Tadeusz Konwicki was a Polish writer and film director, as well as a member of the Polish Language Council.
The Hourglass Sanatorium is a 1973 Polish surrealist film directed by Wojciech Jerzy Has, starring Jan Nowicki, Tadeusz Kondrat, Mieczysław Voit, Halina Kowalska and Gustaw Holoubek. It is also known as The Sandglass in English-speaking countries. The story follows a young Jewish man who visits his father in a mystical sanatorium where time does not behave normally. The film is an adaptation of Bruno Schulz's story collection Sanatorium Under the Sign of the Hourglass. It won the Jury Prize at the 1973 Cannes Film Festival.
Ashes and Diamonds is a 1958 Polish drama film directed by Andrzej Wajda, based on the 1948 novel by Polish writer Jerzy Andrzejewski. Starring Zbigniew Cybulski and Ewa Krzyżewska, it completed Wajda's war films trilogy, following A Generation (1954) and Kanal (1956). The action of Ashes and Diamonds takes place in 1945, shortly after World War II. The main protagonist of the film, former Home Army soldier Maciek Chełmicki, is acting in the anti-Communist underground. Maciek receives an order to kill Szczuka, the local secretary of the Polish Workers' Party. Over time, Chełmicki increasingly doubts if his task is worth doing.
Bolesław Matuszewski - Polish businessman, photographer and cameraman, pioneer of cinematography and documentary film.
Stanisław Ambroży Estreicher was a Polish historian of Law and bibliographer; professor of the Jagiellonian University in 1906. Following the 1939 invasion of Poland, he was briefly offered to form a puppet quasi-government by Nazi Germany. He paid with his life for his refusal to do it.
Wojciech Smarzowski is a Polish screenwriter and director. He studied filmmaking at the Jagiellonian University and the National Film School in Łódź (1990). His 2004 film, The Wedding earned special jury mention at the Karlovy Vary International Film Festival in 2005. He began his film career as a video camera operator.
Władysław Konopczyński was a leading Polish historian and publisher of primary-source materials.
Innocent Sorcerers is a 1960 Polish psychological romantic drama film directed by Andrzej Wajda, and starring Tadeusz Łomnicki and Krystyna Stypułkowska. Its plot follows a young womanizer meeting another yet finally interesting girl, who all but forces herself into his apartment where they play the game of appearances, unable to confess their love to each other.
Ewa Mazierska is a reader in Contemporary Cinema, in the Department of Humanities of the University of Central Lancashire. Her publications include various articles in Polish and English and a number of monographs. She also co-edited Relocating Britishness.
Beginning in the 1950s and through the 1980s, the Polish School of Posters combined the aesthetics of painting and the use of metaphor with the succinctness of the poster. By utilizing characteristics such as painterly gesture, linear quality, and vibrant colors, as well as individual personality, humor, and fantasy, the Polish poster made the distinction between designer and artist less apparent. Posters of the Polish Poster School significantly influenced the international development of graphic design in poster art. Influenced by the vibrant colors of folk art, they combine printed slogans, often hand-lettered, with popular symbols, to create a concise metaphor. As a hybrid of words and images, these posters created a certain aesthetic tension. In addition to aesthetic aspects, these posters revealed the artist's emotional involvement with the subject. They did not solely exist as an objective presentation, rather they were also the artist's interpretation and commentary on the subject and on society.
Rafał Syska is a Polish film historian and associate professor in the Audiovisual Arts Department of Jagiellonian University in Cracow. First he was specialized in the phenomenon of violence in cinema, then he focused on strategies of authorship in American cinema and contemporary minimalistic slow-cinema, especially its neomodernism tendencies (e.g. works of Theo Angelopoulos, Alexander Sokurov, Béla Tarr, Bruno Dumont, Sarunas Bartas, Fred Kelemen, Tsai Ming-liang, Lisandro Alonso, Carlos Reygadas. Now he specializes in cinematic and narrative museology and exhibition studies.
Dr. hab. Piotr Zawojski is a Polish media expert. He is a tenured professor in the Department of Film and Media Studies at the University of Silesia in Katowice, Poland.
Antoni Gąsiorowski is a Polish medievalist historian, professor of humanities, member of the Polish Academy of Arts and Sciences.
Marcin Giżycki was a Polish film and art historian, critic, and filmmaker. He was a professor at the Polish-Japanese Academy of Information Technology in Warsaw, a Senior Lecturer at the Rhode Island School of Design, and an Artistic Director of the ANIMATOR (festival) International Animated Film Festival Animator in Poznań, Poland. He has authored eight books, co-edited two others, contributed photographs to four books by Agnieszka Taborska, and published around 400 articles on film and art in Polish and foreign publications. In 2016, he received the Award for the Outstanding Contribution to Animation Studies at Animafest, the World Festival of Animated Film in Zagreb, Croatia.
Antonina Elżbieta Petrykiewicz, better known as Nina Niovilla, was a Polish film director, screenwriter, actress, translator and a teacher. She was the first Polish female film director and the only female director of the silent film era in Poland.
The cinema of moral anxiety, Polish: Kino moralnego niepokoju, was a short-lived (1976–1981) but influential movement in the history of the cinema of Poland. The term was also translated as "cinema of moral unrest", "cinema of moral concern", "cinema of moral dissent". Films of this movement portrayed the crisis of the regime in Communist Poland, usually in the setting of a provincial town. The development of the movement was abruptly stopped by the introduction of the martial law in Poland in 1981, and when it was lifted, the country was overwhelmed with powerful political and social processes which had eventually led to the fall of Communism in the country and disappearance of the addressed social issues.
Fryderyk Pautsch was a Polish painter; associated with the Young Poland movement.
Marta Flantz, also spelled Flanz was a Polish German-speaking actress and film director. She was among the first women in Poland to direct a feature film.
![<i>Zapomniana melodia</i> 1938 [[Second Polish Republic|Poland]] film](https://upload.wikimedia.org/wikipedia/commons/thumb/7/76/Plakat_filmu_Zapomniana_melodia.png/320px-Plakat_filmu_Zapomniana_melodia.png)
Zapomniana melodia is a Polish musical comedy from 1938 directed by Konrad Tom and Jan Fethke, featuring three well-known songs by Ludwik Starski with music by Henryk Wars: Ach, jak przyjemnie! and Już nie zapomnisz mnie, along with an elaborate arrangement of the song Frère Jacques. The film's protagonists are the lovers, boarding school student Helenka Roliczówna and Stefan Frankiewicz. The young man sings the titular "forgotten melody", but when a series of misunderstandings arise between the couple, their feelings fade and they forget the lyrics of the song. However, they happily come to an understanding, Stefan remembers the song's lyrics, and the lovers live happily ever after. Helenka's father, Bogusław Rolicz – the president of a cosmetics company – uses the "forgotten melody" to remember the recipe for his invention and protect it from theft by a competitor in the industry, Roxy.
Hospital of the Transfiguration is a Polish psychological war film from 1978 directed by Edward Żebrowski, based on Stanisław Lem's 1955 novel of the same title. The film's theme revolves around the extermination of patients in a psychiatric hospital shortly after the outbreak of World War II. The story focuses on the character of Dr. Stefan, who dares to protest against unethical experiments conducted on patients by the hospital staff even before the arrival of the Germans. The film was mostly well received by critics and won multiple awards, including at the Polish Film Festival and the Locarno Film Festival. Its strengths were praised for its aesthetic quality and insightful analysis of the reasons for acquiescence to totalitarianism, while its weakness was seen in deviating from wartime realities in favor of an idiosyncratic stylization.
