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Papers by Karina Pryt
Springer eBooks, Dec 31, 2023
Early Popular Visual Culture
Studia Geohistorica
Starting with the first film shows in late 1895, Warsaw experienced a considerable rise of cinema... more Starting with the first film shows in late 1895, Warsaw experienced a considerable rise of cinema. Like in other places worldwide, this development was conditioned as much by the place’s particularities as by the time. Thus, the article illuminates the growth and scope of the local cinema market against the larger geopolitical context. Furthermore, using a sample for 1911, it maps the cinemas in QGIS, revealing spatial patterns and correlations.
Iluminace
The digital turn has opened up new research opportunities for cinema historians on the three leve... more The digital turn has opened up new research opportunities for cinema historians on the three levels of data search, processing, and interpretation. Inspired by the New Cinema History (NCH), this article shows how online libraries and computer software (Excel, Citavi, QGIS) can be used for innovative interdisciplinary studies of cinema in early 1910s Warsaw. Drawing on a wide range of sources, including statistical data and daily newspapers in Russian, Polish, and Yiddish, this article discusses cinema topography and sheds new light on the biographies and business activities of two local film producers. It then traces the paths of their films, drawing conclusions about the potential audience in the city where Russians, Poles and Jews lived side by side rather than together.
The article presents Polish-German film relations in the framework of Nazis cultural diplomacy be... more The article presents Polish-German film relations in the framework of Nazis cultural diplomacy between 1933 and 1939. The Nazi effort to create a cultural hegemony through the unification of the European film market under German leadership serves as an important point of reference. On the example of the Polish-German relationship, the article analyses the Nazi “soft power” in terms of both its strength and limits. Describing the broader geopolitical context, the article proposes a new trail in the research on both the film milieus and the cinema culture in Poland in the 1930s. In mythological terms, it belongs to cultural diplomacy and adds simultaneously to film history and New Cinema History.
Die Filmwissenschaftlerin Chantal Catherine Michel zeigt nun dieses Kulturerbe der Aschkenasim in... more Die Filmwissenschaftlerin Chantal Catherine Michel zeigt nun dieses Kulturerbe der Aschkenasim in einem anderen Licht. In ihrer auf die Dissertation zurückgehenden Arbeit verortet sie das Jiddische Kino im Spannungsverhältnis zwischen "Schtetl und American Dream", zwischen der osteuropäisch-jüdischen Identität und der vollständigen Anpassung an die US-amerikanische Gesellschaft. Diese gehe in den Filmen weit über eine bloße Akkulturation hinaus und wird daher durch die Autorin bewusst als Assimilation bezeichnet. (S. 253).
Researching Historical Screen Audiences
Acta Poloniae Historica
The Polish-Soviet War, particularly the Battle of Warsaw (13–25 August 1920), soon became a subje... more The Polish-Soviet War, particularly the Battle of Warsaw (13–25 August 1920), soon became a subject of legend and myth. Irrespective of its fundamental political significance, the defeat of the Red Army was glorified as salvation for both Poland and Europe in military, ideological and metaphysical terms. Conducted beyond academia, the narrative was forged mainly by veterans, the Catholic Church and various forms of literature and art. Due to government subsidies, documentary and feature films also conveyed a normative notion of these dramatic events and their participants. This article focuses on cinematic works like Dla Ciebie, Polsko [For You, o Poland, PL 1920], and Cud nad Wisłą [The Miracle on the Vistula, PL 1921] produced in order to commemorate the war between the Poles and the Bolsheviks. Taking the iconic turn, this article scrutinises the cinematic self-portrait of the Polish nation that had already been ‘imagined’ as a bulwark of European culture in the East by earlier l...
Springer eBooks, Dec 31, 2023
Early Popular Visual Culture
Studia Geohistorica
Starting with the first film shows in late 1895, Warsaw experienced a considerable rise of cinema... more Starting with the first film shows in late 1895, Warsaw experienced a considerable rise of cinema. Like in other places worldwide, this development was conditioned as much by the place’s particularities as by the time. Thus, the article illuminates the growth and scope of the local cinema market against the larger geopolitical context. Furthermore, using a sample for 1911, it maps the cinemas in QGIS, revealing spatial patterns and correlations.
Iluminace
The digital turn has opened up new research opportunities for cinema historians on the three leve... more The digital turn has opened up new research opportunities for cinema historians on the three levels of data search, processing, and interpretation. Inspired by the New Cinema History (NCH), this article shows how online libraries and computer software (Excel, Citavi, QGIS) can be used for innovative interdisciplinary studies of cinema in early 1910s Warsaw. Drawing on a wide range of sources, including statistical data and daily newspapers in Russian, Polish, and Yiddish, this article discusses cinema topography and sheds new light on the biographies and business activities of two local film producers. It then traces the paths of their films, drawing conclusions about the potential audience in the city where Russians, Poles and Jews lived side by side rather than together.
The article presents Polish-German film relations in the framework of Nazis cultural diplomacy be... more The article presents Polish-German film relations in the framework of Nazis cultural diplomacy between 1933 and 1939. The Nazi effort to create a cultural hegemony through the unification of the European film market under German leadership serves as an important point of reference. On the example of the Polish-German relationship, the article analyses the Nazi “soft power” in terms of both its strength and limits. Describing the broader geopolitical context, the article proposes a new trail in the research on both the film milieus and the cinema culture in Poland in the 1930s. In mythological terms, it belongs to cultural diplomacy and adds simultaneously to film history and New Cinema History.
Die Filmwissenschaftlerin Chantal Catherine Michel zeigt nun dieses Kulturerbe der Aschkenasim in... more Die Filmwissenschaftlerin Chantal Catherine Michel zeigt nun dieses Kulturerbe der Aschkenasim in einem anderen Licht. In ihrer auf die Dissertation zurückgehenden Arbeit verortet sie das Jiddische Kino im Spannungsverhältnis zwischen "Schtetl und American Dream", zwischen der osteuropäisch-jüdischen Identität und der vollständigen Anpassung an die US-amerikanische Gesellschaft. Diese gehe in den Filmen weit über eine bloße Akkulturation hinaus und wird daher durch die Autorin bewusst als Assimilation bezeichnet. (S. 253).
Researching Historical Screen Audiences
Acta Poloniae Historica
The Polish-Soviet War, particularly the Battle of Warsaw (13–25 August 1920), soon became a subje... more The Polish-Soviet War, particularly the Battle of Warsaw (13–25 August 1920), soon became a subject of legend and myth. Irrespective of its fundamental political significance, the defeat of the Red Army was glorified as salvation for both Poland and Europe in military, ideological and metaphysical terms. Conducted beyond academia, the narrative was forged mainly by veterans, the Catholic Church and various forms of literature and art. Due to government subsidies, documentary and feature films also conveyed a normative notion of these dramatic events and their participants. This article focuses on cinematic works like Dla Ciebie, Polsko [For You, o Poland, PL 1920], and Cud nad Wisłą [The Miracle on the Vistula, PL 1921] produced in order to commemorate the war between the Poles and the Bolsheviks. Taking the iconic turn, this article scrutinises the cinematic self-portrait of the Polish nation that had already been ‘imagined’ as a bulwark of European culture in the East by earlier l...