我们世界的尽头 Koniec Naszego Świata (1964)
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我们世界的尽头影片简介
波兰著名女导演Wanda Jakubowska作品，她被称为“大屠杀影片之母”，她是战后世界影史上首位用电影反映集中营里纳粹暴行的导演，同时她也是奥斯维辛集中营的幸存者之一，1948年由她根据自己亲身经历而拍摄的影片《最后一站》获得了卡罗维发利影展水晶奖和英国学院奖最佳影片提名，是第一部“大屠杀电影”。
Polish filmmaker Wanda Jakubowska has been creating movies for...展开 over 50 years, but her most significant contributions to cinema came from the years around World War II. Her 1946 film
Ostatni Etap/The Last Stage, a chronicle of the relationships formed between female prisoners in Nazi concentration camps based on her experiences while interned in Auschwitz was the first Polish post-war film to gain international distribution; it was also only the second feature produced by the newly formed Film Polski, the state film board. Jakubowska was also a key figure in the founding of START (Stowarzyszenie Milosnikow Filmu Artystycznego/Society for Devotees of Artistic Film) in 1929. This organization attempted to promote the production of films about artistic and social committment.
in 1963 Jakubowska turned back to Auschwitz in her film Koniec naszego Swiata (The End of Our World, 1964), based on Tadeusz Holuj's book. [illustration #6] She presents the narrative as a series of flashbacks, framed by a confrontation in the presence. Henryk, a Polish Auschwitz survivor and Communist, is asked by two American tourists, a young couple, to give them a lift to the Museum on the site of Auschwitz. First reluctantly, then caught by his own memories, he offers them a guided tour. Julia, the young lady turns out to be the daughter of Jews who died in the camp. Her companion instead lacks any personal attachment (or commitment) to this history, asks the most ignorant questions, regards the museum as something not exciting enough, compares Nazis to Communists, and persistently urges the others to film him with his camera. His "unflattering portrayal", as Ewa Mazierska points out, "serves to expose western consumerism, selfishness and moral vacuity and contrast it with the more serious and ascetic attitudes of Poles."
http://www.erinnern.at/e_bibliothek/medien/578_Hanno%20Loewy%20Jakubowska%20Auschwitz%20Trilogy.pdf
Polish filmmaker Wanda Jakubowska has been creating movies for...展开 over 50 years, but her most significant contributions to cinema came from the years around World War II. Her 1946 film
Ostatni Etap/The Last Stage, a chronicle of the relationships formed between female prisoners in Nazi concentration camps based on her experiences while interned in Auschwitz was the first Polish post-war film to gain international distribution; it was also only the second feature produced by the newly formed Film Polski, the state film board. Jakubowska was also a key figure in the founding of START (Stowarzyszenie Milosnikow Filmu Artystycznego/Society for Devotees of Artistic Film) in 1929. This organization attempted to promote the production of films about artistic and social committment.
in 1963 Jakubowska turned back to Auschwitz in her film Koniec naszego Swiata (The End of Our World, 1964), based on Tadeusz Holuj's book. [illustration #6] She presents the narrative as a series of flashbacks, framed by a confrontation in the presence. Henryk, a Polish Auschwitz survivor and Communist, is asked by two American tourists, a young couple, to give them a lift to the Museum on the site of Auschwitz. First reluctantly, then caught by his own memories, he offers them a guided tour. Julia, the young lady turns out to be the daughter of Jews who died in the camp. Her companion instead lacks any personal attachment (or commitment) to this history, asks the most ignorant questions, regards the museum as something not exciting enough, compares Nazis to Communists, and persistently urges the others to film him with his camera. His "unflattering portrayal", as Ewa Mazierska points out, "serves to expose western consumerism, selfishness and moral vacuity and contrast it with the more serious and ascetic attitudes of Poles."
http://www.erinnern.at/e_bibliothek/medien/578_Hanno%20Loewy%20Jakubowska%20Auschwitz%20Trilogy.pdf
