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In the same period, Polish literature also underwent some significant changes. From social-political literature, which had a great tradition and strong motivation to be that way, Polish literature changed its focus to a psychological rather than a social one.

Andrzej Wajda

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Andrzej Wajda
Age: 90 †
Born: 1926
Born: March 6
Died: 2016
Died: October 9
Director
Film Director
Film Producer
Politician
Screenwriter
Television Director
Theatrical Director
Andrzej Witold Wajda
Also
Periods
Underwent
Great
Changed
Polish
Way
Focus
Psychological
Literature
Significant
Rather
Period
Strong
Motivation
Social
Tradition
Political
Changes

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It turned out that the country was helpless in the face of a new reality.
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Cinemas gained new young audiences who wanted films made for them.
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The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.
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We expected that people were just waiting for the collapse of the Soviet Union, or at least for its retreat, and they were going to be full of initiative in all areas of life - in culture, in economy and in politics.
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At the same time, television theatre became more visibly active.
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In the first years after the systemic transition, our screens showed American entertainment that had not been available before, or had been available only sporadically.
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Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.
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By dint of that concern and because that society was willing to examine its particular reality, Solidarity could come into existence.
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On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
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Language also encodes our past. We want to know who we are. To know who we are, we have to know who we used to be. Consequently, our literature, written in the past, anchors us in that past.
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In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
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Nevertheless, in the theatre, and in the cinema, the contemporary reality of Poland has been represented only to a minuscule degree in the last 12 years.
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However, that old mode of Polish filmmaking virtually disappeared.
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On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.
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When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.
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