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Abstract
The aim of the article is to place Andrzej Wajda’s work from the early 1970s in the late-moderist trend developing in Polish film at that time. The best example of this is The Wedding (1972), which implements modernist strategies of subjectification, self-reflection and stylisation at the artistic and narrative level. The presence of ghosts in this film especially leads to a theoretical discussion on the spectral nature of the medium of film.References
Cinematic Ghosts. Haunting and Spectrality from Silent Cinema to the Digital Era, ed. M. Leeder, New York–London 2015.
Janion M., Egzystencje ludzi i duchów. Rodowód wyobraźni filmowej Andrzeja Wajdy, [w:] M. Janion, Projekt krytyki fantazmatycznej. Szkice o egzystencjach ludzi i duchów, Warszawa 1991.
Kermode F., Znaczenie końca, przeł. O. Kubińska, W. Kubiński, Gdańsk 2010.
Kovács A.B., Screening Modernism. European Art Cinema 1950–1980, Chicago–London 2007.
Lubelski T., Historia niebyła kina PRL, Kraków 2012.
Lubelski T., Wajda. Portret mistrza w kilku odsłonach, Wrocław 2006.
Perez G., The Material Ghost. Films and their Medium, Baltimore–London 1998.
Petit Ch., Wnętrza. Postkino i kino utracone, tłum. M. Stelmach, „Ekrany” 2014, nr 2.
Słonimski A., Wesele, „Tygodnik Powszechny” 1973, 25 II.
Szeligowska N., Guy Maddin i duchy minionego kina, „EKRANy” 2015, nr 6.
Wajda A., Zaklinacz duchów, rozmowę przeprowadził J. Żakowski, „Film” 2007, nr 9.
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