Spojrzenie z „drugiej strony”. Andrzej Wajda w dokumentach Wydziału Kultury KC PZPR w latach 80.

 A LOOK FROM THE “OTHER SIDE”. ANDRZEJ WAJDA IN THE DOCUMENTS OF THE CULTURE DEPARTMENT OF THE CENTRAL COMMITTEE OF THE PZPR POLISH UNITED WORKER’S PARTY IN THE 1980SFilm activity in the PRL Polish People’s Republic was subject to the Ministry of Culture and Arts and the Culture Department of the Central Committee of the Polish United Workers’ Party. The latter one was a typical bureaucratic-party institution. It also means that it produced dozens of letters, reports, circulars, notes, etc. The name of Andrzej Wajda appears in them very often. No other artist was the object of such a grand interest, although of course Wajda was in the focus of attention of the Culture Department not only as a director, but above all as the president of the Polish Filmmakers Association and as the authority among filmmakers. Perhaps it is these voices from the “other side” that best inform how important he was in the 80’s among Polish artists. They also allow us to take a closer look at the tensions in this group. We can realize the party-bureaucratic dimension of film life in Poland and the way of functioning of one of the power centers responsible for cinematography. A LOOK FROM THE “OTHER SIDE”. ANDRZEJ WAJDA IN THE DOCUMENTS OF THE CULTURE DEPARTMENT OF THE CENTRAL COMMITTEE OF THE PZPR POLISH UNITED WORKER’S PARTY IN THE 1980SFilm activity in the PRL Polish People’s Republic was subject to the Ministry of Culture and Arts and the Culture Department of the Central Committee of the Polish United Workers’ Party. The latter one was a typical bureaucratic-party institution. It also means that it produced dozens of letters, reports, circulars, notes, etc. The name of Andrzej Wajda appears in them very often. No other artist was the object of such a grand interest, although of course Wajda was in the focus of attention of the Culture Department not only as a director, but above all as the president of the Polish Filmmakers Association and as the authority among filmmakers. Perhaps it is these voices from the “other side” that best inform how important he was in the 80’s among Polish artists. They also allow us to take a closer look at the tensions in this group. We can realize the party-bureaucratic dimension of film life in Poland and the way of functioning of one of the power centers responsible for cinematography