in Third Reich
dc.subtypepl
Article
dc.titlepl
Transferując Chopina : Chopin, piewca wolności Gézy von Bolváry’ego
dc.title.alternativepl
Transfering Chopin : Géza von Bolváry’s Abschiedswalzer (Chopin, the bard of freedom)
dc.title.journalpl
Kwartalnik Filmowy
dc.title.volumepl
Polskie mity, polskie kompleksy
dc.typepl
JournalArticle
dspace.entity.type
Publication
Affiliations

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