[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"|
|Number of pages||15|
|Publication status||Published - 2015|
- Holocaust film, Polish cinema, Holocaust memory