{"title":"从一个淑女到一个迷失的“无产者”:20世纪60年代和70年代初波兰电影中的城市女孩","authors":"E. Mazierska","doi":"10.1386/FFC.7.2.115_1","DOIUrl":null,"url":null,"abstract":"The term ‘girl’ is by no means neutral, but culture-specific. A person called a ‘girl’ in one decade or place might not be classified as ‘girl’ in another. It is widely assumed that in the 1960s the very concept of ‘girlhood’ undertook a profound transformation. However, such claims are usually directed towards western culture. Much less has been written about girls in the countries of state socialism. To make up for this gap, this article considers representations of girls in two Polish films from the beginning of the 1960s, Niewinni czarodzieje (Innocent Sorcerers) (1960), directed by Andrzej Wajda and Do widzenia, do jutra (Good Bye, Till Tomorrow) (1960), directed by Jerzy Morgenstern; and two from the beginning of the 1970s, Seksolatki (Sex-Teenagers) (1971), directed by Zygmunt Hubner and Dziewczyny do wziecia (Girls to Pick Up) (1971), directed by Janusz Kondratiuk – all set in two large Polish cities, Warsaw and Gdansk. It examines their appearance, their interests, their attitude to sex and their place in the city culture. Of special interest is the relationship between girlhood and class.","PeriodicalId":41071,"journal":{"name":"Film Fashion & Consumption","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"From a lady to a lost ‘Prole’: Girls in the city in Polish cinema of the 1960s and early 1970s\",\"authors\":\"E. Mazierska\",\"doi\":\"10.1386/FFC.7.2.115_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The term ‘girl’ is by no means neutral, but culture-specific. A person called a ‘girl’ in one decade or place might not be classified as ‘girl’ in another. It is widely assumed that in the 1960s the very concept of ‘girlhood’ undertook a profound transformation. However, such claims are usually directed towards western culture. Much less has been written about girls in the countries of state socialism. To make up for this gap, this article considers representations of girls in two Polish films from the beginning of the 1960s, Niewinni czarodzieje (Innocent Sorcerers) (1960), directed by Andrzej Wajda and Do widzenia, do jutra (Good Bye, Till Tomorrow) (1960), directed by Jerzy Morgenstern; and two from the beginning of the 1970s, Seksolatki (Sex-Teenagers) (1971), directed by Zygmunt Hubner and Dziewczyny do wziecia (Girls to Pick Up) (1971), directed by Janusz Kondratiuk – all set in two large Polish cities, Warsaw and Gdansk. It examines their appearance, their interests, their attitude to sex and their place in the city culture. Of special interest is the relationship between girlhood and class.\",\"PeriodicalId\":41071,\"journal\":{\"name\":\"Film Fashion & Consumption\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2018-11-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Film Fashion & Consumption\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/FFC.7.2.115_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Film Fashion & Consumption","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/FFC.7.2.115_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 1
摘要
“女孩”这个词绝不是中性的,而是有文化特殊性的。一个人在一个年代或一个地方被称为“女孩”,在另一个年代或地方可能就不会被归类为“女孩”。人们普遍认为,在20世纪60年代,“少女时代”的概念发生了深刻的变化。然而,这种说法通常是针对西方文化的。关于国家社会主义国家的女孩的描写少之又少。为了弥补这一差距,本文考虑了20世纪60年代初两部波兰电影中女孩的表现:安德烈·瓦伊达(Andrzej Wajda)导演的Niewinni czarodzieje(无辜的巫师)(1960)和杰西·摩根斯坦(Jerzy Morgenstern)导演的Do widzenia, Do jutra(再见,直到明天)(1960);上世纪70年代初的两部电影,齐格蒙特·胡布纳导演的《性少女》(1971)和雅努什·康德拉季克导演的《女孩去接》(1971),都发生在波兰的两个大城市华沙和格但斯克。它考察了他们的外貌、兴趣、对性的态度以及他们在城市文化中的地位。特别有趣的是少女时代和阶级之间的关系。
From a lady to a lost ‘Prole’: Girls in the city in Polish cinema of the 1960s and early 1970s
The term ‘girl’ is by no means neutral, but culture-specific. A person called a ‘girl’ in one decade or place might not be classified as ‘girl’ in another. It is widely assumed that in the 1960s the very concept of ‘girlhood’ undertook a profound transformation. However, such claims are usually directed towards western culture. Much less has been written about girls in the countries of state socialism. To make up for this gap, this article considers representations of girls in two Polish films from the beginning of the 1960s, Niewinni czarodzieje (Innocent Sorcerers) (1960), directed by Andrzej Wajda and Do widzenia, do jutra (Good Bye, Till Tomorrow) (1960), directed by Jerzy Morgenstern; and two from the beginning of the 1970s, Seksolatki (Sex-Teenagers) (1971), directed by Zygmunt Hubner and Dziewczyny do wziecia (Girls to Pick Up) (1971), directed by Janusz Kondratiuk – all set in two large Polish cities, Warsaw and Gdansk. It examines their appearance, their interests, their attitude to sex and their place in the city culture. Of special interest is the relationship between girlhood and class.