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DOI: 10.5593/SGEMSOCIAL2015/B41/S12.008

WOJCIECH HAS AND HIS “SURREAL-ORIENTAL DREAM”

I. Grodz
Wednesday 30 September 2015 by Libadmin2015

References:
2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015, www.sgemsocial.org , SGEM2015 Conference Proceedings, ISBN 978-619-7105-50-6 / ISSN 2367-5659 , Aug 26-Sept 01; Book 4, Vol. 1, 55 - 68 pp

ABSTRACT
Wojciech Has (1925-2000) – polish film director – was one of creators venturing not to transcend reality and matter, rather to unveil their other invisible dimension by way of artistic shaping of an image. His film art seems to be the best evidence for overcoming the limitations of substance, i.e. for „image spiritualization” and “naming what escapes comprehension”. I label the fourteen feature films by Has from the years 1957-1988 as a piece of art. The following are meant here: The Noose (Pętla) (1958), Farewells (Pożegnania) (1958), Roomers (Wspólny pokój) (1960), Partings (Rozstanie) (1961), Gold Dreams (Złoto) (1962), How to be loved (Jak być kochaną) (1963), The Saragossa Manuscript (Rękopis znaleziony w Saragossie) (1965), The Codes (Szyfry) (1966), The Doll (Lalkę) (1968), Sandglass (Sanatorium pod Klepsydrą) (1973), An Uneventful Story (Nieciekawą historię) (1983), Write and Fight (Pismak) (1985), The Memoirs of A Sinner (Osobisty pamiętnik grzesznika... przez niego samego spisany) (1986) i The Tribulations of Baltazar Kober (Niezwykła podróż Baltazara Kobera) (1988).
In my text I used semiology analisys and interpretation.

Keywords: history of polish film, Wojciech Has, surrealism, semiology