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Roman Polanski after The Pianist examines Polanski’s later films as a distinct and coherent phase in his career. Situating these works within changing industrial, cultural and political conditions, the book shows how Polanski’s late cinema rethinks genre, sound, work, domestic space and historical memory. Drawing on production studies, sound analysis and theories of authorship and mediation, it explores the formal strategies through which these films construct their cinematic worlds. Engaging contemporary debates on art, morality and authorship, the authors argue for the critical autonomy of artworks in a culture increasingly shaped by biographical scrutiny and moral judgement.
“The book is a successful attempt to analyse the late work of one of the most celebrated masters of world cinema. ... The Authors chase new stylistic traits in Polanski’s oeuvre, as well as narrative, visual, and sonic motifs recurring from his earlier works.” • Konrad Klejsa, University Lodz
“[This book] not only constitutes a significant contribution to ‘Polanski studies’, but also offers a number of important insights into the issues of contemporary film production and the discursive frameworks shaping the reception of art.<” • Robert Birkhole, University of Warsaw
Żaneta Jamrozik is a PhD student at The University of Central Lancashire in Preston. She holds a Masters in both Film and Theatre Studies and is currently working on dissertation on Eminem’s music videos. Her publications include ‘How to be an actress (in Poland): The figure of the actress in Wojciech Jerzy Has’s How to be Loved (1962)’ (in Intellect journal Studies in Eastern European Cinema, 2013) and ' Acting as Value ' in Work in Cinema (ed. by Ewa Mazierska, Palgrave 2013).
List of Illustrations
Acknowledgements
Introduction: Polanski before and after The Pianist
Part I: Production and Reception of Polanski’s Films after The Pianist
Chapter 1. Polanski on Trial: The Changing Discourse around Polanski’s Private and Professional Life
Chapter 2. The Conductor: Polanski’s Production Methods
Chapter 3. The Craft Not the Method: Polanski’s Work with Actors
Part II: Worldbuilding
Chapter 4. From Gentrification to Mediatisation: The Phantasms in Polanski’s Cinema
Chapter 5. Peeling the (Sonic) Onion: Sonic Layers of Reality in Polanski’s Cinema
Part III: Exploring Material Reality
Chapter 6. Work to Live: Work and Social Class in Polanski’s Films
Chapter 7. At Home and in the World: Interior and Exterior in Polanski’s Films
Conclusions: Polanski and the Zeitgeist
Appendix: Filmography
Index