First published in 2002, Marek Haltof's seminal volume was the first comprehensive English-language study of Polish cinema, providing a much-needed survey of one of Europe's most distinguished-yet unjustly neglected-film cultures. Since then, seismic changes have reshaped Polish society, European politics, and the global film industry. This thoroughly revised and updated edition takes stock of these dramatic shifts to provide an essential account of Polish cinema from the nineteenth century to today, covering such renowned figures as Kieslowski, Skolimowski, and Wajda along with vastly expanded coverage of documentaries, animation, and television, all set against the backdrop of an ever-more transnational film culture.

During World War II Poland lost more than six million people, including about three million Polish Jews who perished in the ghettos and extermination camps built by Nazi Germany in occupied Polish territories. This book is the first to address the representation of the Holocaust in Polish film and does so through a detailed treatment of several films, which the author frames in relation to the political, ideological, and cultural contexts of the times in which they were created. Following the chronological development of Polish Holocaust films, the book begins with two early classics: Wanda Jakubowska's The Last Stage (1948) and Aleksander Ford's Border Street (1949), and next explores the Polish School period, represented by Andrzej Wajda's A Generation (1955) and Andrzej Munk's The Passenger (1963). Between 1965 and 1980 there was an "organized silence" regarding sensitive Polish-Jewish relations resulting in only a few relevant films until the return of democracy in 1989 when an increasing number were made, among them Krzysztof Kieslowski's Decalogue 8 (1988), Andrzej Wajda's Korczak (1990), Jan Jakub Kolski's Keep Away from the Window (2000), and Roman Polanski's The Pianist (2002). An important contribution to film studies, this book has wider relevance in addressing the issue of Poland's national memory.

."..the author has identified a significant and little examined subject for study, and displays a deep knowledge of it... Where previously the issue of Polish film and the Holocaust had been addressed in single articles or chapters on the depiction of the Holocaust in particular films, here, for the first time we have a history." Jeremy Hicks, University of London

During World War II Poland lost more than six million people, including about three million Polish Jews who perished in the ghettos and extermination camps built by Nazi Germany in occupied Polish territories. This book is the first to address the representation of the Holocaust in Polish film and does so through a detailed treatment of several films, which the author frames in relation to the political, ideological, and cultural contexts of the times in which they were created. Following the chronological development of Polish Holocaust films, the book begins with two early classics: Wanda Jakubowska's "The Last Stage" (1948) and Aleksander Ford's "Border Street" (1949), and next explores the Polish School period, represented by Andrzej Wajda's "A Generation" (1955) and Andrzej Munk's "The Passenger" (1963). Between 1965 and 1980 there was an "organized silence" regarding sensitive Polish-Jewish relations resulting in only a few relevant films until the return of democracy in 1989 when an increasing number were made, among them Krzysztof Kie lowski's "Decalogue 8" (1988), Andrzej Wajda's "Korczak" (1990), Jan Jakub Kolski's "Keep Away from the Window" (2000), and Roman Pola ski's "The Pianist" (2002). An important contribution to film studies, this book has wider relevance in addressing the issue of Poland's national memory.

Marek Haltof is Professor at Northern Michigan University in Marquette. His recent books include the "Historical Dictionary of Polish Cinema" (2007), "Australian Cinema: The Screen Construction of Australia" (in Polish, 2005), "The Cinema of Krzysztof Kie lowski: Variations on Destiny and Chance" (2004), and "Polish National Cinema" (2002).

In 1902, scientist and inventor Kazimierz Proszynski made the first Polish narrative film, The Return of a Merry Fellow. Since then, the Polish film industry has produced a diverse body of work, ranging from patriotic melodramas and epic adaptations of the national literary canon to Yiddish cinema and films portraying the corrupt side of communism. Poland has produced several internationally known films, including Andrzej Wajda's war trilogy, A Generation (1955), Kanal (1957), and Ashes and Diamonds (1958); Roman Polanski's Knife in the Water (1962); and Andrzej Munk's The Passenger (1963). Often performing specific political and cultural duties for their nation, Polish filmmakers were well aware of their role as educators, entertainers, social activists, and political leaders. This second edition of Historical Dictionary of Polish Cinema fills the gap in film scholarship, presenting an extensive factual survey of Polish film. Through a chronology; an introductory essay; appendixes, a bibliography; and over 300 cross-referenced dictionary entries on films, directors, actors, producers, and film institutions, a balanced picture of the richness of Polish cinema is presented. Readers with professional interest in cinema will welcome this new work, which will enhance senior undergraduate or postgraduate courses in film studies.

First published in 2002, Marek Haltof's seminal volume was the first comprehensive English-language study of Polish cinema, providing a much-needed survey of one of Europe's most distinguished-yet unjustly neglected-film cultures. Since then, seismic changes have reshaped Polish society, European politics, and the global film industry. This thoroughly revised and updated edition takes stock of these dramatic shifts to provide an essential account of Polish cinema from the nineteenth century to today, covering such renowned figures as Kieslowski, Skolimowski, and Wajda along with vastly expanded coverage of documentaries, animation, and television, all set against the backdrop of an ever-more transnational film culture.

Since his death in 1996, Krzysztof Kieslowski has remained the best-known contemporary Polish filmmaker and one of the most popular and respected European directors, internationally renowned for his ambitious "Decalogue" and "Three Colors" trilogy.

In this new addition to the Directors'Cuts series, Marek Haltof provides a comprehensive study of Kieslowski's cinema, discussing industrial practices in Poland and stressing that the director did not fit the traditional image of a "great" East-Central European auteur. He draws a fascinating portrait of the stridently independent director's work, noting that Kieslowski was not afraid to express unpopular views in film or in life. Haltof also shows how the director's work remains unique in the context of Polish documentary and narrative cinema.

Since his death in 1996, Krzysztof Kieslowski has remained the best-known contemporary Polish filmmaker and one of the most popular and respected European directors, internationally renowned for his ambitious "Decalogue" and "Three Colors" trilogy.

In this new addition to the Directors'Cuts series, Marek Haltof provides a comprehensive study of Kieslowski's cinema, discussing industrial practices in Poland and stressing that the director did not fit the traditional image of a "great" East-Central European auteur. He draws a fascinating portrait of the stridently independent director's work, noting that Kieslowski was not afraid to express unpopular views in film or in life. Haltof also shows how the director's work remains unique in the context of Polish documentary and narrative cinema.

Screening Auschwitz examines the classic Polish Holocaust film The Last Stage (Ostatni etap), directed by the Auschwitz survivor Wanda Jakubowska (1907-1998). Released in 1948, The Last Stage was a pioneering work and the first narrative film to portray the Nazi German camp. Haltof's fascinating book offers to English-speaking readers a wealth of new materials and sources, mostly from original Polish sources and obtained through extensive archival research. With its powerful dramatization of the camp experience, The Last Stage shaped subsequent Shoah films, establishing several quasi-documentary themes easily discernible in later Holocaust narratives: the dark, "realistic" images of the camp; the passionate moralistic appeal; and the clear divisions between victims and perpetrators. Jakubowska's film introduced the images of camp life that are now archetypal-for example, morning and evening roll calls on the Appelplatz, the arrival of transport trains at Birkenau, the separation of families, and tracking shots over the belongings left by the gassed camp victims. These and other images reinforced the depiction of Nazi German concentration camps and are discernible in a number of subsequent American films, including George Stevens's The Diary of Anne Frank (1959), Alan Pakula's Sophie's Choice (1982), and Steven Spielberg's Schindler's List (1993). Haltof discusses the unusual circumstances that surrounded the production of the film on location at Auschwitz-Birkenau and summarizes critical debates surrounding the film's release. The book offers much of interest to film historians and readers interested in the Holocaust.

In 1902, scientist and inventor Kazimierz Proszynski made the first Polish narrative film, The Return of a Merry Fellow (Powrot Birbanta). Since then, the Polish film industry has produced a diverse body of work, ranging from patriotic melodramas and epic adaptations of the national literary canon to Yiddish cinema and films portraying the corrupted side of communism. Poland has produced several internationally known films, including Andrzej Wajda's war trilogy, A Generation (1955), Kanal (1957), and Ashes and Diamonds (1958), Roman Polanski's Knife in the Water (1962), and Andrzej Munk's The Passenger (1963). Often performing specific political and cultural duties for their nation, Polish filmmakers were well aware of their role as educators, entertainers, social activists, and political leaders. The A to Z of Polish Cinema fills the gap in film scholarship, presenting an extensive factual survey of Polish film. Through its chronology, introductory essay, appendixes, bibliography, and cross-referenced dictionary entries on films, directors, actors, producers, and film institutions, a balanced picture of the richness of Polish cinema is presented. Readers with professional interest in cinema will welcome this new work, which would be useful for any senior undergraduate or post-graduate courses in film studies.