Portrety dziennikarzy w polskim filmie fabularnym okresu PRL
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Date
2013-04-26
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Depiction of journalists in polish feature films in People’s Republic of Poland
Abstract
Odzyskanie przez media miana czwartej władzy w Polsce po ‘89 roku, wbrew pozorom, nie zwiększyło zainteresowania filmowców postaciami dziennikarzy. Okazuje się, że więcej filmów dotyczących ludzi mediów powstało w okresie PRL . Wśród utworów fabularnych z tych lat można znaleźć około pięćdziesięciu filmów opowiadających o przedstawicielach środków przekazu . To zjawisko wyróżniające nas na tle kinematografii europejskiej. Dla reżyserów dziennikarz stanowił alter ego. Filmowcy, tak jak ludzie mediów, musieli funkcjonować w systemie opartym na totalitarnej władzy partii, cenzurze, ograniczeniu wolności słowa. Dziennikarz był bohaterem największych dzieł polskiego kina, kreowanym przez najwybitniejszych aktorów . „Pełnokrwista”, złożona postać reprezentanta mediów pojawiła się dopiero w kinie moralnego niepokoju. Analiza bohaterów według paradygmatu aksjologicznego pozwala uszeregować ich od świadomych kłamców i manipulatorów do poszukiwaczy prawdy. Narzuca się jednocześnie refleksja na temat wielości prawd i subiektywizmu opisu rzeczywistości. Każdy z filmowych bohaterów – dziennikarzy ponosi w jakimś sensie klęskę – osobista lub zawodową albo w obu tych sferach. Ale nie do końca. Doświadczenia dziennikarzy pracujących w obu systemach, w tym autorki , podobnie jak filmy, dowodzą, że zwycięstwo w tym zawodzie – choćby w skali mikro – jest możliwe.
Regaining by mass media the appellation ‘the fourth estate’ in Poland after the political transformation in 1989 has not resulted in making journalists characters more popular with film-makers at all. As a matter of fact, more films regarding people of media were created in the time of People’s Republic of Poland. About 50 movies presenting exponents of journalism can be found among feature films from that period. This phenomenon distinguishes us from the rest of European cinematography. A journalist was an alter ego for the directors. The film-makers, similarly to the people of media, had to operate within the system based on totalitarian rule by the Party, censorship and limitation on freedom of speech. A journalist was a hero of the greatest masterpieces of Polish cinematography, played by the most outstanding actors. The full-blooded character of an exponent of media did not emerge earlier than in the cinema of moral anxiety. Analyzing the characters according to axiological paradigm allows to arrange them ranging from intentional liars and manipulators to those seeking for the truth. Although, a reflection on multiplicity of the truths and subjectivity in description of the reality suggests itself. All of these journalist heroes fail in some way. But not completely. Experiences of journalists working in both the systems show that success in this profession – if only at the micro level – is possible.
Regaining by mass media the appellation ‘the fourth estate’ in Poland after the political transformation in 1989 has not resulted in making journalists characters more popular with film-makers at all. As a matter of fact, more films regarding people of media were created in the time of People’s Republic of Poland. About 50 movies presenting exponents of journalism can be found among feature films from that period. This phenomenon distinguishes us from the rest of European cinematography. A journalist was an alter ego for the directors. The film-makers, similarly to the people of media, had to operate within the system based on totalitarian rule by the Party, censorship and limitation on freedom of speech. A journalist was a hero of the greatest masterpieces of Polish cinematography, played by the most outstanding actors. The full-blooded character of an exponent of media did not emerge earlier than in the cinema of moral anxiety. Analyzing the characters according to axiological paradigm allows to arrange them ranging from intentional liars and manipulators to those seeking for the truth. Although, a reflection on multiplicity of the truths and subjectivity in description of the reality suggests itself. All of these journalist heroes fail in some way. But not completely. Experiences of journalists working in both the systems show that success in this profession – if only at the micro level – is possible.
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Wydział Filologii Polskiej i Klasycznej
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dziennikarz, journalist, film, prawda, truth, zwycięstwo, porażka, victory, failure