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

Damiano Garofalo

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

Università Cattolica del Sacro Cuore

Research output: Contribution to journal › Article

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 language	Italian
Pages (from-to)	52-66
Number of pages	15
Journal	CINERGIE
Publication status	Published - 2015

Keywords

Holocaust film, Polish cinema, Holocaust memory

Cite this

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abstract = "[Ita:]This essay will analyze the relationship between the cinematic representation of the memory and the photographic steadiness of the present, staged in the film The Passenger (Pasa{\.z}erka, 1963, Andrzej Munk). Moving both from a textual and a contextual point of view, this article will focus on the posthumous film reconstruction made by Munk's collaborators. Therefore, the aim of this paper is to discuss the relationship between time and death, past and present, but also victim and perpetrator, which all contribute to create an implicit wistful feeling of historical suspension, which creates a «double memory» storytelling.",

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AB - [Ita:]This essay will analyze the relationship between the cinematic representation of the 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 film reconstruction made by Munk's collaborators. Therefore, the aim of this paper is to discuss the relationship between time and death, past and present, but also victim and perpetrator, which all contribute to create an implicit wistful feeling of historical suspension, which creates a «double memory» storytelling.

KW - Holocaust film, Polish cinema, Holocaust memory

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

Abstract

Keywords

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