Film and Music
See also: Socialist realism in Polish literatureWhile the socialist realism doctrine in Soviet cinema originated around the time of the Bolshevik Revolution (Eisenstein, Dovzhenko, Pudovkin) and reached its peak in the 1930s, it did not have sufficient time to develop in postwar Poland. Therefore, the cult of the communist party remained alien to the local film industry. Among the more creative Polish films loosely adhering to principles of socialist realism were Celuloza by Jerzy Kawalerowicz, Pokolenie by Andrzej Wajda and Piątka z ulicy Barskiej by Aleksander Ford. The ideological stereotype gave birth to some inferior productions as well, such as Uczta Baltazara by Jerzy Zarzycki and Jerzy Passendorfer.
In music, the trend was limited to art song, film soundtrack, and pop-song based on local folk tradition. Communist ideals were glorified in lyrics. Among the prominent composers were Jan Maklakiewicz: "Śląsk pracuje i śpiewa" (Silesia Works and Sings), Alfred Gradstein: "Na prawo most, na lewo most" (A Bridge on the Right, and a Bridge on the Left), and Andrzej Panufnik: "Symfonia Pokoju" (The Symphony to Peace). Widely promoted popular songs included "O Nowej to Hucie piosenka" (This Song is about Nowa Huta) featured here with the video. The song is still well remembered by most Polish people of the older generation.
Following Stalin's death, and especially from 1953 on, critical opinions were heard with increasing frequency. Finally, as part of the Gomułka political thaw from within the Polish United Workers' Party, the entire doctrine was officially given up in 1956.
Read more about this topic: Socialist Realism In Poland
Famous quotes containing the words film and/or music:
“You should look straight at a film; that’s the only way to see one. Film is not the art of scholars but of illiterates.”
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“If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
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