Recenzja: Kontestacja i jej kino

CONTESTATION AND ITS CINEMA Martyna Olszowska’s review of Kondrad Klejsa’s book Filmowe obrazy kontestacji. Kino Stanów Zjednoczonych i Europy Zachodniej wobec kultury prostestu przełomu lat sześćdziesiątych i siedemdziesiątych [Cinematic Images of Contestation Movements. Cinema of U.S. and West Europe in the Presence of the Culture of the Protest at the Turn of the 60s and 70s]. Olszowska notices that the issue of the cinema of the 60s and 70s has not been recognized entirely and Klejsa’s book can fulfill this shortage. The book is not a historical and film description of that time 1964–1973, but rather an attempt to present cinema of that period in the sociological, cultural and political context. Klejsa begins with the theoretical and historical introduction about the most important political events, theories and ideologies. He suggests useful in former film analyses distinctions between words: “contestation” and “counterculture”; a contesting culture connected to symbolic culture and culture of contestation in regard to the period of 60s and 70s. It allows Klejsa to analyse a content and a matter as well asa form and style of selected films. Most of his attention is paid to American cinema he analyses films in regard to racial, gender, generational, political and social issues, however, Klejsa also researches cinema of West Europe: Italy, France, Great Britain and Federal Republic of Germany. CONTESTATION AND ITS CINEMA Martyna Olszowska’s review of Kondrad Klejsa’s book Filmowe obrazy kontestacji. Kino Stanów Zjednoczonych i Europy Zachodniej wobec kultury prostestu przełomu lat sześćdziesiątych i siedemdziesiątych [Cinematic Images of Contestation Movements. Cinema of U.S. and West Europe in the Presence of the Culture of the Protest at the Turn of the 60s and 70s]. Olszowska notices that the issue of the cinema of the 60s and 70s has not been recognized entirely and Klejsa’s book can fulfill this shortage. The book is not a historical and film description of that time 1964–1973, but rather an attempt to present cinema of that period in the sociological, cultural and political context. Klejsa begins with the theoretical and historical introduction about the most important political events, theories and ideologies. He suggests useful in former film analyses distinctions between words: “contestation” and “counterculture”; a contesting culture connected to symbolic culture and culture of contestation in regard to the period of 60s and 70s. It allows Klejsa to analyse a content and a matter as well asa form and style of selected films. Most of his attention is paid to American cinema he analyses films in regard to racial, gender, generational, political and social issues, however, Klejsa also researches cinema of West Europe: Italy, France, Great Britain and Federal Republic of Germany.&nbsp