[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.
|Titolo tradotto del contributo||[Autom. eng. transl.] Double memory and time regimes in Andrzej Munk's "The Passenger"|
|Numero di pagine||15|
|Stato di pubblicazione||Pubblicato - 2015|
- Holocaust film, Polish cinema, Holocaust memory