Doppia memoria e regimi temporali ne «La Passeggera» di Andrzej Munk

Translated title of the contribution: [Autom. eng. transl.] Double memory and time regimes in Andrzej Munk's "The Passenger"

Damiano Garofalo

Research output: Contribution to journalArticle

Abstract

[Autom. eng. transl.] This essay will analyze the relationship between the cinematic representation of memory and the photographic steadiness of the present, staged in the film The Passenger (Pasażerka, 1963, Andrzej Munk). Moving both from a textual and a contextual point of view, this article will focus on the posthumous reconstruction film made by Munk's collaborators. Therefore, he creates a «a time in death, past and present, but also a victim of perpetrator, which creates a implicit feeling of historical suspension, which creates a« double memory »storytelling.
Translated title of the contribution[Autom. eng. transl.] Double memory and time regimes in Andrzej Munk's "The Passenger"
Original languageItalian
Pages (from-to)52-66
Number of pages15
JournalCINERGIE
Publication statusPublished - 2015

Keywords

  • Holocaust film, Polish cinema, Holocaust memory

Fingerprint Dive into the research topics of '[Autom. eng. transl.] Double memory and time regimes in Andrzej Munk's "The Passenger"'. Together they form a unique fingerprint.

Cite this