tag:blogger.com,1999:blog-14406001475798716992024-03-13T15:35:37.391-07:00Polish Movie NiteJoanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.comBlogger28125tag:blogger.com,1999:blog-1440600147579871699.post-75403249719346067722012-05-21T08:00:00.002-07:002012-05-21T08:00:33.491-07:00Final PMN essays now at CosRev<h3 class="post-title entry-title" itemprop="name">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjytwpnb7tCrjwuZiHKOfSRR9iFB0zEa4rb9SMlpt3LleItjRmvXiVF5IiVI1hRlFGV1BXo5IvsmvpIOabEDGXGaOsIdwwyxDdS-nzz_MlYyt40W6Y1Socaw1-GtgoWGIydej-hDr2CVUQ/s1600/PMN06_JDM_event.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjytwpnb7tCrjwuZiHKOfSRR9iFB0zEa4rb9SMlpt3LleItjRmvXiVF5IiVI1hRlFGV1BXo5IvsmvpIOabEDGXGaOsIdwwyxDdS-nzz_MlYyt40W6Y1Socaw1-GtgoWGIydej-hDr2CVUQ/s320/PMN06_JDM_event.JPG" width="320" /></a></div>
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The Spring 2012 issue of <a href="http://cosmopolitanreview.com/">The Cosmopolitan Review</a> is now available online, including PMN essays by <a href="http://www.cosmopolitanreview.com/articles/38-events/399-polish-movie-nite-presents-marcella-faustini">Marcella Faustini</a> and <a href="http://www.cosmopolitanreview.com/articles/38-events/400-polish-movie-nite-presents-julian-myers">Julian Myers</a>. These are the final posts in our 2011-12 mini series partnership with CosRev. Many thanks everyone!Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-67540990070205725402011-11-12T10:43:00.000-08:002011-11-12T10:54:02.331-08:00Movie Night at the OACC<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlLkEFAfSn7voCKrfY5sRn6B1U9mT7YSmzmm1nakk1w6Z71vneeVXLIpsL_5T19J-8K1EZc4A0r1-5PNV8RZqpYxOfP_xr_Ko_8jcbkuNhmORTKLg5OTaJFEtdjwVsteZtfcJv7fGV3Y/s1600/OACC.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 160px; height: 151px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVlLkEFAfSn7voCKrfY5sRn6B1U9mT7YSmzmm1nakk1w6Z71vneeVXLIpsL_5T19J-8K1EZc4A0r1-5PNV8RZqpYxOfP_xr_Ko_8jcbkuNhmORTKLg5OTaJFEtdjwVsteZtfcJv7fGV3Y/s320/OACC.jpg" alt="" id="BLOGGER_PHOTO_ID_5674184499386541730" border="0" /></a><br />Bay Area-based curator Jackie Im has started a program called <a href="http://oaccmovienight.tumblr.com/">Movie Night at the OACC</a>, a monthly film screening hosted by the Oakland Asian Cultural Center. It features an exciting program of films and speakers, debuting this Tuesday with Thai filmmaker Apichatpong Weerasethakul's 2010 award-winning film <span style="font-style: italic;">Uncle Boonmee Who Can Recall His Past Lives</span>, which will be introduced by curator Dena Beard.Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-37684629295187193692011-11-12T10:37:00.000-08:002011-11-12T10:41:14.704-08:00PMN essays now at CosRevThe Fall 2011 issue of <a href="http://cosmopolitanreview.com/index.php">The Cosmopolitan Review</a> is now available online, including PMN essays by <a href="http://cosmopolitanreview.com/articles/38-events/370-polish-movie-nite-presents-arden-sherman">Arden Sherman</a> and <a href="http://cosmopolitanreview.com/articles/38-events/371-polish-movie-nite-presents-susannah-magers">Susannah Magers</a>.<span style="text-decoration: underline;"></span>Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-27158634464849264982011-07-12T13:26:00.000-07:002011-07-12T13:32:02.992-07:00PMN partners with CosRev<div style="text-align: center;"><img 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jRhNZa4Bh+4QtV/4ci+85P7L1S9+VPyoBVjFVlfT7Qvn3kwfU7jEX3PWXPp58McGlltSoA5SWDHJQZUUpgirBwVZU2L0aOhepWkPEVUOFyYO1xcoIzIVkZtejs4K0mYrhBu18Rmfaq65MrzP7sO3jZgfEB6eZ8beBLIDoBuxveC7HoMXAv0PAG2Cbz1j68eOVCaNf+DMXuz0+HVE87fTHNtNNMKZOufdsNJh/HBqUPQ8RIoD9PTDpwXqE6gW4F6Bd33uLN1ts9URk28WRnqUIrtqhAbJi5DhEZdeIlKUjSqb/aUkVdqcoF8BXwPz7O9EUPzvfn3P7B4YPjegkXx4APw/R+weNrDAwX8w/u2ZT+sGDds3RSk7foR8Dfx3g6G7GbJTpbuoNkOmu/kuG5g3eB3A0fSbCdAJ3CvvA9PlXw1vkD3homIMalCLFhIOR5cODrUMmtk++liw8KJ1q9GV305tmyqOucznX35Dzd/rfM1NQIPHEvyHAkM9Vqsn+O8LNsDXDfVXn/7r9/36nNb7l3lfa08eNxcj5dnWACO41iy9+zYQzc9enXtlAB4GngGeJbn+d7M9gNQwHl83QA0cL6mu9fmfPLeVHRY2eIfXxz/DZoawOeB7lZoeQav7lypLsn8evy6CcMXKuOWq+JXowmrkL5LFbELUmIWYX2XpQ6eR/Sfg/Wbgyb8jPZbhPZfhA5coBw0TzHoZ8WbPyUP+hkZtFwzZPO4t2vmTLhbNPfcsol2THxAK9MPFVhxqTk1qkIXWaaVl2rCSzFpBSErVYorMNnWNwR5SllmSvjWd4NyhwmKVKJNKZKcySO3f6qzrVv47PQR+tUzrrUR/G7obgPKDZ428LVC53Ng2qHpMby8f26vfcfC/6ya9umundvph/eAdpN0Gwkdbn8D+JuOW8tWfDTBtGSO+9rp+rOH66+efHHzVOOdMw/P74PWa9ByqftAnmPKcOeYBAcicSYHVSMiJyExE6IKNNiMivWamMyJb92qK4SeF8D6OA5o7n/5ByTPUhzL8hywvaHDczx0U4wPOBIoD9vtY7wc8JSPAx8Dj+6bF3y7bszQnBmjGs/9Au5XwLj/uXCy/vq5rmc3wPvc03jL/fIGeBvA3w7eFvA1AvUSqEfw+ITlS10xFmtGwixIiAEJLsbFOaMiKr9VtR0rLppJ5KB9K9UDC5HobF3/dWPf2Z25EnxdNNvbAkmeo3iO4TmG66194AG6A7pfnt/nylz446ur54D1kHQnCbSXAwYAeOB9bmA84G2G+ptX6soFwJPAk8DRPM/SPFAAJM+TPMsDR5Fu8HUecBimpeF7CzOpu1ehpxW6O6CrEx7du+Y0Fsz8eAk2ZAUyYA3efyWWsFAR83Ny7DLtkKypadafv9mzZuHujUsO5q7bm7dmf87y/VnL9qUvcq370bDgq4L/fLZ2snb5OOX3w+IWJPfJSB2Uq43LVoorcGktEWZPDqrWRRiJcGNa3OEfdebJg3MJeT4WZhwdkzMisCBFnJMkTh8esvHtwDJNdO67gvyRggPfYh21WZdLN+fPnrZ11vTStct+t1ScrHU8PXmk4fSx+7/vb7zw17PLpy/8VnfYVFS6/OflMz8rWLX4xq/7oeEF+N3gbWfBQ4EboBM8z4/qc1aOV+dOn9zyZ92BrDUly78zrJ1tWPedfsX0R/tzPYdLjy6dbBjT16qOcCjFrpTgKlWICw+xEkIzKrSrQsxEVN6Et+7WFkLPS2BJjgWaA4r617Q4luJYjuOA/V/xZl5XLHAD0wlMD8/4gOWAItm71yzzvto8dnjBl2nN534BXzN0Nzvyd1zaZT1WkVl/rLpm+/xjFVvIm8fg/gV4eAkeXYT6C3DnT/9RU9UnyQalzKYUulBRJSYpwcOyU+Mt32m9p63VcyYa8IQ6vI8FlZXqoraNGfBb7jLgOxmgKSApIFme4bje6RrD8hTPe4Dt5FqfnnRWFC2f33rzCtBeknJTAB4WKBaAByA90Fz/+Oies/p0x+KvBdDrwTzF8+y/KweG5XmgGbIbyM6ynZv0W9Z47l+HjkZofwlU26u/D5XOnTlXMWQV+tZq1Zvzh8YtVg34WTsk88ePfqvYfu/4vs6bl/knT+F5CzS0QWsDdL6CnpfgeQWeZ9B6r+fZ5dY7p6//7tqXty7720nb30/akCSv0MYaUwKtIwXViLiakJnx8BI8vHBU3LUtXz8pnl/zDZaOyQtHxe1MEWemiHNV4ZmK0E3DhNuHB5Wqgo26sD3foufTZ98y72g/deDaPrtj54b50ybNnpy2+OPxq6ZMXPrB2GWfvr/wqykzJulmfTx6x8qfju63Nz++Af4uYHzg6Qba4/G3+fkOgE7oenLSmLnl49TiL99jT+2lzu89lLnglivjtmNr+fepBZ8Nr56F6Sf0K0VDTajUjkpdqMiJhDiQECsWbMdELmWIBY/KH//W3doi6G4AluJ6J1YM8BxwwLM8w/IMALwGi3Iz/jaO6QR/G3hfgfcl+JvB3QRUNzAe7v4l2/yvto8dVvTF6Fd/HQBPE7Q935eXbvjvjNJpExzfT8r+YETBp8pDq2fuWzD9l8Xf7Fv41aFV3/++5PMT8z906PpWKUNrU4R1KrETD9dj0Tnqfravx/Dna39fNs2kit2liqjCQoypku2jo3/LnQvUcw/bToOXBooDtneW0VvMgfUC2ck3PT5Unle8eF7rtUvAkACch2O9LJAMAMcD5fHfv7Z7y+LMKeqtY98RALiB9/aCxbHAMsAywNIMsH4guxofXtu+9L/P/j4K7kbwNEP9zcOm7Wuna39A+q9OG76GeHslMiTv8/eqV8/pvH7c+/Im53nF+1rB3QVuL3TT0OUHigSqB/zt4GsE/0ugGoBrea3Oh/DicufvxpIJQ6xpsU5FoHOEoEohrNbIS5WSInVk6YRBjeZ18Lfr2Jpp+/47LlMbn4FG5BLR20eI00dKconorUMDyglxPhqUqYlciUQVzBxP/XMS/A104x2m4faTM7/Y1s8/kLHmkq30uKngzF7bg6vHm19eB64JoAPYdmDdQHuAJTnaSzNuAA+wbdD99Kwla8Mklf6rMfBXlfewqernyYfXfblr3vitmqjtaJhxYr8ytUyPScy41EFInYTUiYocaLANDXahoipFL1jv3Kktge4mYCmWA5YFhu6dVFEs52c4kudZYAD8JN1W//zGXy9vnGq5dtx35U/q8h/0jRNt1449ufEX+Bu5e2cd86dvTXur6PPUlyf3Q08DdL58+seuDeoRxWNG5Crj9aP6Fab22YlFFmgHFGrfyFAkFBCDslOiDUSsEwnfo5LuVQj3qiRVqMygispBE2zTR3Fnag8tm1aJxNUqwpyowKAOzBwtO1n4E9CPANoAOgHcwHqBoYCmgKGA9gLVBT0voen+rzvXbf580tVaGzS9BJ5u7ewgAUgGeJIEsoe9d9m64Ku1eP8MXX8BD14e/DzQPM9zLHA08BQASQHrZzte7DXmbJozzXP3LHQ+guc3j5RuXP7h0J+0cfPUfefiifM0Q8zL/tN4+g9oecZ1v+Kodo7v4ukO8LRCVxM01sOzh/DyCTQ/g7Zn0PoAmm9B403ouA+eZ9D2EHqegPcp3PjD9FlyIRpW/I7g4KjQPWqpcYTANTquVBdjnDKc+b0UTtkv585/Ylq/EY/flCLPxGK2jpBsGibcPV15Z+M026T4Qq1UP6F/+qgBeTPHtV39HbgGgAZwP4TGa7/lrLy9qxSeXILn15mG20C/cvsfMdDkpV/w0MWB1+3r5IHjOAY4GliPv/4WtD04b9+5ZPQbxlmjmSN67kiFZQaeP25gFhaZh8rKsDATHmpQhViIUBshsRESGya2YyInJnShwipVcFWK2IzH5I0fequuBHqaeI5iOWA5YCiap/0s62GYbob1sJyfo2je3XncWZz540cZ376f//UE85dpxk+JiulpmTPGuvJX+V9cpG8ftsz9aLNmUMm0tKYzv4K/BbyNr47syh2dZNIMrlb3qRgR5BwtL8dFldoYqy7BhPR16QYalHKzMrQWk1SlCPYqgnYrhNUKSaUyvAjp45yu5U45Dy751KxNrMIirFhgOSEoHBN2fudMqP8L2m5C5z1ofwCtT6ClHlpeQnM9tDyB5nvw4go8+fv0jmWZH2oObV/Z9vdR8LcD0CwAyXKctwf8HfDwYt3Sr7epE4tHDxDQ4KOB5IDleeB7BxgkBz4f+DrbH1xe9e0HhvU/QMMV381D+zOWfI8mfp8in6uO/Vk3IPs/7935pRI8z4FuA18L+FrZjvqOx1cenD5wypFftXlu3qz3N32EbZyEb3wPXTc2adWYoRs+SC6cPWlv+qLT5uyOK0e5+xeg7T7cOmaYklKijbYRkjoipA4JrkFDbBp5sSYqd0z/y1nzyCNmOFf30rmz5FPEPp3IwOO2p4SnJ4cdnKmGXduqPh5QiInKiLhsTX/DfyZ7754A/oWn/Tp03ISmq7/tmF/+0yfHDZt9905C5yPoeQT0E+CeUx0PWE+j39/uY7wMcG5vD3g97Q/uXPu1Fp5cuuTMWDKmf9WccfyfRXC0Yt/3qQVEjFEbu2tMX7tSahgqqNPK7LjEgomMqNCMCu2YsAoLrkWDa1XCqhSxiYjJmTD0n7qy/xss4GngvcB3A9fBQzfPezjKB90t521ZmyaNXD/67QztYKN6QJkitlg3aHPa4Ox5k32Pj8O9PxwLJm/RJOq/TGs++xuQLUC9uveryfAhWjEyYjcqq1UI7LjAmSaqSBGYFCJbsqwGi3GoZHZViAsPdigENcrA2pQgV4rQogqrIOJrZhD8aceBpZ8WEXEWPMKsCanQBJZoQupmJp1Pn30yY96RHT8dSZ97dNuiw1uXHNq24o/ty37dvvDPbXOPbfzu4pbvq6epM9UDyqfqdq+e/c+vdr7rBcszJMtwvi7wNcOjiwdWfJ2p6ZeviRX4gaSAYoDneHh9V+7jwOuFjoZj9sKvdEPsm2bT//x6omT50gnv/hfpt2bsyPn4W7aVszuvHYauh+B5Av4X0HIHHl64U1Vkn/NZ+oRhG7R91xORKzHxSlXIyhHCzcrwnUR0rjZ2JxG9BY1dh/RZiQ7cMFZZveD759UV3oM2/fvJpUR8VVpcxVCBa6TgjzHy8hGCErVsMxKxY8JbN0rXwONT9a7sX5ZMb7XtcE0jdqiit6eEF2j6npoz7uDUt4yIxJoUbULfsM6c1PH3L+B76H71992Devbc3psl69aNfad28w+PDplv7TU+/tXefnLPnRp986EDHedPNd+5SXl7aOD9DA1e39n9e2pytrRf/P28efOKMYnWr5Vu54ZOy/oTP0+sIGJLhgptw4W/aSIPYGH2EQIHEmJBhSZMaMFC7JiwBgverQzYpQisUoQY1THZ7w29sasM3E0cT9I8x/IMcD7guoFr4dhGlmtluU7K1wnt9TetGemjB2Zp+5ch8XWq2LrkiGpdYnZq36KfxsOr4/Dg1+olk7fpEvVfpr766wCQTcC/vH/cVjTxXf1IiWu44M9RQotKUKkRONKCHWpJLRpepZQ5UamdCKlUC2wagRMLcqiCHKogKyqqUMtrZijZs+Y9Kz7JQKIMmhiDRmpQBxswYTkiLcXispVReZrYXG1sriYhW9M/QzNoh2ZQui4xQxufp44o14Sb1XKjOqo0LTFv0rv7t8ym6y+xbI+P8YO/C6hWuH9639IvsjTxeViEgOVIlmc4Hrhex6IAvCS4O+gHV9ZPG/NfdaJ10cdnipZsnDR0dkrkAu0bc4mhx4vS4clV6H4K/hfgftzzz/H7+8qzPtPuHDs0A0/MxmN3orLNyYKNSsFOIigfEZWgknIirEITrifCi5CIHEVURnL85uTEdOLtVSP66j9AilPfKMFiTMrQfbqImiTBLkWgAxGZU6PzNHGrk8PTJwxtqMt7ZN3u/GESnHL9vWFW/qhBO1UxW4fLitDoclRsRsKqkL7lygG2mR/y/5yEjjsndhWs/wQ/tWSYIw0AACAASURBVGP+3ZJVq7C4v4uXXK3ckD8j7c8NP3K/Ww1Tx1T9Z/rfxbmNF88BQ3V3dwLP+hoarNs35/701bODxgsly7eNTbRNGdqtX7x3WophVN+iJOmetARXUkhtknCvSrILkTiREDshtmokdrXEgYudSHC1IqBKIbSqpOWaPjsnDr+xqwzcDcD5eI4CjuQ9LeB5AT0PofsudN2DrkfQ/AieXn6qX12kialI7WNQyuqSpHtGSnepY7NVcuO8sfDqKH9zl2PBpK2pA0qnj3pxcg9QjcA8f/SXY+e4NwxE5D6ttDpFUKUWOHQCGyGwIkHVWJg9SeTCQh1qUQUqMGsELjzYhQodaLAVF5cSMuf0kcxfFfuXf5KbmmhK669XywyY0KUJq8LD7Gi4SxtjwkMNRKgBDzfi0RVEbLk6tkwTXa6R21PlJlWwAxe7NOF6IiI/Nf7Ako/g6SlgunykG6guoNvgzsndS6bmjepXlhorALcfGI7x0cCDh2Q4hgVvJ3Q+P29IX6iMW4fEFE16eyMev1bddzGeMG/UW7sLN3qf3wCqCXwvoeVu/YFK18/TV2MD0rVvbEfjszR9NyeJM3H53lnKovExJaPkeoW4VhdrQEPLcdmfMxSWtL4mIq5khFyvii9RxuYiMTuTZeXauApMvlsXV50srRsRfACTVStCjcmh5UhMenL4JlV04YfD9y+aUjtvEnfE+FS/eqe2fzoSl6WKL1RFGlBJ1ZjY0z+Mt3+mvmXcCY8uQ/uTE9acNR8hVYs+fWZdnzm+367/6i7tmFnzHVY55d3jP4+pmDQk570RZd9P+bvaTDfWg88DDAmNz/buWJs7bexfG384sfjTUl2Cc+zAjuwfat8fYE6NMqChViysmpC5EKlDGeJExXZMbMPEVlxsxaVWXGrDpDZMbMbDChBZ4djBOZ8QF2350NUAvi4gPeDrhOaHF+rK9mUsOJT589GMOYe3/Xhs289n1n5z5IuR+8fHVqhFFXiIE5VWKUPtCnmZOt45byw8/QPu/VY5b/K2McMLPx/TcvYguB+D7+mz445N49/O0cUbCIlVKXAoBHVEcDUiciFSJxJuR8PtaJgNE9vwICcWsBcLrk4KqMKl5ai4eFRszbc4f7Ti2Mpp+dqBZeoEIx5tQ8NdiLgaEbrQICcWZMeENlxkx0R2TGxHpTYsrFcWRGxSCF2aiEos1KSNLNFG7v8Wg0t7oLMBeA4YN/Q8h+eX966akY7GlGliBUACuGlgofeXHpLyANvdcP633OmpK5IitibL8tVx2xWRC98MXkMk/rJ9HjRcA+olNNxoO7X7QsH6oo/VG5L75BADto0Iz0IinVOGHf1p9B8/aB5nffvbf7AStcyGyBwqmRGVOScm3l7ziX1CogmNMqaEW5AoExaRr5SkjxCUasINuMyqCttLRFWPDNmjCnMmiW2KMLsmPl8h2/BO8CaVPHfim78s+RjOOx+XrygYP6TivbczkyKLlZFlycG/f/7OheVTqr4bd2LHMu7KCWh8cMWSv27CyOo5k56WLtRP6GcaF181eUAhIjalysuxoKxkwXZNdNanyBlzNvQ0gq8D3M3Q9OBMycbM90fkjx5YQkSXKkMtaPixT4fVjYmxqCUmVbANEzsJqQ0V2VUhTlTcy1YvXv8jzKgOK1VHbEcisyaOeOQqhIa70NMInS+p+5drN8/fMZVYn5qYNTYxd1R8vjauODVBT0TtVoe5VIISTFCqDbFowmxouAWJKtX2sf13FNw7AHd/sy/+YvO4lJypYxtO7QbPE/DWtxyr2vlRct7YAYbUSAsqdCQLdimFtUpxtSrMichtqNyOhtsxsRMLqkEC9qQI9ihDatRh5VhoQWps7bc4HDb8Of/jQs2AciLBjMY6EXk1Iq5BgqoxgQsXOLEAJxbkQoNcaFA1IqxGRNWI2IWIa9ThFkRqJ8L1KolBHV6Oy/SpkX+t/arp3FFwdwDbDV2PmbvH9q38MlfTR6+JEwALpI/hARgAiuN5xgft9XXpyxYgfbcRfXOw6AIsOgeL3YknHFn2Fdw+AvVnOk9X/ZW3pPRLXc7Ydwp0g3KVsSVorDVtQCkqP/jFiLb8//4xM2XPZ2+X6yLyU4Id6kijQlShCXdM7v+y4D/WSYkGTVQFJjfgEQZN1MGvUw58k1ySGlGESsqSQ6rwsFpMUodLHcqQal3EwclvOMcn5iDhGah8vUK6f85oOG1ss601vP9m1cfDitFoPRru0Mh2vdenNDV+syrWOXsK/H0I2h7eN2RuxAaUTXj3xPdpDm2cDZG5VOGW4SG7NBEuPNCaGlI6Jjp74hu/bP4R7p/lH/4N7Q/g+cXzeYt3jOqTiUnLtWFWXahBEWgnxC612IoEWZUBTkxYhQW7VAHVqsBaNLgGCapGg6rR13vgxIKcmLD3c3emRRvHDTy65LOHldvh+RV4ePZY+vyiqcp0bVw2HqrXyfSYyICKLITMjIptSqEBCSpIFRWPizCkRuoxeTkSU5jaz/hjGjz8FR4dsSyZvmrUsKwvxjWe2QtUPbTffXWwfMf4IVlElIEIdeEhtaqgXcqgWqWoRil1qcLtaLgTCXOi4mo0qFYVUDdSsB+VVBOhejS0QBex9zsCTlScXDC5RJ1gwPvYkGiXKvz/gIUJnFiAHe9dTpALFbpQoQsVuRCxC5NYlCKnWmZQiY3qMFNqZG5KcO6Y/ral3z48vh+6HgL5GO7+vn/xR1loRCkqF/hZYAB8DE+yHOlxA+25dtC5bjK+QhmbgUQVIPISJDxzhNQ+aXh97jJ6b8lfW74tn67KGj8oQx2brZIXIREmIubw50mXfky1aCKsqdHPt0w7NjPZoA6rIELto6NtuMygEhtGycvHRD3L+abyvb6mtJhyXGZJjbOO69NjXMjvXm//sH+ZNsymi7CiIhsabEEEhiSBBQvZNT7eOS6uVBNeqJFna+Smj95o1C8iXeuM4/qZ0uIco/uakbDSoQIbLipBwvKIeMf01CZrFlw//KRobWnakDI83qGNq8bltarQPaqw2mRpjUJUoxI4MEEJKtyBh5d+jlzVr79q2ga3D8OzE1dzf8wfHVuaKjOPCjVrQioUgupUiQ0NtiJBdiTIhQqr0aBesOowYQ0S1KtqNKAaDXJhAS40qBoNqFYJHKogs1p+eu74U8s+f1Ky6uzGWblj38jTxRSgYiMeYidCrEqBXRlYjYjsCmE1JrWoJaVpYcVj5BVqeYVKZlDFlGj7uX4aC//sgZsH7D9/tE79pmHGhPYT1dB8HbrvtR8oLf7gnRw8vJKQ1mgktWigY6SgRiVyIWI72huFUicqdqFBNUhATbJgNyGxICEVRGixTr73GyX8nndu2eQyTawRj7ahchcS5kJFLjTIiQvshMCO/79gCV2oyKYIsiqCqnXhFkxUgYRYR8kr1JJ8XdSG0W/uXvt9059GaDkPt/cfWfJBASIzEnJBJ8/4AUiWYfweYHz0o5v6udMXp8RuU0XkpIjKFEILISsaFmTR9j0+M8028a3SsX22q4LLx0RVjokqR8UVSqFJFbLvvfiatAgDElySItg1qU/Ne/HFikCLJsyEii2YxIiILKMjLONjH23/vGJMtFEXocfDzNooU2pka/GPjGu5fWKfCo3UppFZkBALLjDjAqNKYEIEZrXQRIjKUHEJHlqukxdpwg7OGPk84yv7uPjSlODq1GirIvigTrpPK3YQYcUKaRERV/2Z6mXhkpvrZxhGxRuJ8EpEWK0WW1MEdmWwCxG7lMI6paAOD7Crpca0uPL339k3b7Jt1ti7ZStv5c37c/5Y/dhovUZUjgXYdCFGLNCCB1uwECsqsmNiBy5xoiK7SuhEQqowcTUi7JUL7d2A1+TVKQXViiA7Kj31HVE7ZYTpvbey8egSXVyFWm5RS6rV4hosuEoZUKsS1qHS6pSQXSkilzLEgIoqcKldKXWlyKpTImxY3O6v0FfWNS8Ma6q/1JRq36z9VPugYEVrXV7nvuKLO/9bPGFgkVpmIkLs6sAqXGBTCnrN0oyHmfEwKy614SInFuTCAmqwYBceUoEGV6SGlaaFmz9MrM+f9ct3inKN3EiEW7EwOya2Y0IbHmRVC6xqgR0PcGIBLizAhQX0WnL160wU2pWBNepQGxqiTxYY0WCzRqzXybJ1sbnvD3bOUj8sm99oWPjLdyo9GmonwgXdQLp5Hw9+8LSBt/WiKWed9o1NKZE5KaJKtdiMBNZqpS51aGWKyIZGlo4UGzRSo1ZsTQszoAEWNGjv2MgajaTkXUFFsqB2TLgrLbwSD3GkyspGCuxqqQUR2xCJSRXiGBXx6+dDHqz7yKgL16OhJlxmxMLKEeneKYMPfDakQi0xYmJjSrCdEFtwgUUrcGiDHdrg3tu3SlxkVocWKYJN2vASVHRo+rDdE/uaUbEdEzsVgXtUAscwgSMlwI6HOkbHF2OymslvlOChekxoxAKNSoEFE1QiAhse5Bwls2PC6mTBXiTIrhBWqEILsOjycYM3JskKxwzI10SXpUbqCbEtNdSCB1enhtpwoQUL6S1PdjzUjofaMbENFTlRsQsTu1DR//VBC12o0IkJq9EgZ5Lg11ERTpXEpJTmjRAZU/uWEVEmbWQlFurAxVVIoCtZ4EoOqFGE1CilVcmi3UnCmuRAiyrYiopqEckeReiepFBncliRUlr5/sCKMf2KkIiKlKjypEjD6AGVH7xbPnlo6cQ387BwvTrUiAWaVYIqtaBKHWDDg6y4qJKQVhJSMyF+DRYaVEOI7ZjIiAtNo0L1o8LyceHeaW/rdaFGtdSK99ZEUS9YZnWAlQj4f8HqNeY9arFTKbArBQ400KIKtCACKxZoxIVluKRQHZqFCG2TE1wf9DPpwoxKoZOQCrzg9rEdQLdD+5OGQzWFn2g2JUXkJkuKRghcmkCbSmBXCOqIYEdKgC0lZJcu0oqFmJQCQ5KgWh1SqxbZkgUuNGj3qFCXWmzGgkpGCPQpgupUmZOQuDCxQxniVInsqhALIv79o0Gnvk4x42GVKokVDXWq5XYivEIpKh4R4NDIXITMhYjrtDKDUmBQCixogB0TWlTBViTEjkqtqMSoEFkIWWlKcCURVpMWVa2LsKrENah4t0qwSymoQwVOLMikCCpTBpg1EvsoqTNN5NAFWNUCEyowawUmXWCFVlimENQpBb+i4qrkYJtCYiWibWmJFUSsHou06KKt6rBKRZALDzEnCWyKAGtKYK1GZsOkVlxqwUQWTGRFRXZc4sDFdkzkRF9P213/1qzXZSslwJYUWDlSaEFlZm2MfXRfPRqmV4htmLSakNagIS5lUA0qrsbCXKi8CpXVISF1SKCDCHQQwXVI8B5lyJ7kkKrkYLNGUpEqLcNF9lT5/tF9qnG5EZNWqOUFiLyMiDJro6pSwx1EsE0pcGECu0pgxwNsuNCKi6242IaJnajI1YsFKnYgIQ61pBIPMetCS5QBBiy4NFlgx0QuVFiDCGv+PQ/a8CAbHtSbg6/LOxpQjQbUIAE1SEAdFlStEjhTBDVYYA0R4sICXHiggwi0oAE1o0PN6iDHKGlFisCMBLvU0lpNmMDLdQB0Q1c9vPynatHXcweLs5VR2cMERjS4KjXYqREYFQILIqjSSOyo1JQcbFII60ZFWBXBNqWwCpU4lCHVRKgxOcCKi82E2EyIq1LDTSmBdlVIb4FwIJIqdXjpMIGdCLdi4WYkzKGONCNhlapQGy53aaMtqKxKG1mZIqomZMakILtaakZDbKjIgUgcSmkVKqvBIu3KsBpNbNG7AZVoeFlySNmIYKcmyorInKjUoQrYnSp2qoV2QqxXBlaNjdQjgSYi2IAKKgmBc7TQgArMqeJytbBMI6nUhjkVwbuUQntyUBUW7tLG6JVhNm2sBY+oVIqdeJhDGVKNS5yK4F2acKdKYlaEWDBJJSYxoWIjKrRgIhshcRBSOyG24SI7JrRjwt7a3ltKnFhQFS6tTBFWaSPt2qgKVWg5ElpJhFuxMAsSUvVvmFbhYQ5MZkZkNjTcrhI60EALHliJCuzKwFqVcA8i2kVIKtCAyjSJQSMyYUKbUmhXCCsRoVkdatVEmRC5WRlqUwodqqBqNGCXWmhVCJyY0I6JbJjYhkmdqNiFiKsRUY1KVKWUVCklNbjMlBJYrZU5NVJLSmANIa5BhLuUr1WDCKsRkRPtnTL8b11CJyZ0/ZuGTqVgt0ZcgwXX4sIaIsShCnBiAbUaYRUuqNUEmZMFtVqxHQnanSqv1cgqkwIEDHhpspVrfbonc92c5AFbNUO2jJCXENFlmlC9RlSmDSnThpRqJaUaWZk6Qk9EmYiYSizahESaVZEWldyskpsQuQEJr8DkJnWESR1hwmUWVObA5FWI3K4MM+PhRiLcSMhN6gizNsakiTYQkeW4vAKP0GNyIyo3YREWPMKCR5jx8EpMZsEjrGikTRVhV0Q6kyJcydE1yrgatI9VEW1BYiqxWBMaY1BFVSjlRlWEEZWXoqGlGlm5LqJiVFRFaow+NVKvlRu0cgMRWklIzWpZJRFegcnL0YhSJLoMiTShYRZMYsbDDLhM/68qsDCrOtyGy6yoxIKILUqJRRVmQ8NtuNyslpk0oUa11EBIKnCxgRCZCFGlWmwiRGZCZCZENnWIFRdZ8GAzFlSJBto0MpsuwqqVmzSyCixMj0lMuMRMiE2qIAsqtOEiOyG2EKGVRLiRkBsJuRGTGghJhUZaoZFWYhIrKrGjUhsRWk6Iy3RSvS7UoJFaMIkNk9o0Mocu0obKnapIlyq8WhVWjYirEZELFblQkQMR2RCJDQm1ITInEu5CwqpVYTXKsFqVvEYZXqWUuRRSZ4rEpRDXKES7lKLdCtGe5JBdI4W1ScLqFHFVitSlkNoUEgsmMaFiEyrudWgbJnbgEgcusWMiBy7udeteOfAQl1r8r70JnajIib4efVmxMIGX9rBUT62+cNHHE2YlvTl/ZOIGtP8WJC5DF5uhi9mRGpU+KmbbqNhtqX23pfbboU3cgffNwhKy0YQ8PDGfSMwnEnPwhGwsPpvos5OIzcSjsrDIfDSqGI3UY9F6PCaXiMwiInLwqGwsMhuNysajM9UxWZrYTHVMtjomH4spxHsVlaeOytfE5uIxBXh8EZ5QiiWUIf1KFX2LFX0KFLEl6gH5REI20WcnEb+TiM9Ux2UTcVma+KzR/dPT+qfr+m3TxG/XxKer4zPwmEw8KgeLzsVj8rG4XKxPDto3G03MIQblqgdmquMytTFZutjs1Ljs1PgsXVyeLq5AF5+JyHPRyAIiplgbX6LtW6xJyMP7ZqMx+ZrYXE1Ur/K00fm6mILU6HxdVJ46Ik8dka+VF2kjinWRxbrIYk1EkTYiCw3LwmV56ohCXXRJWlx5WnxZanSZVl6uk+u1cr02okwrL9JEFWhjCnXxhal9Xj/T+ham9ilWx5Xi0aV4dAkRXaiLzU+NLUiNzddEFuNRxai8VwYsphKJqUSjTFiECYsw4OEGPLyCCNdj8nJcXo5H6rFoPRatR6IMqgijMqoSiTGjsWY01obF2LAoGxppVcpsitBe2ZUyOxJpR2McRJxDk2BL7WvUxlboontl0EQYNRFGTYRJHWHAZf+TkQg3EuFGdZhRHWbExEZMbEakJjTMhMgqMHk5HlmKRwp8DPAAVabKwvXrbJvX1W1cca50x+n8teeL150rWXOmdM3p0nWnyjacLNt4smzzqdKNp0s3ninZ8HfZpotlmy+Vbvi7aO2ZvOUnsxafKVx5PHvhsZ1zj2fM+Wv7j6e2fH9+6/cXd/73bPaPZ3L/eyln7pXceVdzF1wuWHixaMnFkqUXipdcLlxyPX/RP3mLbuYuvJG/4EbRoqtlS86VLDtXuuJC2aorZauvlq6+VrzqUtGKv4uXnS5aerJkyYmSJcfLF5/QL/nLsOx0xbIz+hWnS9aeLlh3On/N+cI1l4rXXi1Zf61s3fWStZfzVlzJX3m5YPWlvDWX8tZdzN9wsXDzhdLNZ8s3/KVfe6J45Z+5i39N/2nPxlm713xbt2rmnlXf7F35zb5Vs/atmrV7xayqRV+Zf5paMevD8q/HlX01unRGWtlXo0tnjimdOab4q7TCGaPyp2nzp2nzvtAUfK4p+FyTP1Vd8Jk6fypeMkObN1WV+eHIzA+GZ384PPfDETkfvJsz8e28D97JnfR29ntv7Rg/ZNvYN7aOG7J9wts73hu2Je2traPf3jbmnW2j396hHbKdGLwNH7QFH7BJPXCDZuBG7aAtuoEZ2jd3agdnaAbtUPdPJxLS1X3T1fHbNfHbNfHbNPHbNPFbtPFbdX3+VcIWbd9tmr7bNAnb1QkZuv4ZmsQd6n4ZRN8MPC4DidmhityhjMjGY3OIuGyiTwYetw2J3aKM3qyK3YrFpWPx6VjsDiImQx2boY7dScTuJGIzsZhMLGYnGr0Tjc7EYrLVMdnqmCwsaicSka2OziFi8rGYfCwuH+uTg/fZqU7YoUkQkCzQNNy5cfv+lWsNN28wzx9D+ytofgItj6H1MbQ+hrbH0P4U2p9C+zNofwrdj6HrIXQ9ga5H0PEQWu/Bq3+451fc90633Dz86tLBxssHGs/vfX7c2XDc2XK25tUZx/1D5VeqMk+VrTtasOpY8drjhs1/WbZfrMm9Vpf/YG/pq99N3SeqyAv7yBsHff/8Bq8uwIvzUP83PDsLz85B/Xl4cR5enIfmS9B+GbqvQc916LoM7Reg5Tw0XYKm29B0H5rvQ8t9aL33+s+cV9eh7T6034eOh9D+AFrvQ/NdaL4PbQ+g8wF0P4Tu+9BxD9rvQMstaL4NzXeh5R403oOG+9D0AFoeQdNjePUAXtyBl3fhxS14fhte3IHG+9B0H17dgRe3fLfP+W6f894667111nfzjO/mGd/Nc76bZ7w3T3Rc+qPx9J4Xx6peHnE1HK1qPOxo+NPefrK25VjNq0OORwdNt3aVXqsquOrKv+rKv7PLcGeX4U6N/h9nyXVT3sWynWeLtpzK33iiYOPx/A1H8tYdyVl9PHvt0YwVf25Z+tvGeQc2zt6/6fu9m77fs/n7PZu/373l+92bZ+/e8r1h0RTDoimGBR9XLPxYP3+Kfv6U8p8/0c/7pHTO5OIf3i/4dlzOjFHZX6izv1DnfqHJm67O+gzPnIqnf4Zu/ihl1YRhS0e/tSRtyLLRb61MfWNN6ptrUgevHfXGmtTBq7QDV6r7ryAS1+sGr9UMXE30X6sZuF43eJ124GoscZkqfhnWdxnWd40qYa0yYY0ycSWSuBhPXEgkCngeetzkwwdPnz5+0tPeAhwJlBsY72vRfmD8wPiB9QPnBd7NQgcLbTx0AnQBdAN0A98NXCdAN8+00VQjRzey/pe+jof+tntc98OOxitdLy/76i/T9VfIx5ebb568dfbg2UOuP3dX7K3MdmSs0a+eW7x0dv7SWZnLv0tf9s2mHz7d/uPU7Hlfly39j2Pj/L2Zq34r2HCodMsJy87ztYU3fjHeO2x9ctzVcKqu88JB77Wj7ecPd1/5i7p1Bu7/DU8uQf1laLgOzbeh+Ta034Pux+B9Br568D8Hqh7oBvC9An8jUE1ANQPZDP5mIFuBbgOqC/xd4OsEXyeQ/x977x0exXU1/sv0LgSoUA027pgi7WqbGtU2xCXEBeMaO7ETO664gelISEJl1XsvdEzHmGLAxvQi0xEIobp9d3q5M/ee7x8jyQrFSd7nefP+nF/Ocx6YnZ2mmc+cc+7de86lQWFAZUFh21dSIDGgcKBwgHiQWZAYkBgQORA5kHiQeBBFkHgQKBA8wLmAcwDvAsEFohdEL/hagXIA4wLWAawDODvwNhAdwLUAbwfBDoIdmBagmsDbAN6bwLUC1wpcC/AtwLUC2wzum+CsBfdF8FwAz0XivUi8l4n3MvFcJd7LyF6D7DWq/axsPyO1nhFtZ0RbjdB6VrKf5VtOsfVHqdofvVd+pC7/yFz9ibv2E1t3jL1xnL1x3HPtJ/ulgy3n97de+N5z4Xu6Zj97Zi9zeg91crf76A77j1uaD2xs3L++Yc+6G9+urttVXberuuHbNfW7qq5tLb+4ueiH0qQfS5KOFyadLEg6UZh0tCjph9Kk/eVJfoAAMFy7dq3+5jVJ4VSQOJECLcVNQYDUNlUQViWFiAKwPDACoWWVxpgnWCJYwqqEAUlYlLCoAlJBQphTMEOAJcBioEF0A+8GmQHMAeFVwkqSV5V8IPhAoIFx8c3Xay8cO3F417Fd63/aVL6/Indr9qqqlV9nffnXuL/M+fr1Zz6YHf3R85M/fj76w2ct7z+p/9t03bwnjV89Hbn8ld/FvvFsyp9mZ73/UvG819Yu/svWhE93Wr86UJRwqCLl6IacsztLLu9fXf/TRtuprc6ab/kbp8TGn0nzebBfBGcteOqAbgDW1jZElveC4AXRDaKzTWUKZAZkBmQaZBZkBmSWyCwQCQhqS0XBCGQEoqRKIgBWiSxKDMd6RcatcF4isCALgCTAWt4KAiKBygGiQKGQ5FaRF1QKMAOYAcICsACsIrpUyY0VHyYUIQxgGhANkhdUN2AnYDeoFGAaMA0qDQoNCgWKFxQ3qG5QPKB6iOojqgfAB+BrNwEsEBYwA4QBhQJMAaEBU1jxEsUN2AvEC4oXkBdkD8huEF0gOIC1AdMKCg2IAtkHsg8kH4he4FzA2NvuEucExgmME3g7iE5Adj/s8wKWKHcTyzsRMAKhBUKrGm4EALcraUtkJG3VTdrzLdtXEJFgCVQFsAoEA8EAGDAQLaWJYKUtARipooJYVVYAFEXBjEA8LPgY4AVFFTHIBPlAdGPWRphW7GtEzmts03lP3Wn71SMNNd9f+OGbHzcWbM2Jq1w+r2Den7LffyVu7hNL/xCxYGbYF9Me+3zKQ1/EjP0sauy8yPu/mDLuq2njv35i0pJZ+rhn9cnPmzLnRua8FpP9ruTXOgAAIABJREFU1hMFf3m6+tOXdix+61Dix6ezF54vjb+y2tqyq6J1/zrnT9t9p75jzu2Xan+Am4eh5TTYL4D7GnhvAtUAdAMwjSDaALkJ00w4O4gukH2g0IAYkGlArAoSIzNOT2tT8/XG+iv1tRdqL/586fyZqxfP1V290lR/3dHa4HM1Cr4WlWnFvF2V3Fj2gugFwQucm3AuzLlU3gWIApUGzBHCqCqjIm+bNVU0fyK21XZBBBABWQVZAVkGWQIkAGpLmCZYRjKnKCxRhE7ZgiooKhAAAEIIISohKhAEGAFBRBFUlcOYx0QAIoNWJUQrQkMQwXJbcqSCCJIVVUQgqSCAKgASAAmgcioIInB+oEiE9wLmAARKcCogiCCIRFCJQlQMCoACoGLtKgmWVUVQFQGQCDLSMsVBAhABUHu2f3tSJkYgI8JilddGESpARIIkLKogAbAKRhq42rBVpJ1NJYAI4TCiCdLeQhpkD9YclugEyQGSCyQ3cA5w3YTmq8LFw+6jO+p2lNWsTjteGPt96lebl/x19bzXc//0bMYbM5NemhI7y7BkyuMLLQ8sNN270Dx6fsTo+ZFjFkbftzjqviUR9y6LuHdZxL3LI+5bZB69LPqh2BkTVj4dmvR8ePobUUXvTS+f9+zGpW9vWfnB7tQvvs9Z9EPximOrk85tyb2yu7zhh02tR7d5z+4Vrh6FxnNgvwKuG+BtAEnzsDaQ7MDbOHtt3fmjZw7vPnZw59Hvd/6wd+u+Xet3bqrYvKZgQ0XmurL0LWsLd2wsPbB17fHd39Qc2Hnp2P7rNYcbLh5vuHCy9WqNq+EybavjXQ2qrxU4d7tfpkFgQeBBEEAQgBeAE0AQQeBB4EFkQeRBEkGSQBYBIyASKBLIWv6BBIpWM0LR4CBIBC05WdO2VGakErldFZUoCkbaQodiUAkoEogKEUEVAYmARFBFmYgCiH5t+dqKqKgiUkWkigpGCkaEEEKIVnJEUw3tdsDVX75S25ACDITcqgoQBbRDtW2g7aRdHVYIVgggghVVVVUFqxgrKpZURezQthRKIrcplgHLoGoZlSKIdNvt5t1AO8DTBI56aKkVrp/1njvc9OOOK9srT5Wnf5+yeOv896o/eDX55Rmxv49YOH3il5EPLIwYsyJidJJltNU0Kl0/Iit8ZI7x3kzTqFTL0ITIoNiYwStiBi83D1luDIyPHJYYMzIuenj81NHJTzyYMOPBpJnjcl4wlb4xrfrdZ7bOe/XQig9PpXx9Mn3RufIVddsyqKPryNV90HQU7KfAex6YS0BdBN8l8FyUneepppqW2mOXz+w/d2TXnk3FW8vTy63LrAs/WPreq1+8OfuTub/7aM7MxX96afk7c5M/fqtg0UdV8fM3Ji/Zal2xK2PlnpyEAyUpJ9YVXNq5+ubBrY7je6iaQ9yFn+Dmz9BwDpougf0aeBrB1wxUC/iaAbmBbwWqAajGtqhOsAPbDEwTiDaQHSC0AN8IyAbIBmIryBRIVFsEiThAHCgCIBZUDlQOVAYUGlQKFB8gNyA3yB6QPSD5QPCC6AXRB5IPJJ8fbhdVVVVV7fhI/pcF30U6vup8Pb9ynPacdRVUBIoMSASJJaIPVBYUCmQPCE7g7OBrBucNaKmFxitw6bT38K7azUVH8pbtWvrOmveeKZsbkz9LlzdtXLrlviT9sDhdUKxxSHxMUNKU4MzJwzMtwVkRIdmWkHTDkAxjYLYlJMMYmGkKTg4LsJpC8qaOzZ4ydqU+ODYsKDlyVHLMCOv00Wm/eyjtuXHW50PTXzXnvju14MNZ+9I++CH385MVyy9szri+p7zpx28cJ3Z7zuxDtT/BjWPQXAOtNdBwUrl8yHtih+3QxmMVKd9lLq5e8l7OBy8nvDFr0fMxn//O+NlT4e9GPvRezMMfTBv/yVMTP505qUMXvxi58A+RC38ftWh29LIXp8fNfSrhtacTX3867b2Xsj95pWT+O6uX/21jwqdbkr/Ybp2/K2Ph0cqk0xsyar7JPrMx8+fNOVd2l9Z9X1G3v+r6/g03vt/ccGhb65Fv7Sf3O08fcJw+YD/1ve3k/tZT+22n9rac3NNyanfzyZ3NJ3c2ndjRfGx7y7FdLcd2tR7/1nZij/3kXsepfY5T+/zaHe3fP607rfz3yL96PaCooKUraMEdYAIIA0IgIRAQcCowGGjAXlC9IHuApYCigfYAawemUXFeYm4e81w9WHtw3fntRUdLVu1K+KTq47mZr0xbMXPCkqj74s0jEsNDrMZhOZZReaaRxeaRJabhBWFDyo0hpeFBhYbBeeH+WYZ+aYa+VmPfdOOAbL1/rm5Ilj4wTR+UZAhMNIWssgxbFTUi1hiUGDncOm1sxlOPZMyakPOcoWjO5IrXn9j64R92fvbiwSVvn0n99EZ5rHd7NvqxGk5tgmv74OpeuLoHru+Dq3uFs1tsB8trd+ad/ybzx7LYDSv/lvb+c4tesMybNenTJyd8/tTED2Me/jDqoY8jH/406pHPIh77zPLoPPMjnxkeWBL50DLLfYvN9y8yj15kHr3YMmZJ5P3Loh/42jRmSfSDy6c8sjTmoaUxDy2f9tiK6eOWTH1oyYxHlj71aOzTExJn61JftKTNibS+FJH6YmTanGjry9FpcyKtL0emzolIfdmsadJcc9LciNvU7AcAtzy229f8O+VfvR7AhKhYUy15FxEsA27vI0ECSBxwHNASsJgIIEkgSiCLoHIALAEfwk5JaVWwHVAr8E3guwH2y/jqcebkHu+BTecKVhxe+cGOT+dWvzEj92ld1rTHcmIeyDSPyDMNzTcG5uoH5Op7lUX0XTPVv2Jyv2JDj7KwfpWhAyvDAyuNQeXmocWm4LzwwTk6/5KI4NLIoGJLUL5hUHbYwIxJA7PCBmeHB2UZgtINQ9IMganGQKsl2Bo9Im3afWlPjE2eMdb69KOlb0TsnP/SiYyPaquWN3+TbN+e6T1Qzh/bAOd2wpV9cGUP/LwdHd/AH17t3VvSuDnjbP6SvSv+tuGTV8rf/UPRW88UvzEzY5Y+Zcpjy833LTWOjo0YGxf5wHLzfYsMo5ZbHlhmHrvIdN98/agF4fcuMt230Dx2vmHkl8ahn5sCPzcFzzcP/Tpi+MLIUYsiRi2KGLXAMGyBYdgi49DFpmFLTUOXW4aviBy+InrEosihCyNCFkZo/4Z8bQleaA5eaAn8/5zF+pdFC/C0YK+9saEA8AgLqioRIqmKqCBRlRAoKigykSQsyiovq6yqMoRoeLEAXHu5US9gDyguEGzANAFzEzyXwXWRNJ/21uy+9m3psZK47xLesz4fumra6JSowILoQUXh3bMf8it+1G+Tsetafe+qsL4VE/uWT+pbrutbGd6/yjCg2ti/Orx3lb5Xpa5Htb7nan3vtYa+64z91pn9S8P6ler7lxsGlhkDSk2DCw2D8/WDc3QBBaaQbENgpm5IZnhwhmFYlvnegpgHip8YV/6CpfyVyWvfnrHto9mHlr51PuvzpjVxnm1p+KcqOLMRruyGmwfg5kG4upec3Sod3+zZU23fWdXwTfG1tbkXytOOZcfujvt0/YJ3Sj6cm/vuH5JffTL2+Zilz0UsfsY8/0nDZ9MmLpgZ9sUTj38y5eGPIsd+aL7vY/PoeaYxn5vGLIy4f6F59ELTqMWG4UvDhy4LD14WHrQsPGiFMWSFKWiFMUT7PS3OFJhgDkowB/lpT+eWKOffwsOd5fZr+JWrwloLGDAiWKtVpgBopeXa/iMABFSEFVlVZIRUWQJFbKvQIRMsgSoSRVAVQcW8iGle8fGKB6lewBSoFCAfEBYkDyAvUdxYdIDUClIz0Fddp7bsT/sodfb4+IghhVGD1kYPXB/evXqC32p973Jd7/LQ7mWTupWHdqvQda3SddPGCFSH+VWF+q0O9dMGoqwJ86ue5LfB2Hetvnd1aI/yid0qJvWsDOu7xhCwxjy4XO9fET6o2hRYZQou1Q3JHT8g67H+GeMHZOiD0gzBaYbgVGNwiik4yRKSHDUsafKI5Bn3WZ95OG+Orvqv079dOPdk5qc31iTYdmR7vq/gj26Gc3vg6iG4/hPcPA62s+C+BM1noKUGms9CwxmoPcqd3d9y8Jvab6sOlazamxe7w7rwm4TP1y/7aO2i99bOf3ftl+8U/+XFoj//Pvf1mekvTU5+zhj/VGjstMdWTH4oYfqjiVMfiZ/8UFzM/bGRY5Zb7l1uHL7MMMzvn3l+/xvyD8Hq8IC/DpaEZYkgiSCJqKi9IB1RAAtaZSACIoColU5TCJIFhRMIq2KxrV+nrcgeUlRRJiICWQUJQADCgyqAJICIgJdBwUBAUhWJIBkkWfEC9hDHhZYDa/eu+Ev+cxNTDENy9QMrzIPzDX0KTb1KLb3LI3pVmrpXGO6p0PmVhflVGfyqjX7VRr9Ko1+Fwa/C4Fdl8KsO96sK9VsT1m2trvs6fY81up6VYd3LJnUrmthFG2dRou9Vqu9bHN63yNC3zBJQFR1YFNqnVN+/0hRQbRlcYR5cagooNAbkGQelh/lb9YOs4UOSjUFJxmFJ5pGpUfdbp43NfXFc6Vv69R9N3Tb/md3L5vxk/evFysU3t6W5DpZxp7+BGz+C6zz4rgJ1DXzXgL4OcgsILcA1AdMEvgZw3wTbdWi+qlyrkS+fZn8+6jq+v+XQzvq9m699u+7ajurajcW16wqurMm7UJlRU5p6uijpRH7CsdyV/2eu8G6tws5UdWbrLodRtRpBKigqYAWIVikUd3hErVNGUQEpoEiqIiggKiADUUHBbT1wImAFVIIlggSQRCIiLIAigYpAwSAS4NvKgnIysFiriAaCxIJMg+wG2+WmLcUb3ns+ecojyZaRaZZBOZZ++ZZexabuZQa/yvA2pMrD/CoMXStN3UtM3QvDu+Tr7ykydiuz9CzXd6vsUF2PtuFQxh6Vpp6lhm7F+i6lhm5lxu5Fhq6F4V2K9V3aEvnDulVN6lI+qWt5aPcKfZ9K44ASXb9iQ0ChaUiBKSTbODQ9fGha+PBUc0iCuV98VN+EmAEJUwLipwbFTxsa/+TIlbPuT/r9Y5mvmSo+eHrTgld2x//1WP6im9vy6KPfoEv78LUfoOkUuC8DfQP4JuCagWkGwQm8EzgXcE7g3MB7QPC21U5iHcDYgbYB1drWx+Ft8uv8/H5zohWVBiICkXF7CTpEsEowQpJW1E+VOVmmJYXikFsBTgHESBwBQDKoEoAKsggSAhmAxUTSisQiGSsqYCA8AkEEVQZMEFJlFbSUXk6rY4cBRBF4H4i0cOHE5oT5S2bp4yNGZJj80yZ1r4jot8bUo3KS32ZTz/LH/VaH9yjT9SgzDSixDCqOHJxrDsg2DcyLDMi19Ms398k39c419MwL754X3r3I2KPY1L0qum9J+D0FoX6l4X6Vxi5ler9SnV9luN9ag191qF+1zm+96Z7qcL+SiX5l+nvWRvtvf3rkjtkPbH72oZIpw62GwYlhA5MNIVbL0IyooekRgdaIIWkRwRlRQzOihqZFBqaYByWZBmvjhVLNgSmmIemRIXkzRhc+/WDhnPHlb5u3fvHMkeR3LxYvrN+Y4j1QKZ3ZCQ2nwH4R6HrgWoG3AdsKvA1EF3BOkLygUCBTIPlAZQBzoDC/fbCwCFjUKpIjkGWQEcgqkQGQSDlB8IBCA/YAuJHUQDF1ouIhoCAFawWARUGr3g0eRuAVRQGMsCDxFEgCKBhUBCpLBAdIXq1UKMtzvKyqAJyoyhIBBRDNKB43IAFcrWfWl+TNiU6yhBRNGZmn71s4zm9NWJeNYd026HuuCe+zxjKk0BSUZQhapQ9Kix6TGj061hiUNHlYYkxwQmRgUtSQ1OigzJigzOjB2ZH+qZO65xp6lkX1r44eUGHqXaLrUqbrutrYdaPlnjXhfpWhfhU6v9VGv2rLPVWWbqXmbpufGX7gzYkXFzzdmvEOXfqls+jzi4l//vHLF8r+oC96Niznqcezpj2SPmVsWvQYa/SotMjhuVPHpJmDk3UDU8IGpIUHpBn8s4wBmREBqRb/5KiBKTFDkqcOS5o6ctWM+1OfHZf1sqn0vVnV8+Zsj3v/aHHstV1F3hPb0JUD+MZx3HoBfDeBtwFva/+h0AvI+xsHC6taOcN2sCQEEiYCYA54D3AucN10ndx3fkfZuR1FtQcqHBe+Y+2XAFiR80iCSAAUAoJMGEEEUAAEwD5QnCDYwH0Dt94AbwP4LoFwFfhrEnVN5hoI0ACSTCQFiIJVhBAQABUDzxGKAsZ7bW1u0cvR1pgx1rAB5Yb+1aHdV0/ssiG8T95j3fJ0g9L0IWvnRG94e9Z3X7313cJ3N8//44aFb65f9PqGha9vXvjaN1++vPb9Z4rnRmY/M77o6QnZU+5L1QemTvDP0weVm4eXGYYWTexTOslvtcFvnblLlcGvVOdXZvArN3UrMHXL1N9jNXRPMfVJnzq44uVxBxc+W1/0iXdzMlw4AOd/grOH5MM7nNvKL5ckHUn+av/S9zd/Mqfszelpz4alzhqfNmtc8hMPxk++d2XksETTkGTzkNSI4NSooalRw5OjhiVFj0yZOjohekRs1LDlkUHLIoNWTBmWNHN05uyHs1/Wrfl87vaVHx0rjL26Od91cJN6/gA01YC79j8ALKRN+qASWQYJgUQIBwoNshdfO3s0NzH1xemxM3XxsyYsf+IR6+sxm1K+cF48DMgHRFBVJCpIAUxAkgUbKDZgatWGI94T206UJ1V+9W7GX2bnffSH/M9f2J7++Y0f12JbDTB1mGvBskfkPEBkJPOSyAPGhJdkLwOyBN6W2jU5uS9FJRiDK6eEFEy4Z4Oxb9mErlURgUXRo0qf1dGb8uD0HrhxCprPQfM5aDrb1u3eUgP1p+DCQfnIVm7vmpa1mdcL4w4verd67tT0qeOSIx5INo9NNQzNN/YvM/cut/QpMfYs1HcrCu9eZu5TGT0gz9irMKJfQfSg7IiBqeYB1qjBOU+MyH/u8ZI/z9y25L3LVVb5yFa4dgSaTkPTaWg8Cdd+ggv7xePbXPur6zbnHStasXnFe6UfPF/4ypTcZ8OTpz22MuqBOMvoOMuoOPPIONPQeMvQlOihaVOGW2MCV0UMSDT2TrL0SYoatCxi+NLo+5dPeXDljEdTnwnLf2XKmr8+t+WzV3/rYGnd7BhjBYEigoxAApUFyQsNlw6kLk16wrx4wiir6b7iKQ/lWYZlRI+Jmz5ub/ICaLkEqo9h7DxmJGAVcAM0gXC5+WDR6s9+v3zG2EXGoSsiRmfMGL/KPCY16qG4yIeWRD2a8fpThwvj+YtHgLeBShPeTUQfkXmZo0Er/ciyIHHAOX6usqY8MyHJODArrMfaaP+CSV3yTQFJhsDkp8bLP2wCXx2ILcC3yI3nqLMHudPf82cOiDWH8KWjUH8G3FeBbQDvdWBugOcyXDpYv6tsf/bCks9etb4anTXrUaslaJV+QJY5sHTy8JKIwPywvrmP96gyDKzSDaic1K8qtH91mH9V6ICKif3yJ/WxRgyMj/ZPmDw4Zea9ZX80Hoh7o37TKv7YGqjdD44aYLXxajZALhAd2FUPNy4qZ4849269vKbwSHb8zqUfl//lheyXpqQ9o0t9alzSlDErIwJXmvxXmfqlRg5IjwlMnzwqLXpMWvSYzCljM6eMTYsek2QeER8e8tsHSytnjUEGzAMSQMSYBdkrXjye9cazi/Vjc6MfSRs/OOvxfmX6gPSwgGWm0UXvvuA9sQ8EO5LcKggq0AJdB8zlU2sTrC/plpqDrJNHZky5N8kYkhgekhfzaPzEkStC702IHvd1xKPzosaVzHv76u51asMloFpB5YBIisSKAocQUhQFCSKoAtTXbF/0dmJUcG6Ef56uS1lE3yxDvyRLyMoZj7Z8WwaeWpDtmKo/uqNy5Ssz0+fOyHz1yaw3ns5/5w+V897YtuKjfdYFN3eVOQ9tkM/vg+ZT4LkAtjPcxe8ch9acylmw47M52bP1CZPvX2kanqgLzDQFV04eVRg2sHTSgKrQAev0A9frBq4P7b8xtP86fb8yS8/8iK4Zxq5J4X4rw7uvjPBPfHJU8uxx67966UjBouaDa/lLh6D1Igg2UDwge0CggPMB4wWfA5xNcPOyVHPE+8PO+i1lpwvivl3yl6r3nyt6Y0r287r4J8YusYTEmYfF6oNW6AITTSGpUSPTo0ZYLUNTTIG/cbBUAKmtTroIwIDKgCQDC4pXaagp+eTVRZFjU6JGWw2Dc83+pdH+aZZBnxlHrV32MV97FhROFTlQJFBEcDbtSV6U/dKUlaZ7s6LvS48cHmcYnPfsuG+/ePFQ3PvHrfNPZS45sHJexQevJLw0Y+Hvoj6fFV2y8NOmYweAcUk+pySyMigMllltShuWB0+z47vKotkTciwD8kLvqYzslx3exxoZvGLK2EurreC8BMih+OrXWud/pgtZHhoQpx8Sqw9aHh603BCywjwsNvLeBYZhy2LuW/X0+KyXLcV/mrFr0RtXK2KZg9Vw4xjcOA61h9GJ7fXrrHsWvVnysjljxtiMmOGZlsBMw4Ds8D6Zod2zQrsWGnpUR/Qvm9S1StdjjbHPakv/yoiAEsug/IjBOVEh8fqB8ZbhKVMfzHg2tPyPM/Yve7dxbZpwbCs4aoFtBckFghsEN4hekCiQKBB8QNvBpQ0euSZdOd34w7eXNpf8XLLi0Mp31rw3K+NFXcKTDyyPGRkbNSx+yvDfOFi4fXIiFQQCHBAOkAQ8qBQwjRd3lOf/dfaCyDFxMfcmTR6xTNdnWfSIhNdmXtq7BRgnKIIisVigcOuN+m83pD4bmRL5YIZhRIY+KNk0fO0fpzauS4brP0BrDTiuQPMFuHEG6k5zNT+cXFNYsnjegtdeyFky/+cf9oPAASg8Ejistk04IxLgvdBwpuRlY3JY741Th5TpupeY+mdGBS+fet+51UlA1YJsV+11xV/8eaU5JEvXJ13XNz2sf5quf6rOP0UfkBQekGIKTAgPiNX5x4YPXB4+aIUpKHXamMzZoda3pq9d8ZdLGzNJzS5oPAp1h+DIOu/WjENL31z37rS0WWNXRgUlRA5OiRpsjRiYZepfYhhQpetXretXGdqrYlLvikm9y8L6lOr7llkCsvV903T9M8xDUs1Byabg/Kcernxz6jex7x9em+E6uwfsF4FtBLEVBDtw9jbCZBYkDkQeRB5kCRAN1DVoPUGuH6TPbLvxbcHhvK83LX6z8tPZv22wtF8KsdpRnh8QKCqRQeVB9IKvyXX2x+/yEpP++Pulf4gp+XDunrSl9p+PY8YLqggg8aJT4Rp8F/dkvjU5ISYkyxKQE96vIGpo9pOPtm7MgeaLwDiAdYPMgMqBTIPkA9mLOZfga3E0Xvlh7/btG9aeO31CpGmQZZAxqEAQiJQEEgut50v/NC3FGLDO7F857p5yXe+syEFLnhzTergclCYQHMr5nzPnPLfs8b4FpgEZob2sob2LYoYmT+ydaRhoDeuXruubMrF7WlivzPC+1rA+Kbo+VkNAkilgaYT/sqlDkmaOzpw9ruKPk08lfywfrIa6n6DhBNw4Ihzb8nNFwtb5bxa+Ni1l5sTEqDGplqFW/cDssH5l4QOq9f2rQ3tUTepSre9aaepeEN4l29AtK6JPdvTA9MgAq3lwiiUozhISN3lU+u/Hr/3g6Z8y5t38Nl+6tBec50FoBNEGspsgn6KwiiqqRJv+gEaqjeduilwDEVuAawZPver4jbcKCQGCAbezpWJQiYKxglURFB5kBgQvUHZwNoKtDlrqwN6o0j6sIpXIksIQ1YNcF45VxcY+NSbJ0Dvf0KM8sl+mYUDRCwa4eAhkD8gMEBlAwSDLKi8iVpAZEdEiohWV4wUvTbl42kuQCBgDwhIjAAZVxKCyYDub+6o5Kzqo5PGum/X9KsP7WyMGrXxxvHRjLwjXwHOdOrgvNkafbRmaFdo9LaxXhnlQgs4/NWroSuOgpRP7JpsHpZoGZkYEZJn6W3W9sgz9cs0Bafre6ZZesWF+saFd4sP7xhkGJ00eWzw3Zv0Hc65UpkvHvwXHJfBeg+afoWbfzS0FR9Pnr/3bc4Uvm6zTxqZHD8uNDMk3BRToexfoupWZ+xQZe+QbehRaehea++cb++cZ+heY/EujhhRHBuaYBycbB8dbglN/90jF32ZuX/nuhS05Lce3q7YLINsBubDoUiWfSlhadIjAKCAoICggIsxhVQRAv3mwAEPbgNZ2sFSiqFgEkIjCYMELggckHyAKEAWIBoIIUQGwyPlAZaHl4pYFb8VbhpdEBBZO7FZlGZBtGlj2ZiTUHgChkUVOGvsoQjOE4YGTgUeYw0Ron9ZU0kbxKkQUFF7AgkQQhxAvUCA2Nx4ozfj9Q2XTQ0oev2ej0b/YFJgYPWL14leAvwDcZfBeOlFuXWC6PzW0f8rDfimT+iQYA6vfnHww/q/bl769ZckfM9+cHPfs44ujhi/SBSyd2DdZNzAjPCBtYq8CY9+M0C5Z+t455oDU8EEJYUMSdMPi9KOsU8ZnPxOx87O3GtbnoJrdcONHcJwA7iI0HKWObT5Tkbh+0Ztpr8WsmDlu5bSxGVPHWsODskMHFU3yrwoLWK3zX63vv1rff034gMLHuhZP7FkR7l9uGVxoGpKhH5xkCEywjEya8UjmS5Hrv3j9WMlK++FvSP0JcF8G+iYoPlBoVfLJgkdRWACkEpmVfus979rAaEWb7w86JlNQsKT+8uwFgnxYcIPkAYUmWFIUGQDLHA1IgMarO7/8S7JxdJVlZPHjPYsm9cw0DKh8O5o9uwmkazI4RWA54EUQFUBa6oKCBFXiQZFknhNFXiUKApnFPEsECRRR5QH7wHdhZ/zbqdOCcww9K/R98if0SjUGZ79gurQjH8TrIF6D1mNln720LGa0NaxfvnFAVsyIVdMf5A+tA9vP4LgE3qtKIhRNAAAgAElEQVRy05nLeyu/S/+y6sPZ1mfGrzQPWxU+JCt8UObj3fNDexcb/HN0/dNC++WYgnPNw5PHD0oYNzhZNyrRdF/s5Idy3n7yUPEiZ81mYjsKrovA1oPcDFw9NJ9t/nHL/owl5X+dk/tcVMH0SQXmsUW64cWThpSG+ZeG9SvV9VlnCqjS9Suf1LsitF+Fzr9cH1CmDywyhuQah6UZhsaFhyw1DV81a1z13545mfPlzR2FyuXj4GwA0QOSF3g3yDQQEUD6DwQLgSKBxCkcp7CiyiMQtEQiDJyMGEnhFIwIURWeB56F5ptnMxNTIh7JCx26PnJEmW5gelj/ghcn3dhmBf4CQKuCKU5mBYlHCBEVAAERCRFB1SaRUQFJGCFVAZCIygo+UL1AX23ZV1TyRnh65IDMsK6VMUEZxsCVMQ/+kLFQuXEK2BuAGur3Fq587tHlkUMSdX0Tdf2Xm4YW/Gkm2C+D6AIQVMwjhQXCgGijavYesH6V+0r0ysn3rQwbnKsbUhA2MF8fkD6pd+K4rqmhvXPCB6RN7JNvGJIyrl/SeP8U84jFhqHzwocmvmj4Zvm7rfvXoUtHwHENPPVAt4LkA8oB9VeYnw7cXFNy4OsPK+dMz5j+iDV6RGp0SFpkQK6xX2F4nxJDvwpD/8qw/tWT+q0LHbgpfMia0IA14UOqTMGFpiEZ4f7JhoHWyMCUaWNKX5+5P+4r+7fr4OpJ8NwAwQ6yEyTnfxRYRG0HiyAZsKxNAgaiBJI2/aTSllqkSkhWkASiCKyP+XHv+ndfWj4usNgyqiA8KMcUnBg5vPIvM2wHS4G6AgoFigyySHgBBLktGam9mwMQYEklqD3rDXPANLgPVle/Mz1z2shcs3++eUCKMSA+ZnTFxy/jq8eBbQW2GRznNy98bfnk4YvDeidHBS/QDUqabbi+vRR4J5F5BcCHVBZAUBGWKeAdwDVC46lLVUkFc6OtUWNWPjYgYXy/bEtIXkRghr5Pjr5Poalf+rguRYb+xebBGbqBSaEDk4whieYRiwwjlz0xqfrTN85WZbmP7YHGKyDQILFAeYBnwOuApsvy+YO2/VWny5ZtWvJKwZ8j02aNSZsclGzyTzP0z9UPKAwbUDKxb/mEvut1Aysn9Cke161kfI9yQ/+qyIFlUf55lkHp5nuTLQ+mTh1fMGfK9q//9HNlkvvIZlR76D8RLIIlolKywBNZy+mRtLQ3VZKwrOUH8Yosa53lRAJPY9N367JfilkVOSZx4qAcy4hUw9CVhqHbP36hdXMBqT0FniaQGJBoEFhAIqiKgiQAUBVZ84mgCiBS4LODvc67s/zH+a9bjcOyw4NywwenmYMXR4zIf++52v0bQHYD5wHnzeatZWlPhyUZQ+L0A+dbguY/+fC3qV+B7SrwPllEiACDgMOAAIAAiAzwdpDt4LrEnv32m6/eTJ01aVFYSKJxWIY5yBraO31i1zxd16qYAVkT/VIe8cuZ1L0k3L9okn/+4wOzQwPjdUELwgKXRt5f9PpTP6Usdu/fDs3X2lK9gQWgCbiw0qyI1zlPDdN46PJO66Gs90s+mL7quUfjpo1aFTUs3RKSawnKmtiv1DBwbVTQmohBZWG9iiZ2KQ3rXmnsV6Tzz9cPzjUFZ1mGWiOGpc24v+xV0/Z5z/5HgdUeY2EZq9pwLA0sBTpS1AgQFWMFAREBWFB4lQeFAtl+Y3f5mo+eT5wyNsk8Infyg2nmMfGhI1Onjt/wyWsni1ZRP+0gtSeg9QowzSDagWtVqUbAPlDd4LsB7mvQer7l+00Hkr7I+V3YqomBBcaR+YYR2ZYxiZMfLvrbC60nd4PsJrQdKBdc+Xnrl+8vNz0YO3FIUsyYL2c8XPz1W8K1E6DQoCoqAllpG0smIiAEgChAJJA8oLgAOYGuv7Qup+CPTy+LGhsXOiQ1tH+urk9+WJeMx/3ydX7Fxi4FoX55j/uVjO9ROb5vycS+2Ub/pPD+SYbBicZhy/QjE2eEfbv809ZDW7HzmiI0IXAJ4OXBI4BXApeCWkCpB/YC2I9TP2+7sCl164q38t6MTnn60eQp96ZEhqQZh2SFD8w3DCwx+Zca/Uv1fddEDCoK7ZU3qUepeUBxREBOeL80fe8Mk/9vGyxCOqc9dv7Uph3pjb+kdCsKqAoimAegABjAPPCYeAG3+k7v+G7l+6lPT4o1jk6xPJBheTjZcF9y5L0p0+4veEG34W+zdix6fWf8O9+lfXyg8OuTa+JPVsWdqVxxunTxYetHGz95Nn32pBWRw5NNQzMMw4qjH0w3PRBrGbfus3caj+0F3kEIBxIFHsex0sIlMyK/CH1giXHsl5EPrI/7tPH0PhBdILOAFcCAEQBpSyUHDJopJoAwkQkRQPAA3dx6cHv1B6+uMI5J1Qfn6QZmPOxXqu9aMMkvZ7xfgd6v1NyjxNizMLRr1kS/XFOPdH2XTF2PLEO/NJ1/fFhAfOToxKcn7Vj1SeORb4C9DqgVSQ6MaYxZVdYGZDsB2UF1gNREnOc85/fcPFR9KG9h+cezl814cIExKD5iRPrk0RlRIzJNQwos/kXm3iXm3iXGtpJaWr3W3zxYneUWnqBjNnZNNcOlqNr87yIAA0ABsCDLwAn0DRAbwHnBs3/197EfFr40JT7q8eW6kVZLcIp5YIplcHJUcGzEkMXmwUtjhsXPejDuqbFLp927KDpkcWTw0ojA2IghCdFBKVOGJ8eMWKYLSo15dN2fXjiVnSpcrAFVUIgoKByAeG7/7vg/vbn89zNT5z5b9MFrP6/P567XgOgDVcAsDQiBilVRAaLlh6iAVW2OUkzakulVFQHigHfjqydPZC6xPjUhdsLAgoigzPFd8sO6FBm65oX5pT/uZx3vl627p9DcM1t3T2aoX25Yl3x9txxdz7SJPZJ1/ZIig7/UD074g2790nevfFeNW68A5wFeiyZlVZEVJGBVBMwR1afwLRJVR3y14L1MbvzUvKd836pPCt58MuHJCSui7k2JDkmN6J8S3tuq65kd1qMotFdZWK+KsF6/ebAw/KLtchtSasdIZdI+jJmo7YOMRcAIJAAOiBckGzB10HrOc3jLPuuCvLeezH728fQpwxNNQ5IjgtNiRlqjR6wyD11pCIo3BidEDEuZfG/qtDGrJo9aERW8Iip4+ZQRqXP1676e27C1GK7XgMcBCBEArySKoBCQ2eb62kP76g995zx72F17Cng7yAzIAqZplWOAKAAKbquYIAKIQGTACDABDFgBVQVeVkVZm7uUlm6c/qEoLnVOxGcTBsSHDUjX9c3T9y3S9yo29Cw29crVd8uc1CU/tGd+aO98Xa8Cfc8Cfc9cfY8cXfdMXa80Xf9UY/AKw8ikmeG7ls1zHtgFtnrgOBDbemmIDIqCVaIQUIg2zJ/4QHEC2wD2y3LtsZaDW86tzcj58/SMufqkpx9OnHpvSvTw7Ihhheahhcbf+OgGciew7kDVL2yRtsoFKgHcub8e04xHlSkgLGAPSHagrostP4tXfvy5YuV3S9/KfzU64clx8dMeSpr2cPKUh5ImP7xqyiPxkx+Km/Zw4u8m5LwWs+mrl4/nfXV1S5pw9TvUcgKYBuDdqtcjcbw2GzKryg5XK0gcKAJQDpApAI7mHMCzwPPAC6AoAFjBEiNSCuEJ8AC8NupaCyWJAlgBhEEB4GTexziA+EBqOb01P+HVycunjl1pHpYUOjB9Yv/08T0zxnXLmNA9V9c3b2L/vIn9syf0zpjQPSu0e66+R15Y96wJXbMn9MwKG2TVD4szjFlgeXT5c9N3WFd6L/4MHEB7BzCSQUBYxLgNM0Aq5rHiA4UChQHOCc46oK/Jl/dd+iZrR9z7RW/NTJkVlhD1QKxh5G8erNvl1jjrFlW1CU9JZ0tGVAACqiJLIiNJXq2QEAALyAmKU7adbzix+/SWkoOlyQfyVx4pTjpTmVGzJvv8xsLr3622ndhN1x6TbBeBqQfFDuAG4gHkBZUDohDAEoCL52QAAhjLgipygCVZ5TkQJECgyqBiIIAxlrEqqJJIBAUkDBpbIhAZVBW0LjQFsAoqgAzAYF4CSQWW812/dnx74Zd/TJht/lo/Ij5saLZ5ZL4xJDdscP6kIfmTQvJCh+aEBWWFDcrQDcg2+meG97WG9k7XD0zRDYkPH77YfP9nEY99NjOicMm8mv27gEOaGdcKDmk/wkpE1aagR6AQUAiWVJkDRQQsAGsDwQaiHbz10pXjDXs2nChK3pP41X8gWJ2lw5hptUnaJvgmqL0ySbuLVEFFQIg2oRCWsCgonKjyChGRwqsqBwoDiAbJB4IDuFZgW8B7k7hvYl8zCB7AHICIQVYA8SovEwmDrGIRKbysCAiQDNjHsyoAQkiSJAIgKKJb9MmgYCITrCBVFpDME0UGUACroGCQAcR2i6W2WSwVkKQghBDBCmABJE5mJMkLsg8c189vLi376PXEmcYVlvtXTBoaPzHQqh++amJQcmhIqm5osj44ST8kUR+QEB4QbxiycOLApZZRy6Y/lvbak9+mLWk8shu76gBzoCJQsYoUrKiEtCVoam1uCcsC0iaAxipRJEmQJEFBPKg8YB4UBkQvcE5gbMC0/ObB+qW5h6G9bfgLTKi9zJnYrgooKigE4Jc6OSqAAkgGGQFSQEt8/aUFQEBFIPOCzHNE5gHzgCgsugBYIBxgEYgCBFSVIBlkGWQV1LY7qgBIGLOyQklY4JCgaLPcgnZMBQgmWFYBCSDygEQg2uzcoqKyPAdEBYzaSuuQtqngkdZWVCQiSYA6dUvwAog88F5ovnrzwDe7kr9If2364umPLooc81V40AL9kCXhQcsNIUv1QUvCg1ZOHpv8bOiaz+fuTJl3bkcRU3cC6EbZ1yRTNgBBAUEAngeeB04CXiEiJpKKRVniVEUkWMFYQQjJsoyhLU0PY0VRZBnxSOZUlcOYJYT7/x1YMmC1vX/i76IxAioGpGiRPWAVFAUrMkEiIe3p1QRrRcIkQgSMeQXxqiISFWuD77UiTW0+VgFVkQEkILyqMhhkBIoCwEsYtb3+KqgYywICiVY5HpDWky+R9qTKtlZhWz00DCoiGIFCNO+pVbHjFWAQCAQQgCiDikBmgW4l9lqp7kTz4c1nN2SeXZNypiLubFns+fKEC2UJV1ZbHXur0IUDwrUjQNeB1Iq4Zqz4tMBKUhgOGAZYHjgBBAl4GXhMtBpSbUYfySJCCAAwEFGWMBAFqzLWKv5gpe33NPY3D9avSOe4XmnT9mC9rdAXIaSjD+zOov4iqE2xpGKprfn/y3HaztSpv0NLe2zbrO1KfukK0bZTcdv87pqn1pogQDoiRa0TS+txAIKBqCrCKsJaE+SXQp6aIlC0in4cyAyINIg+4B3A2YC3d1InCM62onaYxpjFmFcxj1VRxaJMpHZFWqU07a9uK2Wm3lruSvvVv0PbS4zK/8lg3UXUf0l/4env9e83+zde/V3kljpnmiiKrKiiogqaqlj8RyphrNwtPZ3cqcbHLWX+OvS/YP0DxVi5TTvdaLhV/7flV+oS3Gkbpb1j9RfVGiyYyHfUf/ie3Ha6O9+3/4L1P9A2uZ2qfwNY/6pg/AtDt0N2q96dqjsSAgD/Bet/KJ1+iGyTW0hSOun/IVh3M2Cd3Xdnu/sPX5tb5O5g3Vn+C9Y/kF8HS7lN/6/YuiXS6sDrdqT+Z2B1yO2e947yX7D+kajQoRh30rYe1l86NdC/Bay7xVh3q018N0v2z8Rqv372tlXtdTpv0f+C9Y/kV8HqMFr/52DdEQ4AuN2M4U6lqf95sDo2uJXgu4HlcrmcTqfb7fZ6vR6Px2632+12t9vtcrk8Ho/H49HWu1yu1tZWbbljfeePdxN3J/ln1t8u2ok6tuw47x2P4L2T+DoJfRdhGIZhmDt84WMYimcotkNpmmUYzuv1eimfx+eVkOz2umiB8bI+H0dxAu/xeHiepyjK6/UyDOPxeCRJYv5e2Ha5fQ3HcRzHdV7meZ7n+c7L2sc77n7LcRiGY1me4wSeFwVB6lCaZgVBkmWlYz1FMRwnSJIkiqIgCNpZBEGQJEmWZfE2kSRJkiSRFyRBlARRFiVtQeQFgeP9XC6X3W632WwaUq2trS0tLTabze12NzY2ut3uhoaG1tZWj8fjdDpdLpfD4XDeJndcebu4OonD4ejYS1ujIeJol1v2vSN/7tuk81d3pM33q3Ibk5TPQ/k8jM9D+TwU5aUpL+3z0T6fDyHEcZzH4+EE1m5vdbjsbq9LlAWO49xut0YVz/OqqmqvK3ObaI+fuot0bMC1yy3EcBynvQm3UMX9vWhU3Q6WomCW5SmKoWmW50VJQoIgSRLSoOkMlsbQLVh3iMDxIi904KVRJXC8n9PptNlsra2tDodDM1Qdz7KhoQFj7PF4NOw6mLPfJjabzfGP5J9k0XWbaMTc0Tp2WLJbRNurM1Wd0KHuqD4ffUfVYKJ9DO1jaB/VoZTXR/k8Xo9LEBmG9jCs1+tzMgzldDo9Ho/GnMvl0owKz/Od7eKvmK7bjegtdkhbczdz1fnxC4LQwUfHx87E0DTNcZwsyxzHdaCsUXU7WMLfSyfLJUsSukVFUfbTyNCo0l50p9Npt9spiqqrq2tpadGY097m20G5Gzd3BOVupkVDQZNf8WK3sKV9ezcD1nl3iqI6nhZFMf9QaZqlaVZb7uQEaZZm2pShOJYWWYr2OCm3g6M8skDztJem3Koii6LIcZzmdjvblTsi1fnZd/g7ba/ORut2sDq7S57nOy93ANFBSWfpOJEgCNqvfqIosiwry3JnsDozJN0mcrtIEpJl5Xb106jSYLLZbJpB0iwQRVHaO6d5qI7YqzMld4TmjnLHyOl2udsGt7B1u1O75Qgd6zXP0skQsHfUDqN1K2TtJoqhaIaiGdrHUT6O8kkcq4qcxFKMxyGxPs7nYJw2xuOgKS9FUT6fr8PTaSj8SjB0Ry92i/npYK4zPZ0Z6tj4FhpuCYw6g4UQ6ji15rVpmr5rLPX3HzvJ39mqX8DqMDx2u93pdHq9bfelqakJIVRfX3/w4MGzZ882NTU1NjbeEaP/GVgde3VQoj3+X7FYnQG6hZsOuVvw1LHB3cDSkNICc5blWZZnGI5huF+sVLuhEhhaYHyMx8l4HLb665fOHm+tv0rZGhHtBiTyHCMIAkVRHQZGlmVJkn4FoNu9mPbgb3FhGhOd6ekMVueNbwei87K2DcMwANBhfjSkNIv16yYK/b0oCkZI1VRRsKoSVSUYwy9guVwuzXo7HI76+nq3293a2lpWVqbX661Wq9frpWna5/PdDazbA6C7iUZG5xio87O/Iy6dibnjx87S7vLuvPvdwOpASotzeV7kOIFl210MS/McI7KMyDISS0ksJdM+wes6sm9P0vJFW9dWuhuugUh7W27am5t4nmcYRjuv5mKcTmdnmG6xN3eUu317N7DuaGYkSRJFXhR5bVCeJAnaR0HgZFkkRG1oqHc67QCY51ltzS0YdYhym7T9zq22j4JQsKIStb0jxq8jANfgaGlpOXPmzO7du7WW4LZt2/z8/D788ENtgzuan84xzT8j7Q+4I+ihbvFldzNUt2DUsfLvDVK7w+vkfTpzplmjX+wEwwoMLdI043azHg9D+1iGYlmaZWmWoRjax1EeTRnaw1EenvYKtEeiXYytCXjf4Z1b/vbai2WZKby90XWzNjdt1Tt/fnv//v08z1MUderUqSNHjrhcLlVVb29P3R4J3XGDW4HjGIFnRYETBU7geJ7lOh9HFiVZlGRJ6FBJ5CWRb//IKSKHBBYJrCJy166cz83J+GbTOrfLxrE+XqCRzCsip0q8KokKkjqrdgQki5rKstgeY3V4SVmUkCQrMlKRgv1sNhtFUW6322azOZ1OQRCqqqpeeeWVuro6p9NJ0/SIESPee+89l8ulPTZtoSOI0VrX2r4Mw2ixmqe9WaRt0NjYyHGc5m219R278zyv2UKe5+12uxaUeL3eztGJ5qCdTqdmq71eL8/zHo9HEARPezebZiQ6dtRMBcdxHeZd+xsZhtHaxj7ay3A+SWQRT6tel9jSRFw22dlCORoE1un1NguCm/XaRcrOORsw66SdjYyvVRR9AusWKTsIXtXeAPYG5nJN/IfvbirIZJquXzt3MjVp5QvPz965cyfDMD6fb8WKFYmJiTzP0zStjbrU7ozmdzT4NIAwxlpfl9aLwbIsQsjn82lEiqIoyzLP8wqSZI7i3A4isIrAMm43KIjy+kRe4BgWSbLX6UAcx1MekAWQBc7twBLP0xSRBcQzmGdA5kSvQ2Xdks/eeLUmOW5RdXmeo+U67W0BkFjKBgIFIk1Yn0R5BNoLRGG8Lox4VeYAC6pIKwKjSCzPURzHSJIk8xzr8zodNqyoWhtTw8tP84Aej4dhGIfDUVtbGxsb+8Ybb2jekKKorl27zp8/v7Gx0eFwaA9VQ8Tj8TgcDq2902F4HA6Hdr/cbjdN0xpDiqJoYGlP3e12S5Lk9Xq1G90BFkVRGuU0TWsL2rm0+6vZIa251OGytcfDMIzH46FpGmOsHb8jyEUIURRlt9sBQNsMCaLD3soJrKRwbnczqDyyNYCrFVytwLkkbzPPNDFUE0M1ib5mQtuBdQDdinknElw+TwNLt4DoRo564F1A29DVmlUfvr02PZFqqAWVa2msa2yo12jgOG7OnDkFBQUtLS3aK6f9IQDgcrlomiaEaEZIlmXtlVMURbvD2mVjjBmGEUWREIIQYhhG4liV9RLaJbhaQGRFj4tzO1SRY70ukfFJLMW5nZilMePlnc2Cowl4H+uwybQPkKwylORxIJ9DcDTw9nrg3YLzBtV63d18FVQKsQ63vQ4kn+K8qTjqQaJBZgnHgCoJtIfzORhXE2IdKuuUfK2AOMTTisgJDC1zNCARiKJKosftRAhhDKKE/DQjZLPZaJquq6vbuHHjE0888cQTT2zYsOHkyZPNzc0hISELFiy4cuXKxo0bk5OTi4qKzp07p5kTURRdLtfVq1c3bNhgtVpTU1PLyspqamo0W8KyrHZwDTItmFu3bl1xcXFqaur69evr6+vtdjshpLm5edu2bXl5eTk5OaWlpfv37xdFUXOyDMNs3bo1NTW1pKQkOzv76NGjTqfz5s2bx48fb2xsvHHjRllZWWZm5qZNm3w+X11d3fbt28vLy7Oysi5duqRhrb39ly9f3rJlS0FBQU5G5vp1a06ePsGJFEc7Pc11R7ZubDr6o9pQe+2nPd9tKNu9reLo4Z03rpwA2QNUK1DNUmvtjXNHDn33zc7NlTu+qag5sk9suQbNV8Fxgzl3NPH/NfflwVEc97/6I47L5UoqLic+8mxXEnxgG5z8TCDcNuZ4WMbGGDAONzKXDBhxSKtrT61WEgIESOIUkjBI4hJIICQQlwSSQNLqWO19zuwcu7P3fcylfn90QvlnG8f+VfLe69qamu3p6enu7f4en++nZ7esazpyIE5aE35n973bjRfPm0wmiqKam5tfeeWVtWvXXr58GUGQcDjc0dGxb9++8vLyysrKU6dOWa1WuEL8fn9zc3N3d7fX633w4MHly5cPHjzY3d0NAHik46AwAGwSRHz6nju6h3cTLtSs7L5x8QymHQLJMEiE1D13uq83Pbje/LC9mdANgLAb1wyYlL2a3m4fZmODbtpLUOYR7YM7iKrHa1MH7BplR4t56D5IeKJulAtTQcKgu9emvN5442ztrcZ6wqiOehw27bB5pB/R9id8OGD8fkyn6etUPeyM+anReCQR8A72dutHBr0UGYuGGYahaZbnQYrH44GQRiAQ6OzszM3Nffrpp8ePH79y5UqxWOx0On/7299OnTp18eLFa9asSUtLe+ONN2bNmkWSJI7jwWDwwYMHaWlpGRkZEokkIyNj6dKlCxYs6OnpgcrI7XYnk0mfz5dIJB4+fLh169aFCxdu2rRp5cqVL7/8ckFBAYZhFEVlZ2fPnj17wYIFn3/++aJFiyZOnFhYWIiiaCKRuHTp0meffbZly5acnJzJkyevX79+eHhYKBROnDhRKBSuW7du+vTp77zzzqRJk0pKSrKzs+fNmzd58uT33ntv+fLlarUaCjmHwzF//vzp06enpaWtWbFy0aefvPvX/zpQvjcSdD243SJJ//Jwzi7t9aZvivJlO7/M35WWvWPN/sIsp76Pd9lAiLhVf2xv/nZF7tYj+6SHivP3SzLL8jJcA53Aj3Om4ZIt664cPxBE9D23W1d8/tm7//Xntra2gYGBDRs2PPfcc9OnT09PT4erYvbs2R988IFAICgpKVm4cOEXX3yh1WqTyWRnZ+fs2bPff/99hUKRnp6+aNGi1NTUOXPmNDQ0RCIRKK4SiQQAgEtEY06bdPuX5dLMOxdrjxYK9uVuvXfptEvbd/3MsUvHy1pOlV+pOVgm3HFIstvQ0/6w9aJw6wZ5ZoapvwswEcBFCF3/wYLskryv+283aR9ez9q4rOFIMYhRvA8ltQ/PH93bUFZw/0LNlerKw4XC6rJio7Kr9eLpbWuX9d5sCiAjIEIgQx0HpbtP7JM5jCraTyX8ztNVh4+X78NtJsDRDJ1IxhMAgBSoIAiC8Pv94XBYpVLNnz9/6dKlKpUKqpJf/vKXY8aM6ezsNJvNIyMjlZWVY8aMuXr1qsvlGhwcTEtLy8zMRFHU7/c7HI6ysrJnnnmmoaEBTtZEIhEOh+PxuMvlOnjw4N/+9rfm5mar1Wo2m9etW1daWmowGCoqKt56662ioiIInmEYJhaL33777YsXL3o8niVLlixcuBCGKZVKZWVlpd/vP3fu3Ouvvz5jxoyqqiq9Xk+SZHp6+vPPP3/06FGHw4GiaH19/YwZMxQKBXRjt23bNnHixFu3bjmdTsyG6HWaHbsy3vtg2o3WxojDduXYoc2pH5wvkQxeqY+gKh861HLuyM4NSy8eKwWUxXLvqnzbqr7yGMsAABgaSURBVEsn9gZRFYg4QBi3Ke/Itqw6u0ec1PUxBqV844pLh/fybtyF6OTinD/+4ZWWlhYAwNDQ0BtvvFFYWAixeJfL1dTUhCAIiqKRSOT8+fN/+tOfKioqoCWwa9euF154oaCgwGaz+Xw+FEX/8Ic/LFu2jKIojuNGR0dpmgYAMLFQnDTfqj+at2FZWfZmTfs5tLtl4EqNvv3s0bx0p/IGINTAqeu+VJ2xfEFL9QFK01spzS4XZwetOt5jB0Gc9lrqj5Vc/uagy9hrG7xTuHt9VUku8KHAbTtZmPNNcV7CPMTaNcBpHrrZ9NUXn9xprDM+vLMzban5YTtwmQFNha3K0sxNDRUKhrKBmHc05Gq71FBXdSTsdtLREJdMAMAnE7EU6AnH4/FIJOLxeDQazfz581etWgWnmt/vf+KJJ7Zs2YIgCDTP+/v733nnnYyMjHA4fPjw4aeeeqq9vR3iqCaTSSgU/u53v7ty5Qp0MB8ZzgaDYdasWevXrw8EAtCS0Gq1Q0NDSqXy448/njlzZn9/P5SasJ4ZM2Zs27ZNr9evWbNm2rRp165dQ1EUqhiO47q6uqZMmbJp0yYcx6E4PHDgwNNPPz04OBgMBmmaViqV8+bNy8nJ8fl8XV1dEyZM2Ldvn9vtZhgG8KN+n6f9Vtuf//LWtvS1Lot64NoF6dpleGcb8NiAz0pTupBddUSRVZyxPqLvv3JEUZ69Aeu/CfxIFFfzHitD6K4cLVWkr/D13x21DO/9+ssL5SUR1JhwYxfOVI8f91Z7e7vf79fr9ePHjz906FAymYT6zmAw3L17t6ioaM+ePTk5Ob///e/Xrl2LoqjL5dqzZ8+ECRPq6uqg1uN5fuPGjbNmzTKbzfF4HILjAAA+GQUxj/H+tex1i1pPFDO2XuDRhVTtZVs/v3ogF3i1IGQB+ODN2n07V3x0u+FYDBm5fGTfwZztAeMgCDtBEPNalDWHpKquZhDHw/ah6tLcb/blA4feO9Sp2LjC1N4IvAjAtUmbSnWjcefqxd3N9djgfcH6zw2dzcBjAgGLo/+6dNPnJ6Q7QyYl8GGcn7zTcuHO1cbRWJAJB7hEFIzy8VgkBTrt0Ab3+XxWq/XDDz9ctWoVjuPJZNLr9f7qV7/KyMiA7lgymUQQ5J133snLy6MoKj09/Y033rh169a9e/caGhqys7PnzJmzYsUKBEEgqgs9Ha/XazQan3/++bKyMoqiAoEAnG2hUKi/v//dd99ds2aN1WqFJjY07VevXp2amtrR0XHw4MGJEyfOnDlz9erVu3bt6u3tRRBEqVROnjxZIBBAVRsMBk+cOPHkk09arVa/38+yrEaj+fjjj7OysgKBwPnz55999tmOjg4IAoV8/kg4aMesU6a+++mCWQFcr7lxKePTua7uGyCEgSDCU9oEoT69X5i/dgltGSz9euUp+U4OU4EAAsIESLqBxzrcem7jh9N0rQ2BoXul29KuHD+QIKysn2o6W/f2W2OvXbsGALDZbOPGjROJRJAaYDAY8vPzZ82alZ6eLpVKBQLBpEmTPv74YwRBgsHg0aNHp02bdvXqVQAAdEd27949YcKEgYEBGHWBO125RASEnfjA3Zy0z3Q3z4KgGRADRMdZweIpbeU5ngeX0Y5zXXUHDgnWn5Dvdqm7gds61HJOnr66t7kOJNyAdvXeOLdfmuEw9iQobdg+cES2/ex+IQiiqqZTZVvWGFrq3b3t7oG79xtOVORnHCvIitpUNK7bm7npzulDwGcAAdPI1eo9W5YVbv7c0tkEfEjYrj9zpGyo685oLAjYJJeIAp4bZeiUWCwGjWvoqVkslrlz565duxaCW4lE4te//nVWVhZFUTRNezweHMfHjx8vEAicTueqVatefPHFlStXrlixYt68ecuXL8/JyVGr1ZFIBMMwGAgLBAI0TQ8MDLzwwguHDx8GAPj9fqhkKYrq6uoaO3bs3//+d4qieJ6H1jrP81988cXChQuHhoYwDLt06dJHH3305z//+aWXXlqzZg1Jkvfv358yZQpUwdB7qqioSElJcTgcDMOQJKnT6RYuXCgSiZxOZ1VV1auvvtrb2wuVMh2LA8CrNUOzPpi6eOEcRP1g8OrZgnVLQwOdAFUBtxH4zRF06Fpt2Z6v00KqrgO71lWJt/H4CAiigDKBgB24rcMtZ9MXzDTdvuwbvlewaUXjkb0Jh40LuC6eOTXu7TdbW1uj0ahKpfrrX/9aUVEBvWOFQjFmzJjNmzdrtVoMwzAMW7FixezZs202WyAQOHDgwJQpU5qamiAyxPO8QCCYM2eOVqvlOA5iDclkEoyytAczPbiR8+VS3a0LwGcAlMrYVi1fO686d21zWdZJ4cZa+fZb3xx0a3oYp3HUYw1oevft2HjxUCHvNIIwfuti1bG9eXGXDsQwmtKcLBYcl2wHlPHOyf1F65Y07RGeLco+sGvDkbzt10+V+/R9IIABt7Wt9sAhwfqEuQcQQ3dr9lQLvxKuXtBz7ljSpqJ0yhP7FWGnnY/6AEtziQjgWDDKpwQCARh2CIfDTqcTw7APPvhg48aNGIZB+PHJJ58UCASPYEyCICZOnLh9+3afz7d27dpnn312x44dZ8+effjwIYIgNE27XC6apoPBIMMwcL56vV6lUvnaa69lZmZCAfYIoRgcHJw6der8+fMxDIvH46FQiGVZt9s9b968Tz75RKfTQTA2GAz29vZmZma+9dZbBoOho6Nj+vTpO3fuJAgCQtuVlZVPPPGEy+WKx+MOh8NiscybN08qlbrd7tbW1rFjx544ccLn8yWTyWQ0lkzElAMPZ773t+WffxQkDOrrjbs/mxcf6QHIMHAZgNcYtQ/X7skvTF/N2dRV0oz9mesixoeAMoCoA/gxFtV21B/L/PvHxMNb3pFu0cblzScrAqgx5nZca7zw9ltj29raaJrWarVvvvlmaWlpJBIZGBhYuHDhrFmzoMaHC2/Dhg3QDXI4HCdPnpwwYcKNGzegWOV5fteuXZMnT9bpdBAA+4c25Ggm6DT3dexcu8TU1QoiGPDo0M6LgmXvH81ep26psXc30cgg8KMxXA+CjlEvypPG7gvVsi2rrH03g7bh8oLdty7X8GEURPEwPlxVkltdJAAe60jTmS1zpzaWCNVX6/EHNzhMCyJO4EFBhAQhQtV+sWjrCnXbN1Rvy7VKSf/Fo9cOy6XrlxB9t5tqKm9eqqf9FKDDCZ8HsIlkNAIAnwKJMdAtj0ajKIrOnTt38eLFZrMZ4k/PPffc5s2bvV4v5Fc4HI6xY8fm5+d7vd6ampoXX3wxNzcXwlGxWIwkyStXrvT19blcLgBAMBiMx+N+vx/DsKVLl06ZMqWjowMAQFGUzWarrq5WKpVZWVmvv/56TU0NhDACgUBTU9Nrr71WWlra19cnl8uHhoYgeK3T6d57772+vj61Wj1t2jSxWAyhUZZlq6qqfvGLX9jt9mg0CgBQKpXLly//6quv/H4/juOpqanLli3DMMzn8YZ8fjoZP1l97E9j/teZ2ko2gD9sOqPYuMLd0w4CKAggoz6zbeD2AVFGbbGIRbW9V74Rf/X3rku1wG8Hfhx4UGq455g0c19muk/fF0fVpYKtZ4+URZ12PhJq+Kbm5Zd+f+3aNYZhDAbDhAkThEJhOBy2WCypqakffvihTqeDaNbg4OCrr746Z84cs9kcjUb37t07adKklpYWSNGMRCICgWDGjBlKpZJlWYiYMAzDsQkQDw3fb9++7gtl+yUQwoDf5hxsL9u9rjRjlXOwnSO1vNsMfPaRrhuaB3cBGwY+LGwaFG1eceaQvK3h+H7JLg+iAhGS8dsiDt2xopxK8U5AmfHudnnaF7WSTB7RcJgWUBbeZbMp7xke3OY9CIg592VtPF2SXVuw42KZkLUNqtvObV/8v0+VSvbl79b03gdsDMRDXDQERlkA+GgklAJX+ejoKIS5EQRZtGjRH//4xy1btrS2tt68efM3v/lNamoqNJscDsf169fHjBnz2WefWSwWkiTFYvH48ePHjRv39ddfSySSBQsWpKamGgwGlmVJkoQ0Nyjeb9++PXPmzLFjx65Zs0YoFL7//vuVlZVerxfHcQg35Obm1tXVZWZm/uUvfykrKwsGg2q1evPmzZMmTTp69GhtbW16evrWrVvj8XhjY+MzzzyzePHinp4eKOFWr1791FNPnT59GsLu58+fnzRpUmpqak9PTyKRsFgsn3766dSpU0/V1J6vO7ds8ZKpUycfKt8XCzlA3N3b3JC9fOFAY+2tmoN3LlS1nT8u3J5Wkpfh0Q+DZIBzW+5fPSPfufFEifj+5bPt9TXl+btrSmWOkd44YVDeupyRtkyWvV2rfKAbVO7cuvWVl16WyWSxWGx4eHjcuHFTp04ViUTt7e0FBQWvvPLK3LlzGxsbi4uLFy9evGTJkjfffLOurg5F0S1btsC15Ha7OY7DcXz+/PlvvvlmY2Mj5EJBcnAkHIwFvTeazm1a+fmZI/sRVQ/tsoAwgShvK3atF29bU1dZ3PTNEUVORnmJRDfwMOYmRn04iFLq+63rFs/LWP+FXd8PYh4m6ABJ//D99vyvvyzclY4pOznC1HWudu+OzYqv0y4c2Xup6lC5LPfYngJdbydI+GnKpu1szVi+oPDr1Zbua8CH8KSxrfboV8s+PXPkoJ9EkwF3IuAFTJyOheH/eqcwDBOLxaBtDvVIY2PjqVOnTpw4cffu3b6+vvLy8rq6Ooi8x2Kxrq6uqqqq48ePQ0wVAHDu3Lk9e/ZkZGRs3bq1vr7eZrNB0wqCxdCpcTgcLMsODg7u378/KysrJyenqakJBoIgEl1TU1NWVrZ9+/bCwsK2tjan0xmNRpPJJI7jdXV1O3fulEgkFRUVdrs9EAjcu3evvr6+oaFheHgYmmu1tbXHjx+/efMmx3EQBzl9+vTJkydhNIlhGIIgjh8/LsoX5mXlVh48dPfu7SQdCfoIJkiob1/Ztmie+tr51qqyS9Vl52oP3rxa77EbQDQAgq7RKMVHnP13Wu+3NF47XdNUfbzz0vkgYgDJAIi4CdPwravn2682Iiad1Wi4dP5CbXVNfX09NNjr6uqOHTtWXV2t0+lMJlNLS4tMJsvKyioqKmpvb9dqtdXV1TCw2NzcXF5efv/+/UgkwvM8QRD19fUVFRUqlQri+AzDcByXTMSiQd9QX8/FupoHd9ocVl3UbQdMiA86XRb15W+O1Z041HLhzIM7bV4S4RIRLhYAfJT1k2HS8vBOi+rBnWTAkfA7AR8HyRBhVN++crGr7TKmVoKwG4Tcw7dbr50+duH4ofMnKu5fv4KbtBE3yUX8IBmgPVjH5TpDTztIekHcCyLeGI50XLnstBkBR8f9XsDRYJQNhwLxeJzn+RTIoICBTABAJBIJBAKPiB8wEwYoXC4XFA80TY+OjnIcB4N9MN4H7ao45LcyzD/CRonEI38TEvshYul2u3mehzZpMBhMJBIcx4XDYQhbAAB4nofyH/rqEOKPx+Msy8ImsSwbi8WgoGVZFu4HgZF5iJ5AFZlMJqF1AmkFoUAw5A0mwvFRAKKJIABxkPCO3LmWt3apo78DuK0g6Y0HCTrh4ZNhOuADTJJN+JmEnw57AcdEKYrxegDLMF5X3ENyETeb8I6y4WQinIiHE7E44AGcB5CUArFNOIAAACiNYBgHoupwuvA8D+M5AAB4QtM01Ikw0AuDnvF4nOcYMMpyicgoHQNMHHBJwMQBF2ejfibi42IBJhYKepzwkt9FgtFkPOAEo1Em4mGjXi4WoEN+wLNMOBikHIBn+FiYDnsBHWVC3tGYHyTDoyEXSIZHY8FEwAt4+EouJh7xJ0MeQIdBMgCifhALcaEAGwoCJjlKx3k6TseidDLOMkkYs+J4kBIKhWDroRVPEITdbjcYDENDQxaLRa/XWywWnU6H47jdbjebzSRJWiwWg8Gg0+msViu8ZDAYNBqN2Ww2GAwjIyMGg0Gv1+t0OrPZTFGURqNRq9Umkwlmwtv1er3T6bRarSMjI3a7HUEQjUaD47jRaDSZTDqdzmg0wnMEQeDRYDAgCEIQhEql0mg0FEUNDQ0RBKHRaFAU1Wq1CIJYLBZ4hDlGoxHm2Gw2i8Vi0OkJhLQaLB6fNxoPxePeZJBsqzuxZWnqUFsj7TRHvXaOC4YjHp1e5bTbrUaDVqdyuQkcsxE2m9Nmt4yoCZPZabW4MAuG6NTqfr1hGMNtiN2mN5gwu8NksuA4jqIoHDe9Xm+32/V6vdFotNvtRqPRbDbr9XqVSoUgiN1ud7lcIyMjKIrCCJXBYCBJ0m63j4yMkCQJwWSHw0EQhNVqxTHUYtBa9GoMMZn1GoNGZbOa7ajNajERuF2rGUERK2I2mPUaJ4FgVqPZoHLgFrNZTWJWxKK3GLSoyWTVG70OCjGaCRSxGPR2q8ntwBGb0WTUIBYtalRbdcOISW82GUwmk95o0Oi0BIG5KMJq0lr0asSks5vNTpxw2EmTwYxarAadPh6NwYXNjwKOB/EEnQKlSzwe5zjO7/dfvnxZoVDk5+cXFxdLJBKBQCCTycRicXZ2dn5+PszJy8uTSCQSiQTmwKNcLpdIJEKhUCwWw5O8vDypVJqRkSGTyeRyuVAolEgkJSUlMpkMXhKLxRkZGWKxWCQS5eTklJaW5uTk5OXlicVihUIhFovz8vLkcrlMJsvJyRGJRNnZ2SKRSCwWC4VCWKFUKoVVwbvg02GFpaWl2dnZxcXFOTk5+fn5MpksMzOztGRPvkBYUVZ+pr6OdGLRqNfvtDYc3n9cIWytOcJ7sYAH9fpxvUW7v7wsP18kEonkJYW5kvysbIFULJGLZMVi+R6pXJqXJxPnyguF8iKJUJYnKZTmS8R5Ylm+UCqTybOysoqLiwsKCqRSKWyGQqGQyWSwGVKpVCqV7t27V6FQCAQCoVAoFApLSkoKCgokEklBQYFcLt+xY4dEIlEoFBKJ5FEH8/LyxKL8AkmeXJxXJBcXy6VSiaioqKigoEAkEgmFQpFIJJfLZVKxTJRXIMmT5mcXSHJycneLpLkSaX5xsUIhL5QKRXJxQb4gr0imEGRmS8UymUyWlS3IlwplRQUSmXBvcaEkP0deIJXJC0SywnypPCtPJFMUiSRioTCvQCaRiIWFBYoCWZEgWygv3CMWSxWK4s7O+6FwlGF5+CoomgcpiUSC53nou0UiEZfLZbfbMQxDUZQgCEgcJUkSQRB4hDETn89nMBggWRmKE4vFguM4LI/juNPphF8dDofD4bDZbBRFwTIEQRAEgaIogiAulwuGHUmStNlsGIYRBAFJFiRJBoNBm81ms9m8Xi9BEBRFIQgCa4aLGMdxBEFg+JkgCI/HY7VaIWhis9ngc91uNzx3uVyoDXFiDhJ3UG4XwyV4LhENuCIO1GvVRQhr1IUDLjYKGKeXstpRJ+VGUMxGYISbwgjc5fLgNszjcJN2zON0kASK4TaXx4EQNhuOoATp8gVRO+l0unAct1qtj7pPEITD4XA6nVAsQYGEIAiGYU6nE161Wq1woFAUJUkSso/gngPIF4eRD7fL6XESTgIhUKvTQcBeYzhJOijK5UFQDI6SHbURqNXrIhwk6vI4XB4KJzH40zhJKugPOQgngTkdhNPr9SMoZicJt99nwWx2B+ZyOXEM9Xg8GE5a7YTD47c7XHbSQbldVsTm8XhIkkRQjHL5UJwiKR9OUDhO+gMhlhulGS5JswwLEiyX8n0S6uM4hI+YqT+Y+bjX6zyunn/5Op6fmH7Ka30g4/EfVNp/cmtpOkHTCYZOsIkol4hCW4FlkjSdSDI0zf6TestzDPdPziTzjw9LMyxLww/D0QzHMhzLsDzLPrY9/67Ew/djcd8d8O/SO1ma+2cLv0/+ZFmW40Yf3QhJxfDz3/jHLM+wPM1wNMs8uvGfnGTuHz1n+e/VzTMcm/IjE+jH03eKPW4gfrBXj4itP738z63nOzPv0aB8e3S+3d//PmrMo5I/t1U/cX7829PPHbcfXJM/uCX6f7CqOY5Ledy8+Zct+4nFfm6bfu4A/cvnfqfab3/9dn9/8NE/0rZ/V/t/5Lf5t6R/2YDv/I7fnwDfX4QwQc32uOem/L/q8H86PW4Gfzvn22P34yv4P9vW/4vpUZcfzYzv2D/f3xf0aNfQt/cUPUqP2zKT8rgW/ETj5icW++n1/ydekvGDz/3OQP9IyR+s6qc89/+T9IMT69sbwn5w/+C3d3nACOZ30qMNiT+Y/g94brPSu/ztagAAAABJRU5ErkJggg==" alt="" /><br /><br /></div>PMN is happy to announce that the Cosmopolitan Review, an online Polish Studies journal, will publish texts by PMN speakers in six segments. The first two essays, by <a href="http://cosmopolitanreview.com/articles/38-events/349-polish-movie-nite-julian-myers-chris-fitzpatrick">Chris Fitzpatrick & Julian Myers</a>, and by <a href="http://cosmopolitanreview.com/articles/38-events/350-polish-movie-nite-erica-levin">Erica Levin</a>, appear in the summer issue. Visit <a href="http://cosmopolitanreview.com">http://cosmopolitanreview.com</a> today!Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-54609621924154759732011-06-09T16:43:00.001-07:002011-06-09T17:11:44.425-07:00Chris Fitzpatrick and Julian Myers introduce The Promised Land<div style="text-align: center;"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj70zsfXfSVKK5ulJjY15o3RH6a54CyIeVKYN-dRemlMtl25q_EE9uV345iYLPUkgBxD3y3nidsS4_69DDw3AWFT1oBIGv20cskCBYZT8BN1RBNJ35Mlb8R12l4lB-D17XYNGMhHHa-1Gs/s1600/Polish+Movie+Night-May+2011+013_edit.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj70zsfXfSVKK5ulJjY15o3RH6a54CyIeVKYN-dRemlMtl25q_EE9uV345iYLPUkgBxD3y3nidsS4_69DDw3AWFT1oBIGv20cskCBYZT8BN1RBNJ35Mlb8R12l4lB-D17XYNGMhHHa-1Gs/s320/Polish+Movie+Night-May+2011+013_edit.jpg" alt="" id="BLOGGER_PHOTO_ID_5616374651251317826" border="0" /></a></span><span style="font-size:85%;"><span style="font-family:arial;">Chris Fitzpatrick and Julian Myers introduced <em>The Promised Land</em> at the Polish Club on May 18.</span></span><span style="font-size:100%;"><br /><br /></span></div><p class="MsoNormal"><span style="font-size:100%;"><i><span style=";font-family:";color:black;" >The Promised Land—An Introduction</span></i></span></p><p class="MsoNormal"> <span style="font-size:100%;"><b><span style=";font-family:";color:black;" >Chris Fitzpatrick:</span></b></span><span style=";font-family:";font-size:100%;color:black;" > Thanks to Joanna Szupinska and Maureen Mroczek Morris. Over the course of this series, we've enjoyed a diverse range of films in the unique site of the Polish Club, which has, since the 1920s, fostered community activity and exchange. Surely that community has grown as a result. Since August of last year, we've viewed and heard the story of the Berlin wall, told through the perspective of rabbits. We've witnessed strange and protracted documentation of Tadeusz Kantor's avant-garde theatre. And we've watched a marriage dissolve through a woman who fucks an octopus. We’ve also been given an opportunity to think about a rich culture outside the usual stops of London or Paris, Rome, or New York. In other words, by creating this series, Joanna introduced a new set of issues and concerns into the conversation, as told through the voices of the presenters and filmmakers alike.</span><span style="font-size:100%;"><br /><br /></span><span style=";font-family:";font-size:100%;color:black;" >Tonight we will be presenting Andrzej Wajda's <i>The Promised Land</i> (1975), a film adapted from Władysław Reymont's 1898 novel.<a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";color:black;" >[1]</span></span></span></span></a> It is a story told through lush scenery, where pastoral and industrial settings come to seem somehow equally sublime, and through complex narrative. It is a film grounded authentically, if ambiguously, in history—a history marked by the social and physical effects of industrialization, exploitation, and revolution. Indeed the film was shot in surviving period factories and urban landscapes of Łódź and Silesia. Wajda has recalled finding in one textile factory equipment marked "Manchester 1884"—connecting this machinery to industrialism's "ground zero" as it were. Written by Wojciech Kilar, the unusual score mimics the percussive clanging of this machinery, locating it at the heart of the film’s narrative.<a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";color:black;" >[2]</span></span></span></span></a></span><span style="font-size:100%;"><br /><br /></span><span style=";font-family:";font-size:100%;color:black;" >"Ziemia obiecana" was Łódź's nickname, given by immigrants arriving in the burgeoning industrial center, searching for the prosperity promised by rapid modernization. Reymont and Wajda appropriate the nickname with a rich sense of irony. The decisive action of the film begins when three dispossessed but industrious men—a Polish noble, a Jew, and the German son of a factory owner—set out to build their own factory, a textile manufacturing center. As one of them says, "I have nothing, you have nothing, he has nothing: this means we have enough to start a factory." This was the "promise" of the title: the idea that the novel abstraction of money and profit might offer up some escape from family history and traditional village life. As we’ll see, this dream is quickly corrupted by the principals' greed and misbehavior, leading to something like a hell on earth.</span><span style="font-size:100%;"><br /><br /><b><span style=";font-family:";color:black;" >Julian Myers:</span></b></span><span style=";font-family:";font-size:100%;color:black;" > This being the last Polish Movie Nite I want to bring up the very idea of a national cinema, and Wajda's place in a Polish national cinema. The idea of a "national cinema" is hard to extricate from the very idea of a "national character," and everything it entails. It is essentially a political category, about which there are many debates. But the idea of being a Polish filmmaker is one that Wajda embraced. As cinema historian Thomas Elsaesser relates in his book <i>European Cinema</i>, "Andrzej Wajda <i>was</i> Polish cinema from the late 1940s, into the 1960s and up to <i>Man of Marble</i> in 1977."<a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";color:black;" >[3]</span></span></span></span></a> He makes films that teach national history, films to be viewed by every Polish schoolchild. We could compare him to a figure like Steven Spielberg, who is, in fact, a strong advocate of Wajda's work.<a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";color:black;" >[4]</span></span></span></span></a> And you see why: like <i>Amistad</i> (1997) or <i>Schindler's List</i> (1993),<i> </i>Wajda's films are sweeping historical epics that seem to tell us something true or truly historical. Released in 1975, <i>The Promised Land</i> looks like a moralistic history lesson for a national audience. In a very direct way this film means to teach a lesson about capitalism and industrialization, from a Polish perspective. They're evil.</span><span style="font-size:100%;"><br /><br /></span><span style=";font-family:";font-size:100%;color:black;" >But look closer and this lesson comes to seem much more ambiguous. Morally, politically,<i> </i>and, I think, aesthetically. Perhaps this ambiguity comes from the fact that this is a "national" lesson for a "nation" that doesn't exist. At the time of Reymont's novel, Poland was partitioned amongst its neighbors, who, after the failed January Uprising in 1864, aimed to suppress Polish culture, language, and so on. Wajda's film, too, was made in the early to mid 1970s, while Poland was dominated by the Soviet Union. In the Seventies, Poland had an official "state" culture, but a national cinema is a peculiar thing in a condition of domination. Elsaesser points out a further ambiguity as well. What appeared to outsiders in the 1970s as a "national cinema," "may well have struck Polish critics and audiences not as national cinema but as state cinema: official, sanctioned, sponsored."<a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";color:black;" >[5]</span></span></span></span></a> So <i>The Promised Land </i>is an artifact of a "national cinema" that may be without a "national audience," as such (except as it appeared to others, elsewhere). It wants to invent a national audience, but on what terms?</span><span style="font-size:100%;"><br /><br /><b><span style=";font-family:";color:black;" >CF:</span></b></span><span style=";font-family:";font-size:100%;color:black;" > This might explain some of the film's strange "lessons," which evince something more than the usual sleight-of-hand to circumnavigate censorship. The moral universe is chaotic. Characters commit crimes and don't suffer; others, who have done nothing wrong, do. The main character, Karol, is a cold and heartless sociopath—the logical outcome (the film argues) of his new position as factory director, then factory owner. "Your humanity is not required at the factory," he says early on to one of his workers. But while tragedy comes, he learns nothing from it. Given the chance to change his ways, he doesn't.</span><span style="font-size:100%;"><br /><br /><b><span style=";font-family:";color:black;" >JDM:</span></b></span><span style=";font-family:";font-size:100%;color:black;" > What's interesting to me is that <i>The Promised Land</i> pretty much has no hero, no "good," except in negative form: the unmarked landscape, authentic social life, agriculture, the past, all those things capitalist industry transforms. "The good, wholesome, healthy village life"—this is how Joanna Szupinska put it, in conversation with us—is now hopelessly transformed into the proletarian mass.</span><span style="font-size:100%;"><br /><br /><b><span style=";font-family:";color:black;" >CF: </span></b></span><span style=";font-family:";font-size:100%;color:black;" >If we think about the meaning of the title <i>The Promised Land </i>in terms of a specific, delimited, geographical place, then the irony of the title becomes clear. A factory disrupts that "land." It makes Łódź, in this case, not a fixed place, but a terminal for importing material, processing it, sending it out—thereby overwriting or erasing the landscape itself. Factories such as those we see in the film or, by extension, industrialization itself, focus well beyond the peripheries of the space they occupy, on external markets. A factory eats away at its local resources, which in this case would be the people, the workers. This is seen literally and figuratively throughout the film: people are actually eaten by these machines.</span><span style="font-size:100%;"><br /><br /><b><span style=";font-family:";color:black;" >JDM: </span></b></span><span style=";font-family:";font-size:100%;color:black;" >The very word "factory," synonymous with industrial progress, points to this radical reorganization of people, places, and things. Preceding Manchester by a century or more, the word came from the Portuguese<i> feitoria</i>, meaning "trading post." To quote Susan Buck-Morss, "Factories [for the Portuguese] were trading companies in foreign countries or colonies, granted monopolies by royal charter, who sent agents, or 'factors,' to these foreign outposts that functioned as company headquarters, storehouses, and wholesale processing centers. They initiated the modern form of corporations, amassing capital through the joint-stock system (prohibited as too speculative for domestic manufacture) that financed the risky business of long distance 'trade,' a euphemism for the extraction of value overseas. Factories were agents of imperial projects, sharing real estate with forts and integrally involved in colonial wars. And they were enormously profitable, with no sense of what constituted a 'fair' gain... It is not misleading to understand the first factories of Manchester as an extension of the colonial system, which was now invading the mother country."<a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";color:black;" >[6]</span></span></span></span></a> And we can extend this conclusion to the textile factories of Łódź as well, with their Manchester gear. A foreign system sucking blood from the "mother country," the factory wreaks havoc on the life of its "national" host.</span><span style="font-size:100%;"><br /><br /><b><span style=";font-family:";color:black;" >CF: </span></b></span><span style=";font-family:";font-size:100%;color:black;" >I called Karol the "main character" of this film earlier, but at this point, it seems clear that Łódź and its factories are the "main characters," so to speak; and this is echoed through the score. The three principals serve as something like class-national types (the disenfranchised Polish nobleman, the German bourgeois, and the Jewish bourgeois). That is to say, that the film seems less about the characters' development, or the moralistic plotting, and more in the "events" (in particular the moments of mortality) and the mesmerizing, at times appalling, mise-en-scène.</span><span style="font-size:100%;"><br /><br /><b><span style=";font-family:";color:black;" >JDM: </span></b></span><span style=";font-family:";font-size:100%;color:black;" >I like this line of thought. What does industrialization do<i>,</i> according to Wajda's film? First, it breaks down social roles, that is, it extends its consequences and retributions arbitrarily and in all directions, to criminal and victim alike. And, second, it redistributes space and things: "pushing outwards," "overwriting and erasing," and "focusing on external markets," as you've said. Wajda's film looks on all of this as an unmitigated disaster—not least for the problem of "nation" and Poland as he understood it. We'll have to leave aside the fact that a film is as much an industrial product as anything else. But what's perplexing and fascinating about the film is that its powerful hatred of capitalism won't—or can't—resolve into its conventional Communist solutions: a romance of the working class, or of modernization. And so we're left with a "national cinema" whose national territory seems forever to recede on the horizon.</span></p> <div style=""> <hr style="height: 3px;font-size:78%;" align="left" width="33%"> <div style="" id="ftn1"> <p class="MsoFootnoteText"><span style="font-size:100%;"><a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";" >[1]</span></span></span></span></a> </span><span style="line-height: 115%;font-family:";font-size:100%;color:black;" >Władysław Reymont, </span><span style="font-size:100%;"><i>The Promised Land</i></span> (Translated from Polish by M.H. Dziewicki). New York: A.A. Knopf, 1927.</p> </div> <div style="" id="ftn2"> <p class="MsoFootnoteText"><span style="font-size:100%;"><a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";" >[2]</span></span></span></span></a> </span><span style="line-height: 115%;font-family:";font-size:100%;color:black;" >See "Land of Promise I" and "II," Wojciech Kilar, </span><span style="font-size:100%;"><i>Film Music</i>, sound recording. Olympia OCD602, 1994.</span></p> </div> <div style="" id="ftn3"> <p class="MsoFootnoteText"><span style="font-size:100%;"><a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";" >[3]</span></span></span></span></a> </span><span style="line-height: 115%;font-family:";font-size:100%;color:black;" >Thomas Elsaesser, </span><span style="font-size:100%;"><i>European Cinema: Face to Face With Hollywood</i>. Amsterdam: Amsterdam University Press, 2005: 14. Italics added by the authors.</span></p> </div> <div style="" id="ftn4"> <p class="MsoFootnoteText"><span style="font-size:100%;"><a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";" >[4]</span></span></span></span></a> </span><span style="line-height: 115%;font-family:";font-size:100%;color:black;" >See, for example, Spielberg's 1999 letter to Robert Rehme, then President of the Academy of Motion Pictures, Arts and Sciences, arguing that Wajda should receive a special Honorary Academy Award. "Wajda belongs to Poland," he writes, "but his films are part of the cultural treasure of all mankind." </span><span style="font-size:100%;"><i>Polish American Network </i><a href="about:blank"><span style="line-height: 115%;font-family:";" >[http://www.pan.net/hollywood/wajda/sspielberg.htm]</span></a>.</span><span style="line-height: 115%;font-family:";font-size:100%;color:black;" > Accessed May 27, 2011.</span></p> </div> <div style="" id="ftn5"> <p class="MsoFootnoteText"><span style="font-size:100%;"><a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";" >[5]</span></span></span></span></a> </span><span style="line-height: 115%;font-family:";font-size:100%;color:black;" >Elsaesser, 15.</span></p> </div> <div style="" id="ftn6"> <p class="MsoFootnoteText"><span style="font-size:100%;"><a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference"><span style="line-height: 115%;font-family:";" >[6]</span></span></span></span></a> </span><span style="line-height: 115%;font-family:";font-size:100%;color:black;" >Susan Buck-Morss, </span><span style="font-size:100%;"><i>Hegel, Haiti and Universal History</i>. Pittburgh: University Press, 2009: 101-2.</span></p> </div> </div>Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-14945988402534115902011-05-06T09:54:00.000-07:002011-06-09T17:18:13.754-07:00May 18: The Promised Land<span style=";font-family:arial;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioEGDGbdo1-loHnON6_yHFUcBzg-wV5Wf3TU_LdFcQsHjRs0Tn3sIHW8Ye3xrC13lXjmqCATLgyxJKYJCKPUHqZW0YpYPE18Rqljk78yhhNuM6El02JWehHH55H4qiUN5JaPYi-Khp88U/s1600/Szup_ziemiaobiecana.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 177px;" 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Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal;font-family:arial;"><span style="font-size:100%;">Join us for Movie Nite at the Polish Club!<br /><br /><span style="font-style: italic;">Ziemia Obiecana </span>/ <span style="font-style: italic;">The Promised Land</span><br />1975<br />138 minutes, color<br /><br />8pm Wednesday (doors 7:30)<br />May 18, 2010<br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110<br /><br /><span style="font-weight: bold;">Polish Movie Nite</span> is happy to present Andrzej Wajda's <span style="font-style: italic;">The Promised Land </span>(1975), to be introduced by curator Chris Fitzpatrick and art historian Julian Myers. Based on Władysław Reymont’s 1899 novel of the same name, the film tells of a Pole, a German, and a Jew struggling to build a factory together within the raw capitalism of 19th-century Łódź. One of them humorously declares, "I have nothing, you have nothing, and he has nothing; that means together we have enough to start a factory."<br /><br />By the turn of the century, Łódź had grown into a multi-cultural city, and the main textile production center of the vast Russian Empire. Wajda presents a vivid picture of the city, depicting its filthy and dangerous factories, the cruel effects of rapid industrialization on millions of workers, and the ostentatious and tasteless wealth of the rich. The story culminates in a production-paralyzing strike—presumably the 1892 socialist strike that preceded the Łódź insurrection (in which Tsarist police would kill more than 300 workers) and the Russian Revolution of 1905.<br /><br />ABOUT THE SPEAKERS<br /><br /><span style="font-weight: bold;">Chris Fitzpatrick</span> has organized exhibitions and events internationally for venues including the Fondazione Sandretto Re Rebaudengo, Turin, Italy; the Paul D. Fleck Library & Archives at the Banff Centre, Alberta, Canada; the Oakland Museum of California, Oakland; and Yerba Buena Center for the Arts, San Francisco. His writing and interviews have been published in Pazmaker, Mousse Magazine, The Baltic Notebooks of Anthony Blunt, and elsewhere. He is on the curatorial board for the Present Future section of Artissima 18, Turin.<br /><br />Fitzpatrick received his MA in Curatorial Practice at the California College of the Arts, San Francisco, and his BA from San Francisco State University. More information about his projects is available at <a href="http://www.chrisfitzpatrick.net/">www.chrisfitzpatrick.net</a>.<br /><br /><span style="font-weight: bold;">Julian Myers</span> is an art historian whose writing has appeared in Documents, October, Afterall, Frieze, and elsewhere. His research is concentrated on sculpture and spatial politics of the 20th century, the social and political dynamics of consumer society, and the historical frameworks for contemporary art and exhibition. Myers is the author of numerous monographic essays on the practices of artists Tariq Alvi, Trisha Donnelly, Walter De Maria, Michael Heizer, Eric Wesley, and the Independent Group, among others. Most recently, these include "Total Relaxation," published in Sudden White: After London (Dexter Sinister, 2009), "Totality: A Guided Tour," on Harald Szeemann's 1983 exhibition "The Tendency to a Synthesis of the Arts" (Afterall, 2009), "Form and Proto-politics," on the 1969 exhibition "Other Ideas" (The Exhibitionist, 2010), and "Riot Show: Some Notes on the Archive" (Fillip, 2010). He is on the editorial board of The Exhibitionist.<br /><br />Myers holds a PhD from the University of California, Berkeley, and a BA from Cornell University. He has taught courses in art history and theory at UC Berkeley, UC Davis, UC Santa Cruz, the San Francisco Art Institute, and the <a href="http://www.cca.edu/academics/faculty/jmyers">California College of the Arts in San Francisco</a>, where he is currently full-time faculty.<br /><br />ABOUT PMN<br /><br />Polish Movie Nite is a mini-series of free public events organized by Joanna Szupinska from August 2010 to May 2011. This is the final event. Many thanks to our speakers, audiences, and blog followers for your enthusiastic participation!</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal;font-family:arial;"><span style="font-size:100%;">Thanks to the speakers, Chris and Julian, as well as Melissa Kozera and Arden Sherman for their assistance in the preparation of this event.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal;font-family:arial;"><span style="font-size:100%;"><br /></span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal;font-family:arial;"><span style="font-size:100%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYPuKy5f2johYceAe0Rbei2uX-58xlUEWSDv-BaBfoLFFwhP9tG1UWr2mWs7M4q9r3s5iaS6NvmejJQEFJ05DPFd27ziH9iJ5sHeLfpNcr3_UjQV48-5foEbvjTemQPySQhc475Z4dCA/s1600/Consulate+logo.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 36px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYPuKy5f2johYceAe0Rbei2uX-58xlUEWSDv-BaBfoLFFwhP9tG1UWr2mWs7M4q9r3s5iaS6NvmejJQEFJ05DPFd27ziH9iJ5sHeLfpNcr3_UjQV48-5foEbvjTemQPySQhc475Z4dCA/s200/Consulate+logo.jpg" alt="" id="BLOGGER_PHOTO_ID_5603648665848783410" border="0" /></a></span><span style="font-size:100%;">This screening is sponsored by the Consulate General of the Republic of Poland.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal;font-family:arial;"><span style="font-size:100%;"><br /></span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal;font-family:georgia;"><span style="font-size:100%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLVOk-B5OnpSjKHalZiNC44wXOkc1GcdyAFlLsFYmwWfUoH7VnQFaUIciVntLdmWws7Z6yOHPH-O8tKBDY2gMsyXw9WzasbqkqAMX-z4VFljQvhRw7V_G99RtGsY3PApcHPlJaCJRpPTk/s1600/PolishClubLogo.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 65px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLVOk-B5OnpSjKHalZiNC44wXOkc1GcdyAFlLsFYmwWfUoH7VnQFaUIciVntLdmWws7Z6yOHPH-O8tKBDY2gMsyXw9WzasbqkqAMX-z4VFljQvhRw7V_G99RtGsY3PApcHPlJaCJRpPTk/s200/PolishClubLogo.jpg" alt="" id="BLOGGER_PHOTO_ID_5603648818463944530" border="0" /></a></span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal;font-family:arial;"><span style="font-size:100%;">Polish Movie Nite is generously hosted by the Polish Club of San Francisco. More information about the Polish Club is available at <a href="http://www.polishclubsf.org/">www.polishclubsf.org</a>.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; line-height: normal;font-family:arial;"><span style="font-size:100%;"><br /><br />Special appreciation goes to Maureen Mroczek Morris and to <a href="http://www.krolvodka.com/">Krol Vodka</a> for their ongoing support.<br /></span></p><p class="MsoNormal" style="margin-bottom: 12pt; line-height: normal; font-family: georgia;"></p>Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-28925892999222941182011-05-02T18:18:00.000-07:002011-05-02T18:35:34.610-07:00Erica Levin introduces Camera Buff<div style="text-align: center;"><span style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="font-family: arial;" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI0CpMUYgQoCyQhAzr_QtpR2hyca61tri0C9mcSrWFIP5WkGvi2qw1JDqGa8SPagRfJykl9-epy3X-tKNOAB75vqQvIi-yngyqOVyTVg17qrTGN6Z-dEYeYq_wHd-MioBAvsM0HpxlmY8/s1600/P1030254+%2528Medium%2529.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI0CpMUYgQoCyQhAzr_QtpR2hyca61tri0C9mcSrWFIP5WkGvi2qw1JDqGa8SPagRfJykl9-epy3X-tKNOAB75vqQvIi-yngyqOVyTVg17qrTGN6Z-dEYeYq_wHd-MioBAvsM0HpxlmY8/s320/P1030254+%2528Medium%2529.JPG" alt="" id="BLOGGER_PHOTO_ID_5602296670354507234" border="0" /></a></span><span style="font-size: 85%;"><span style="font-family: arial;">Erica Levin introduced <em>Camera Buff</em> at the Polish Club on April 27.</span></span><br /><span style="font-size: 78%;"><span style="font-family: arial;">photo by Maureen Mroczek Morris</span></span><br /><span style="font-size: 78%;"><span style="font-family: arial;"></span></span></div><span style="font-size: 78%;"><span style="font-family: arial;"><br /></span></span><span style="font-size:100%;"><span style="font-size:130%;"><span style="font-family: arial;">Introduction to </span></span><span style="font-style: italic; font-family: arial;"><span style="font-size:130%;">Camera Buff</span><br /><span style="font-style: italic;"><span style="font-style: italic;"></span></span></span><span style="font-family: arial;">by</span><span style="font-style: italic; font-family: arial;"><span style="font-style: italic;"><span style="font-style: italic;"></span></span> </span><span style="font-family: arial;">Erica Levin</span><span style="font-style: italic; font-family: arial;"></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" style="font-family: arial;" 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mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Cambria","serif"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p style="font-family: arial;font-family:arial;" class="MsoNormal" ><span style="font-size:100%;"><i>Camera Buff</i> (<i>Amator</i>) is a film about filmmaking in Poland. It introduces us to a bureaucratic film culture where documentaries made by factory-sponsored cine-clubs are discussed with the utmost seriousness and may even earn film festival prizes. Directed by Krzysztof Kieślowski in 1979, <i>Camera Buff</i> means to gently mock the pieties of this Communist cine-culture, but the bite of its satire is sometimes overwhelmed by the film’s erratic emotional tone, which is funny in one moment, and surprisingly overwrought or even tender in the next. <span style="">Filmmaking is an activity, even a kind of labor, that Kieślowski has difficulty comfortably lampooning</span>. <span style="">I would even say that the relationship of cinema to work is central for Kieślowski</span>: What kind of work is it? What does one do when making a film? What happens when it is transformed from an activity animated by love into a job? And what of this love? <span style="">What does it promise, and at what price? Remember, of course, that </span>Kieślowski <span style="">poses </span>these questions in the context of a cinema culture <span style="">for which</span> “the worker” <span style="">occupies</span> a historically privileged role.<br /></span></p> <p style="font-family: arial;font-family:arial;" class="MsoNormal" ><span style="font-size:100%;">Kieślowski is associated with what critics have called “the Cinema of Moral Anxiety,” a movement that flourished in Poland between 1974 and 1980. Filmmakers of this post-war generation were educated <span style="">at</span> State-run film academies, subject to all <span style="">manner of bureaucratic </span>pressures and <span style="">the threat of </span>censorship, but also given a relatively substantial amount of autonomy. This was a moment when socialist realism was on the verge of giving way to something more like social realism. Upon graduating, Kieślowski directed documentaries for more than a decade before shifting his focus to feature filmmaking. In interviews he talks about his desire to show life, not as it was imagined by the State, but as it really was. Tonight’s feature is preceded by one of his earliest documentary efforts from 1967 entitled <i>The Office</i>. Here Kieślowski’s camera captures nothing <span style="">so much as</span> the absurdities of bureaucracy, the way it comically hampers getting anything done, but also how it weighs heavily on the spirit of anyone entering its sphere. If the image of the heroic worker epitomizes the socialist realist cinema of the late 1940s and early '50s, then Kieślowski’s cinema evolves out of an impulse to show the other side of life and labor in Communist Poland. While films like the 1951 <i>Destination: Nowa Huta!</i> are full of youthful, bare-chested Polish construction workers setting out to build a new workers' paradise, Kieślowski’s characters are decidedly more human, fallible, funny, but also flawed. He pictures the endless contortions of body and soul that everyday life in Poland seemed to require. Another of his early documentary films focuses on Łódź, a city whose many limbless inhabitants, <span style="">victims of industrial and traffic accidents in the dangerous urban environs,</span> were a source of perverse fascination for the filmmaker. In <i>Camera Buff, </i>Kieślowski <span style="">again trains his camera on an exceptional body </span></span><span style="font-size:100%;">– </span><span style="font-size:100%;"><span style="">one that stands out against the norm. </span>The film’s main character, Filip, makes a film called <i>Worker, </i><span style="">about a dwarf, or perhaps better, a man of short stature, who has been at the factory since it opened</span>. Though Kieślowski <span style="">talks</span> of <span style="">having wanted</span> to make a film featuring a similar protagonist, one wonders how his film might have differed from Filip’s, which is too sentimental to be truly great. It’s as though in order to realize this film, Kieślowski had to frame it <span style="">in terms of</span> the unhappy story of our amateur filmmaker.<br /></span></p> <p style="font-family: arial;font-family:arial;" class="MsoNormal" ><span style="font-size:100%;">So how do you become a troubled camera buff in Communist Poland? If you are Filip Mosz (played by the delightfully comic Jerzy Stuhr – who co-wrote much of the film’s dialogue) you buy an 8mm camera to film your newborn daughter, knowing full well that it will cost you the equivalent of two months' salary. We are made to understand what a rare novelty such a camera might have been in small-town Poland at this time when Filip’s purchase provokes the interest of his boss. He surprises Filip by asking him to make a short film commemorating the factory’s 25th anniversary. <span style="">Soon, </span>filmmaking <span style="">comes </span>to eclipse all of Filip’s other responsibilities, both at work and at home. We watch him discover how peering through a camera mediates the world <span style="">differently</span>, endowing the smallest details with new significance, but at the same time <span style="">distancing</span> him from what he sees. The film tempts us to share in Filip’s all-consuming obsession, his desire “for something else” he can’t name but knows to be bound up with filmmaking. And it isn’t difficult to endorse this impulse no matter how doomed <span style="">it might be</span>, or how much <span style="">it may cause others to suffer</span>, particularly his young wife. As Filip heads off to the amateur film festival with his first film proudly in hand, she shouts out, “Don’t win<span style="">!</span>” He ends up bringing home a prize, but by the end of the film we aren’t sure <span style="">exactly</span> what he has won. That said, <i>Camera Buff</i> isn’t a straightforward story of defeat; it would better to see it as one that traffics in the blunt and unmistakable pain of reinvention.<br /></span></p> <p style="font-family: arial;font-family:arial;" class="MsoNormal" ><span style="font-size:100%;">After his death, Kieślowski was remembered as a filmmaker who brought “a new form of melancholy” to the screen, one that offered “a kind of intellectual and spiritual cleansing for viewers accustomed to seeing the world through images approved by the government.”<a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference">[1]</span></span></span></a> Some of that melancholy was already evident in the documentary films he made before turning to fiction, <span style="">which traded in stories of the ethical dilemmas faced by real people in their struggle with Party politics, corruption, and bureaucracy. </span>Some of these films were subject to censorship, but more often they were marred by Kieślowski’s anxiety that they <span style="">might hurt those he pictured, or that they would be misappropriated</span> by the authorities. <i>Camera Buff</i> was one of Kieślowski’s first feature fiction films. It was well received by audiences in Poland and abroad. (Like Filip, Kieślowski also brought home an award, in this case the top prize <span style="">at the </span>Moscow International Film Festival.) Kieślowski’s shift to fiction filmmaking was its own kind of reinvention, not an immediate turn away from everyday political struggles, but a way to give form to his increasingly shaken confidence in the ethics of showing life “as it is.” <span style="">Later, </span>his fiction films would become much more focused on dramas of the private sphere, but at this moment, Kieślowski was still very much drawn to the uncomfortable zone between personal and public life.<br /></span></p> <p style="font-family: arial;font-family:arial;" class="MsoNormal"><span style="font-size:100%;">Although much separates our own political and economic context from that of <i>Camera Buff</i>, there is something about Filip that feels familiar. <span style="">Perhaps it is</span> his <span style="">near-blind</span> commitment to an unnamed possibility he glimpses in <span style="">his work</span>, the hope that it will bring meaning to his existence, and the reckoning he must <span style="">make</span> when he runs up against <span style="">the real</span> constraints of his situation. These aspects of his story <span style="">are still strikingly resonant. Watching <i>Camera Buff </i>today, we might find ourselves thinking anew about our own conditions of life and work, and our investment of work with desires that, though they may be irrational, nonetheless feel impossible to abandon.</span></span></p><p style="font-family: arial;" class="MsoNormal"> </p> <div style="font-family: arial;"> <hr style="height: 3px;font-size:78%;" align="left" width="33%"> <div style="" id="ftn1"> <p class="MsoFootnoteText"><span style="font-size:100%;"><span style="font-size:100%;"><a style="" href="http://www.blogger.com/post-create.g?blogID=1440600147579871699#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style=""><span class="MsoFootnoteReference">[1]</span></span></span></a> <em><span style="font-style: normal;">Józef Tischner</span></em>, quoted in Annette Insdorf, <i>Double Lives, Second Chances: The Cinema of Krzysztof Kieślowski</i>, page 32.</span><span style=""> </span></span><!--[if gte mso 9]><xml> <w:worddocument> 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mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--></p> </div> </div>Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-26375631967556515232011-03-21T14:34:00.000-07:002011-03-25T00:09:59.262-07:00April 27: Kieślowski films presented by Erica Levin<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxsVNuhLOzqFoBtGHlCH0ZDmWFxfXjC0CTV8R4JbyRSFB72KlCR46TVh0x2wVLmk5Dvf8k3CzBYuISG_JrmpwIlgKKFQTIN2lbNKUzhCxDOLuWGMoAihgZeg5_MI-Q96ywTIGrtgQsGoI/s1600/CAMERA+BUFF+POL.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 229px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxsVNuhLOzqFoBtGHlCH0ZDmWFxfXjC0CTV8R4JbyRSFB72KlCR46TVh0x2wVLmk5Dvf8k3CzBYuISG_JrmpwIlgKKFQTIN2lbNKUzhCxDOLuWGMoAihgZeg5_MI-Q96ywTIGrtgQsGoI/s320/CAMERA+BUFF+POL.jpg" alt="" id="BLOGGER_PHOTO_ID_5586652272629312866" border="0" /></a><br />Picturing Labor in the Work of Krzysztof Kieślowski<br /><br /><span style="font-weight: bold;">Polish Movie Nite </span>is happy to present two films by Krzysztof Kieślowski, the documentary short "The Office" (1966), and the feature-length film <i>Camera Buff</i> (1979). Media art historian Erica Levin will introduce the films, analyzing the complex politics and strategies of picturing labor in Polish cinema.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzqEjCBqIfCY0Y3gti2lwnDnQdxw8c50_kZLr5cuawvBMg0NFA_UxcDAy8MqFzrDxDMnjDfXhMZ9Gebk9IS5nWuq6F78kFoH0Ctb0Qu6DEUim6MstImiswKZWt5qXLZohWVUWMsr6VKfs/s1600/Levin_urzad.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 163px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzqEjCBqIfCY0Y3gti2lwnDnQdxw8c50_kZLr5cuawvBMg0NFA_UxcDAy8MqFzrDxDMnjDfXhMZ9Gebk9IS5nWuq6F78kFoH0Ctb0Qu6DEUim6MstImiswKZWt5qXLZohWVUWMsr6VKfs/s200/Levin_urzad.jpg" alt="" id="BLOGGER_PHOTO_ID_5586653747830389426" border="0" /></a>Upon graduating from Łódź Film School in 1965, Kieślowski focused almost exclusively on documentaries. "The Office" portrays the intense bureaucracy that existed in Polish government services at the time. Pensioners, lined up at a social security office, are one by one turned away for various procedural violations. One request is denied because the applicant has too many identifying documents, and she is told to acquire an official nullification of one of the redundant papers. An elderly man encounters difficulty because a document was stamped with a square seal, rather than a round one.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEEcCDw2Z598yxg74ofPcfHAlMnQnKsvPx3wpZEZJtr-TJxCE4H9OfHK1nvU4OyB3v5bkMOklCC_UhtcHcE2xvUwp5TnL31FZAQmaEoJS-MZ0ZgF3gQ35l3jYaNwU9co4bWhliImg1aCw/s1600/PDVD_024.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEEcCDw2Z598yxg74ofPcfHAlMnQnKsvPx3wpZEZJtr-TJxCE4H9OfHK1nvU4OyB3v5bkMOklCC_UhtcHcE2xvUwp5TnL31FZAQmaEoJS-MZ0ZgF3gQ35l3jYaNwU9co4bWhliImg1aCw/s200/PDVD_024.jpg" alt="" id="BLOGGER_PHOTO_ID_5586653656842833362" border="0" /></a>Frustrated by harsh governmental censorship, Kieślowski abandoned the documentary form in the mid-1970s. Still, he often employed a documentary style and non-actors in his feature films, portraying everyday life under the weight of an oppressive system. <i>Camera Buff</i> tells the story of Filip Mosz (played by Jerzy Stuhr), a humble factory worker whose newfound hobby - amateur film - becomes an obsession that transforms his modest, and formerly happy, life. Exploring the repression of individuality in Communist Poland, the film focuses on the ethical choices faced by a single person. <i>Camera Buff </i>won the grand prize at the Moscow International Film Festival.<br /><br /><span style="font-weight: bold;">Erica Levin</span> is an art historian and film theorist currently working on her dissertation at UC Berkeley about politics, temporality, and the news in media art of the 1960s. She earned her MA at UC Berkeley, and her BA at Wesleyan University. She has taught courses on urban modernity, visual culture in the atomic age, experimental film, war and cinema, art criticism, and contemporary art.<br /><br /><span style="font-size:100%;">"</span><span style="font-size:100%;">U</span><span style="font-size:100%;">rząd</span>" / "The Office"<br />1966<br />5 minutes, black and white<br /><br /><span style="font-style: italic;">Amator </span>/ <span style="font-style: italic;">Camera Buff</span><br />1979<br />117 minutes, color<br /><br /><span>8pm Wednesday</span><br /><span>April 27, 2011</span><br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110<br /><br /><br /><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUq-5ZEBjtes7crjKA4t8Iqrh9lYWGfJEdC4aAZN6-FYXG5zmW6cr7HOzswwFDgKGMeY-ioPOyju-4ZeRRaMgkWmmicIHE-qz5hYnQq291iFeIdaP2WxGzCBnj8KIgBzWND5Cb1_oDuWk/s1600/Consulate+logo.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 58px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUq-5ZEBjtes7crjKA4t8Iqrh9lYWGfJEdC4aAZN6-FYXG5zmW6cr7HOzswwFDgKGMeY-ioPOyju-4ZeRRaMgkWmmicIHE-qz5hYnQq291iFeIdaP2WxGzCBnj8KIgBzWND5Cb1_oDuWk/s320/Consulate+logo.jpg" alt="" id="BLOGGER_PHOTO_ID_5580375318580897586" border="0" /></a><span>"</span>Picturing Labor in the work of Krzysztof Kieślowski"<span> is sponsored by the Consulate General of the Republic of Poland.<br /><br /></span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVa79_ihbWEfBzd1H-bjdEjn2iFkY8lL2VuSDpgItmMuNZWU9nBgc0VABVIjBs7eRVUqXGOYEhqYOXcIVyvT9vWX-gRfFWvZStvyYEGHJMHHC1tk4Hyr3zbySvSPkfX0a9jaSkCcvISXM/s1600/PolishClubLogo.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 200px; height: 65px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVa79_ihbWEfBzd1H-bjdEjn2iFkY8lL2VuSDpgItmMuNZWU9nBgc0VABVIjBs7eRVUqXGOYEhqYOXcIVyvT9vWX-gRfFWvZStvyYEGHJMHHC1tk4Hyr3zbySvSPkfX0a9jaSkCcvISXM/s200/PolishClubLogo.jpg" alt="" id="BLOGGER_PHOTO_ID_5586651033150393522" border="0" /></a><span style="font-weight: bold;">Polish Movie Nite<span style="font-style: italic;"> </span></span>is generously hosted by the Polish Club of San Francisco. More information about the Polish Club is available at www.polishclubsf.org.<br /><br /><br /><br />Special appreciation goes to Maureen Mroczek Morris, and to Krol Vodka and Trumer Pils, for their ongoing support. Additional thanks go to Jeremi Sudol for his assistance in the preparation of this event.<br /><div style="text-align: left;"><br /></div><span style="font-weight: bold;">Polish Movie Nite</span> is a monthly screening organized by Joanna Szupinska. Events are free and open to the public.Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com1tag:blogger.com,1999:blog-1440600147579871699.post-34348155344962713022011-03-17T13:45:00.000-07:002011-06-17T22:11:13.018-07:00Arden Sherman introduces Roman Polański's Knife in the Water<!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> <w:splitpgbreakandparamark/> 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mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]-->Introduction to <span style="font-style: italic;">Knife in the Water</span><br /><p class="MsoNormal" style="line-height: 150%;">by Arden Sherman</p> <p class="MsoNormal" style="line-height: 150%;"><i style="">Nóż w wodzie</i>, or <i style="">Knife in the Water</i>, is a film about a couple whose sailing trip takes a suspenseful turn when they invite along a hitchhiker they meet on the way to the marina. Directed by Roman Polański in 1962, <i style="">Knife in the Water</i> was the first film to come out of Poland whose theme was neither focused on the societal situation in communist Poland, nor did it specifically address the wars.</p> <p class="MsoNormal" style="line-height: 150%;"><span class="rkr">The film was not well received by Polish audiences, and even less so by Polish officials, because it lacked the requisite propaganda value. (1) In 1961 </span>Polański, who co-wrote the script with Jerzy Skolimowski and Jakub Goldberg, submitted it to the Polish Ministry of Culture and was immediately denied permission to make this film. Nine months later, sensing a change in the political climate, Polański tweaked some of the dialogue to lean more towards Party-centric language and resubmitted the script to the Ministry in 1962—this time, it passed. So the subtle throws you will see angled in favor of the Party may not have originally been there. (2) Polański <span class="rkr">was even forced to remove the exterior shots of a Mercedes, which were thought to reflect a Western decadence that was inconsistent with official politics. (3)</span></p> <p class="MsoNormal" style="line-height: 150%;"><span class="rkr">More than any other factor, the contrast between the enthusiastic reception given to the film internationally and its cold reception by the restrictive Polish film industry is what ultimately pushed </span>Polański’s <span class="rkr">practice out of Poland. <i style="">Knife in the Water</i> was nominated for an Academy Award for Best Foreign Film in 1963, the year following its production, and because of its popularity </span>Polański <span class="rkr">was featured on the cover of <i style="">Time</i> magazine (The Academy Award went to Fellini’s <i style="">8 ½)</i>. <i style="">Knife in the Water</i> was the last film (and only feature-length) that </span>Polański <span class="rkr">ever made in Polish, and since then, he has only cinematically returned to Poland while filming segments of his 2002 film <i style="">The Pianist</i>.</span></p> <p class="MsoNormal" style="line-height: 150%;"><span class="rkr">The Party’s dismissal of the film may have been because </span>Polański <span class="rkr">addressed some important thematic ploys. At the surface of <i style="">Knife in the Water</i> is the political theme of class disparity seen through the demonstration of leisure. The seemingly comfortable couple are going on a weekend outing and on their way, almost run over a young, lonely hitchhiker who’s got all his belongings on his back. They invite the young man to join them on their sailing trip, propositioning a sort of warfare between the ‘haves’ and the ‘have-nots.’ Such blatant class differences—the pro-Party couple who owns a luxury car and sailboat versus the rough and tough, on-the-run student—were not supposed to exist in the Communist society of Poland in 1962. (4) Though they certainly did, and are seen through </span>Polański’s <span class="rkr">clever jabs. For example, we never actually find out that hitchhiker’s name, because he is a representation of an entire generation unadorned with the complications (or baggage) of the war. Interestingly, in an interview with </span>Polański<span class="rkr">, the director took great joy in pointing out that one of the officials who had required the elimination of the Mercedes from the film actually drove up to the set one day in that very same make and model of car. (5)</span></p> <p class="MsoNormal" style="line-height: 150%;"><span class="rkr">The psychological themes warrant as much consideration as the political ones; the characters are highly developed in their own right. The machismo, the man-vs-man-in-order-to-get-the-girl’s-attention, is at the forefront of this film, in which each of the men takes on the other’s skills hoping to ‘out man’ each other in order to impress Krystyna—who, for her part, remains unaffected, confident, and of course ultra sexy. </span>Polański <span class="rkr">employs a common cinematic trope of the third wheel in which an outside party enters a two-person scenario, shaking up the comfortable dynamic and ultimately shedding light on some sort of truth or reality of the original relationship. (</span>Polański <span class="rkr">takes up the triangular relationship again in the 1966 thriller <i style="">Cul de Sac</i>, when a couple is forced into tight quarters with an unusual outsider.)</span></p> <p class="MsoNormal" style="line-height: 150%;"><span class="rkr">The film takes place almost entirely onboard a sailboat. </span>The cast and crew lived for weeks on this tiny, rented vessel throughout the filming, oftentimes having to lean overboard while the camera was rolling to avoid being recorded in shots. (6) Equally fascinating, Polański and his cinematographer Jerzy Lipman were able to capture the sensation of authentic isolation on an endless lake, under such off-screen conditions.</p><p class="MsoNormal" style="line-height: 150%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsmIPo_p8MyO-5SPOgOCaInQjBfS7pq-AakiQ-zZamEcquWOBJ3ZZwZv5wumKZIuhEAGf5uiskl2eFYkupwMOEX4YWFUkswn5gD7cUEprn_PnduGmh8FIWGT75jaKmpopI2Z7j3u5UI9g/s1600/KITW+filming.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsmIPo_p8MyO-5SPOgOCaInQjBfS7pq-AakiQ-zZamEcquWOBJ3ZZwZv5wumKZIuhEAGf5uiskl2eFYkupwMOEX4YWFUkswn5gD7cUEprn_PnduGmh8FIWGT75jaKmpopI2Z7j3u5UI9g/s200/KITW+filming.jpg" alt="" id="BLOGGER_PHOTO_ID_5587920441966797538" border="0" /></a></p><p class="MsoNormal" style="line-height: 150%;"><span class="rkr">One thing I love about <i style="">Knife in the Water</i> is the captivating cinematic aesthetic. The black and white shots are dreamy, luscious, and calm. The jazzy, sultry musical score by </span>Krzysztof Komeda enunciates that leisurely activity of a day spent on the water. In fact, Komeda worked with Polański on many of his films<span class="rkr"> and </span>was known for pioneering the movement known as the Polish School of Jazz. (7) You’re probably familiar with another of Komeda’s musical pieces: the creepy, lullaby-ish song from <i style="">Rosemary’s Baby…</i></p> <p class="MsoNormal" style="line-height: 150%;"><span class="rkr">The camera angles in <i style="">Knife in the Water</i> also continually articulate the triangular relationship. </span>Polański employs lots of close-up shot of nature and figures, where the action of the scene is shown happening in the background almost between<i style=""> </i>or<i style=""> </i>through the foreground figures. Perhaps this cinematic tool was employed because <span class="rkr">it followed in accordance with the policy of the Łódź film school where </span>Polański had <span class="rkr">studied. The policy aimed at ensuring that the students would first learn to tell their stories visually. </span>The aerial montage for this film was made by positioning the camera on top of the sail and shooting downward, capturing each character entertaining themselves, as if each were on the boat alone. <span class="rkr">The weather is almost too appropriate, with its frequent shifts mirroring the changes in mood among the characters. For the duration of the film, we neither see another sailboat on the water, nor is there another person. The lonesome boat on the vast, open water puts pressure on the characters’ relationship. We see similar psychological subjects threaded throughout </span>Polański’s <span class="rkr">film career, where extreme isolation reaches claustrophobia in his next feature length, <i style="">Repulsion</i>, from 1965. And in his perhaps best-known film, <i style="">Rosemary’s Baby</i>, themes of deception among loved ones, isolation, and paranoia are on the surface. Always interested in thrillers and dramas (both on and off screen), </span>Polański <span class="rkr">remains one of the most important filmmakers of the last century.</span></p> <span style="font-size:85%;"><span style="font-family:arial;"><br />NOTES:<br /></span></span><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> <w:dontgrowautofit/> <w:splitpgbreakandparamark/> <w:dontvertaligncellwithsp/> <w:dontbreakconstrainedforcedtables/> 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mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p class="MsoEndnoteText" style="font-family:arial;"><span style="font-size:85%;"><span class="MsoEndnoteReference"><span style="font-size:10pt;"><span style=""><span class="MsoEndnoteReference"><span style="font-size:10pt;">1.</span></span></span></span></span><span style="font-size:10pt;"> “No Idea What Became of Him,” Epinions.com review of <i style="">Knife in the Water</i> by member Metalluk, http://www0.epinions.com/review/mvie_mu-1011693/content_180580880004</span></span></p> <p class="MsoEndnoteText" style="font-family:arial;"><span style="font-size:85%;"><span class="MsoEndnoteReference"><span style="font-size:10pt;"><span style=""><span class="MsoEndnoteReference"><span style="font-size:10pt;">2.</span></span></span></span></span><span style="font-size:10pt;"> Roman </span><span style="font-size:10pt;">Polański, “</span><span style="font-size:10pt;">Knife in the Water,”<i style=""> Roman: an autobiography, </i>published by William Morrow and Company<i style="">, </i>1984</span></span></p> <p class="MsoEndnoteText" style="font-family:arial;"><span style="font-size:85%;"><span class="MsoEndnoteReference"><span style="font-size:10pt;"><span style=""><span class="MsoEndnoteReference"><span style="font-size:10pt;">3.</span></span></span></span></span><span style="font-size:10pt;"> “No Idea What Became Him”</span></span></p> <p class="MsoEndnoteText" style="font-family:arial;"><span style="font-size:85%;"><span class="MsoEndnoteReference"><span style="font-size:10pt;"><span style=""><span class="MsoEndnoteReference"><span style="font-size:10pt;">4.</span></span></span></span></span><span style="font-size:10pt;"> <span style="font-style: italic;">Ibid</span>.<span class="MsoFootnoteReference"> </span>“No Idea What Became Him"</span></span></p><p class="MsoEndnoteText" style="font-family:arial;"><span style="font-size:85%;"><span style="font-size:10pt;">5.</span><span class="MsoEndnoteReference"><span style=""><span class="MsoEndnoteReference"><span style="font-size:12pt;"> </span></span></span></span><span style="font-size:10pt;"><span style="font-style: italic;">Ibid</span>. “No Idea What Became Him”</span></span></p> <p class="MsoEndnoteText" style="font-family:arial;"><span style="font-size:85%;"><span class="MsoEndnoteReference"><span style="font-size:10pt;"><span style=""><span class="MsoEndnoteReference"><span style="font-size:10pt;">6.</span></span></span></span></span><span style="font-size:10pt;"> Peter Cowie, “Knife in the Water,” review for Criterion Collection.com, http://www.criterion.com/current/posts/298-knife-in-the-water</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span class="MsoEndnoteReference"><span style="font-size:10pt;"><span style=""><span class="MsoEndnoteReference"><span style="font-size:10pt;">7.</span></span></span></span></span><span lang="PL" style="font-size:10pt;"> Wikipedia.com, Krysztof Komeda, http://en.wikipedia.org/wiki/Krzysztof_Komeda</span></span></p>Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-43129570780403229882011-03-04T15:38:00.000-08:002011-03-20T17:07:57.429-07:00March 16: Knife in the Water<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrpjdUejKI2BEhU7evajy_l58uO4kjvHX9dDmrXctntfQS8GyRcSUbGlIIw2qvnGCqvMsFkQFVdsdut4AX1QMH_QIJmOAZeh0y5Hb9pMRJF8jjip_TGPRIy4iIiy_HdcDXqHRBMOfgi4E/s1600/Sherman_nozwwodzie.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 317px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrpjdUejKI2BEhU7evajy_l58uO4kjvHX9dDmrXctntfQS8GyRcSUbGlIIw2qvnGCqvMsFkQFVdsdut4AX1QMH_QIJmOAZeh0y5Hb9pMRJF8jjip_TGPRIy4iIiy_HdcDXqHRBMOfgi4E/s400/Sherman_nozwwodzie.jpg" alt="" id="BLOGGER_PHOTO_ID_5580376916699254978" border="0" /></a><br />Join us for Movie Nite at the Polish Club!<br /><br /><span style="font-weight: bold;">Polish Movie Nite </span>is happy to present <span style="font-style: italic;">Knife in the Water</span> (1962), Roman Polanski's first feature film. It depicts three characters - two young men and a woman - navigating charged rivalry and sexual tension. Krzysztof Komeda composed the soundtrack, which prominently features the Swedish jazz tenor saxophonist Bernt Rosengren. The film was nominated for Best Foreign Language Film at the 1963 Academy Awards, and won the Golden Wolf at the Bucharest Film Festival in the same year.<br /><br />The film will be introduced by Arden Sherman, a curator and writer based in San Francisco. Arden earned her MA in Curatorial Practice at the California College of the Arts, San Francisco, and her BA at the College of Charleston, South Carolina, where she studied sculpture and Latin American studies.<br /><br /><span style="font-style: italic;">Knife in the Water</span><br />1962<br />94 minutes<br /><br />8pm Wednesday<br />March 16, 2011<br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110<br /><br /><span style="font-weight: bold;">Polish Movie Nite<span style="font-style: italic;"> <span style="font-weight: bold;"><span style="font-style: italic;"></span></span></span></span>is sponsored by the Polish Club of San Francisco. More information about the Polish Club is available at www.polishclubsf.org.<br /><br /><div style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUq-5ZEBjtes7crjKA4t8Iqrh9lYWGfJEdC4aAZN6-FYXG5zmW6cr7HOzswwFDgKGMeY-ioPOyju-4ZeRRaMgkWmmicIHE-qz5hYnQq291iFeIdaP2WxGzCBnj8KIgBzWND5Cb1_oDuWk/s1600/Consulate+logo.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 320px; height: 58px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUq-5ZEBjtes7crjKA4t8Iqrh9lYWGfJEdC4aAZN6-FYXG5zmW6cr7HOzswwFDgKGMeY-ioPOyju-4ZeRRaMgkWmmicIHE-qz5hYnQq291iFeIdaP2WxGzCBnj8KIgBzWND5Cb1_oDuWk/s320/Consulate+logo.jpg" alt="" id="BLOGGER_PHOTO_ID_5580375318580897586" border="0" /></a><span>This event is generously sponsored by the Consulate General of the Republic of Poland.</span><br /></div><br /><br />Special thanks go to Maureen Mroczek Morris, and to Krol Vodka and Trumer Pils, for their ongoing support. Additional thanks go to Brady Welch and Julian Myers for their assistance in the preparation of this event.<br /><br /><span style="font-weight: bold;">Polish Movie Nite</span> is a free monthly screening organized by Joanna Szupinska.Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com1tag:blogger.com,1999:blog-1440600147579871699.post-45335589548149465122011-02-08T12:48:00.001-08:002011-03-02T14:29:16.142-08:00Marcella Faustini introduces The Theatre of Tadeusz Kantor<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ9pPQdnUjfMKcxZ5_h2VKgJpODkWo_aV2b4FAcSsNoc2TMF98Pvg3ui9fzLVaKkyzL8x9eTImTxjTGktaQMuBep2xVmsZvkNABPkHqgc-qU2i3JIpMmwj48JEjOAiCpx7hZUWOJ18ZGs/s1600/P1020557+%2528Medium%2529.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ9pPQdnUjfMKcxZ5_h2VKgJpODkWo_aV2b4FAcSsNoc2TMF98Pvg3ui9fzLVaKkyzL8x9eTImTxjTGktaQMuBep2xVmsZvkNABPkHqgc-qU2i3JIpMmwj48JEjOAiCpx7hZUWOJ18ZGs/s400/P1020557+%2528Medium%2529.JPG" alt="" id="BLOGGER_PHOTO_ID_5571423843257869458" border="0" /></a><span style="font-size:85%;"><span style="font-family:arial;">Marcella Faustini introduced <em>The Theatre of Tadeusz Kantor</em> at the Polish Club on February 2.</span></span><br /><span style="font-size:78%;"><span style="font-family:arial;">photo by Maureen Mroczek Morris<br /><br /></span></span><div style="text-align: left;"><span style="font-size: 100%;"><span style="font-family: arial; font-size: 100%;"><br /><span style="font-size:85%;"><span style="font-weight: bold;">Introduction to </span><em style="font-weight: bold;"><span style="font-style: normal;"></span></em><em style="font-weight: bold;">The Theatre of Tadeusz Kantor</em><em style="font-weight: bold;"></em><em 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mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 11pt; line-height: 115%; font-family: "Calibri","sans-serif";">Tonight I will be introducing <i style="">The Theatre of Tadeusz Kantor</i>, a documentary about painter, author, art theoretician, stage designer, theatre director, actor, and producer Tadeusz Kantor.<span style=""> </span>Since the film contains<span style=""> </span>a reasonable amount of biographical details, I will only briefly introduce his life. Kantor was born in 1915 in Wielopole, in the province of Tarnów. He was educated at the </span><span style="font-size: 11pt; line-height: 115%; font-family: "Calibri","sans-serif";"><a href="http://www.culture.pl/en/culture/artykuly/in_ed_asp_krakow"><span style="color: rgb(0, 33, 231); text-decoration: none;">Academy of Fine Arts in </span><span style="color: windowtext; text-decoration: none;">Kraków</span></a></span><span style="font-size: 11pt; line-height: 115%; font-family: "Calibri","sans-serif";"> and studied under Karol Frycz, an outstanding set designer of the inter-war period. He taught as a professor at the Academy in the early ’40s while he worked as a director of experimental theatre. The later part of that decade saw him work extensively as a stage designer and spend some time in Paris, which heavily influenced his practice. The ’50s saw Kantor working on various painting exhibitions, taking part in the international <i style="">documenta 2</i> exhibition in Kassel. Together with fellow Cracovian artists Maria Jarema and Kazimierz Mikulski, he started the <i style="">Cricot 2</i> Theatre. Their first production was Stanisław Ignacy Witkiewicz’s play <i style="">The Cuttlefish</i>. During the ’60s Kantor started staging his first happenings, a disappointment to himself that led to his return to the theatre in the early ’70s. Starting in ’79 <i style="">La Mama</i> in New York staged <i style="">The Dead Class</i> (which won an Obie award in 1980).<span style=""> </span>They went on to stage various productions of Kantor’s plays in the U.S. and win him another Obie for <i style="">Wielople, Wielopole</i> in ’82. Throughout his career Kantor stayed heavily informed by Constructivism, Dada, Art Informel, and Surrealism. These influences were all visible in his various experiments with the Autonomous, Informel, Zero, Happening, and Impossible theatres of his creation. The last two decades of his life were the busiest in his theatrical career with his plays being staged all over the world. He died in 1990 in Kraków.</span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 11pt; line-height: 115%; font-family: "Calibri","sans-serif";">My personal encounter with Kantor’s work happened while I was pursuing my undergraduate degree in Theatre. While directing a play about the making of Carl Dreyer’s <i style="">The Passion of Joan of Arc</i>, I came across the book <i style="">A Journey Through Other Spaces: Essays and Manifestos, 1944–1990</i> (The University of California Press, 1993), a collection of Kantor’s writings compiled by theater scholar Michal Kobialka. As I became increasingly interested in the possibilities of theatre space and mise-en-scène, two figures loomed large within my thinking: Samuel Beckett and Kantor. As Beckett wrote in a production notebook, rejecting the new 20<sup>th</sup> century acting styles introduced by Constantin Stanislavski and Jerzy Grotowski, they were “not for me these Grotowskis and Methods” that were being paraded around by my professors. Both Beckett and Kantor seemed to be getting at something else using the theatrical frame: Beckett and his life-long pursuit of writing a play in which the text does away with the actor, and Kantor with a practical solution to this problem by way of a particular approach to stage objects and the physical space at hand. Furthermore, while both artists relied heavily on memory as subject, I came to find that theirs was also a theatre of forgetfulness—an aspect I could relate with immensely. Kantor was particularly successful with this thematic through his use of objects which became stand-ins, or more precisely annihilators, of any surrounding human presence. I became obsessed with constructing, as Kantor would say, “an autonomous field of action.” While I was getting increasingly annoyed with the implications of working with actors, the spatial possibilities of the stage became more and more of a focus in my work. As my work and the play developed, I created my own versions of stage props as machines, and incorporated objects in a way that scrambled their hierarchy within the action. Hierarchies were profoundly altered within Kantor’s plays: during his stagings he would be on the stage actively directing the actors; the audience sat on the same plane as the action; the actors were made to occupy the same space as the props. Furthermore, all of these elements could interchange functions: the actors became objects, the space turned into actors, and the objects became main players in continuous and hilarious permutations.</span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 11pt; line-height: 115%; font-family: "Calibri","sans-serif";">In many ways, all of Kantor’s spatial explorations on stage pointed to a need to formally represent a threshold that lies between the perception, memory, and experience of inner space versus real space. Kobialka talks about Kantor collapsing four different types of spaces: “topos uchronia” (a place with no time), “heterotopias” (a counter-site to real space), “virtual space” (a place constituted by the overlapping of the real space and heterotopia), and “self-consistent space” (a space which does not have a counter-site, but exists for itself).<a style="" href="#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><span style=""><span class="MsoEndnoteReference"><span style="font-size: 11pt; font-family: "Calibri","sans-serif";">[i]</span></span></span></span></a></span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 11pt; line-height: 115%; font-family: "Calibri","sans-serif";">The other comforting factor in Kantor, for me, was the unapologetic point of reference of his work being completely locked within the experiential frame of the western world. As interested as I was in Noh, Butoh, and Bunraku, the comedy derived from Judeo-Christian historical absurdities and shortcomings had a lot more resonance for me. Kantor came of age in a time when, according to Adorno, the creation of autonomous works that are not governed by the external order of things but by their inherent structure created a way out of the post-Auschwitz impasse for speech and representation. In one of his essays on Kantor, Kobialka offers as an example that illustrates this resolution. Kantor’s 1944 production of <i style="">The Return of Odysseus</i> took place in a bombed room instead of a theatre. It was not announced publicly since Polish cultural activities were expressly prohibited by the Nazis. Here the “real” object, namely the destroyed room, substitutes the “artistic” object, the theatre building.<a style="" href="#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><span style=""><span class="MsoEndnoteReference"><span style="font-size: 11pt; font-family: "Calibri","sans-serif";">[ii]</span></span></span></span></a> Being from a third world country, I can relate very closely to Kantor’s reasons for doing this. Unlike Duchamp’s ready- mades which were used as a way to challenge audiences’ perceptions about art, Kantor did so as a gesture of necessity. In his own words, “the objects manifested the anger of a human being being trapped by other human beasts. We only had the strength to grab the nearest thing. THE REAL OBJECT, and call IT the work of art.”</span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 11pt; line-height: 115%; font-family: "Calibri","sans-serif";">In terms of Kantor’s dramatic structuring, stock characters, sets, and props tend to appear and disappear not only during the play being staged, but they also make appearances in different ones in order to create an ongoing attempt towards the creation of a personal mythology. His use of chronology was closer to film than theatre. In his “Theory of the Film Negatives,” Kantor suggested that the events and characters on stage brought forth different memories, forever collapsing and folding into each other. And whereas film mimics the memory process, linearity was also ignored in his plays. Negatives are transparent, making it possible to see elements of frames seeping through each other. The idea of escaping the frame is also extrapolated in Kantor’s plays in a figurative way, with the characters and action gradually spewing out of it.<a style="" href="#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><span style=""><span class="MsoEndnoteReference"><span style="font-size: 11pt; font-family: "Calibri","sans-serif";">[iii]</span></span></span></span></a></span></p> <p class="MsoNormal" style="line-height: 115%;"><span style="font-size: 11pt; line-height: 115%; font-family: "Calibri","sans-serif";">It could be relatively easy to read his work as sentimental; if, at first glance, to our over-exposed sensibilities the work seems to be fraught with sentimentalism, I suggest a double take. What you are seeing is the stacking of dadaist formal strategies on top of self-referential cultural tropes which, in some cases, provokes an intense emotional response. Here too hierarchy is done away with: laughter and crying are of the same difference. This hierarchical interchangeability is, to me, the actual crux of interest in Kantor’s work. His interest in bringing to the forefront the in-betweens of life—the weathered, the lowly, the places where logic unravels—and to catapult them towards a transformation into the main point of interest remains a great strategy in art-making. A short note about his staging of <i style="">The Return of Odysseus</i> further elaborates his embrace of life and its reality of the lowest rank:</span></p> <p class="MsoNormal" style="margin: 0in 1in 0.0001pt;"><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">Warning: Let us beware and not place easily our trust in individuals who, misusing those metaphysical reasons, offer us gloomy and blunt pathos or the pretentious and empty gestures of shamans.<span style=""> </span>A feeling of a tightrope dance, irony, sarcasm , and a sense of humour are a </span><i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">human aspect </span></i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">of metaphysics.<span style=""> </span>this is a positive part of our inheritance from the age of REASON.<span style=""> </span>One more thing that is seldom taken into consideration: all forms (in art), whose highest goal is to affirm life in the world known as "the other side are OPPOSED to life as well as to the status and code of life.<span style=""> </span>They are ANTITHETICAL to life, and that is why they are </span><i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">scandalous </span></i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">and shocking when defined in terms of its categories.<span style=""> </span>This is why my Zero Theatre (1963) was a theatre of phenomena states that exist "below zero" and was directed towards emptiness, indistinctness, and "low" values.<span style=""> </span>This was why I proclaimed the realness of lowest<span style=""> </span>MATERIALISTIC regions and (horrors!) of moral ones.<span style=""> </span>This was why in theatre I substituted the archaic, pathetic, and "divine" concept of </span><i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">reincarnation</span></i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"> for the human act of </span><i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">imposture</span></i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">, which admitted to the stage </span><i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">swindlers</span></i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"> and </span><i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">crooks</span></i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">; for </span><i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">sneaking in</span></i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">, which reflected the obscure methods of "impure forces; for </span><i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">transformation</span></i><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">, which connoted a psychological process that was coloured by mysticism.<span style=""> </span>But I always felt this mysterious tremor and awe-inspiring sensation of "the other world" in all those real processes of the lower rank. . . .<span style=""> </span>I felt this tremor while waiting at the station for Odysseus' return from Troy.</span><span style="font-size: 11pt; font-family: "Calibri","sans-serif";">"<a style="" href="#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><span style=""><span class="MsoEndnoteReference"><span style="font-size: 11pt; font-family: "Calibri","sans-serif";">[iv]</span></span></span></span></a></span></p> <div style=""><br /> <hr align="left" size="1" width="33%"> <div style="" id="edn1"> <p class="MsoEndnoteText"><a style="" href="#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"><span style=""><span class="MsoEndnoteReference"><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">[i]</span></span></span></span></span></a><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"> Kobialka, Michal. “Spatial Representation: Tadeusz Kantor’s Theatre of Found Reality,” <i style="">Theatre Journal</i> 44 (1992), 329-356, The John Hopkins University Press, page 332.</span></p> </div> <div style="" id="edn2"> <p class="MsoEndnoteText"><a style="" href="#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"><span style=""><span class="MsoEndnoteReference"><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">[ii]</span></span></span></span></span></a><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"> ibid, page 333.</span></p> </div> <div style="" id="edn3"> <p class="MsoEndnoteText"><a style="" href="#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"><span style=""><span class="MsoEndnoteReference"><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">[iii]</span></span></span></span></span></a><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"> Kantor, Tadeusz. “A Journey Through Other Spaces: Essays and Manifestos, 1944–1990,” ed. Michal Kobialka, 1993, University of California Press, Berkeley, CA.</span></p> </div> <div style="" id="edn4"> <p class="MsoEndnoteText"><a style="" href="#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"><span style=""><span class="MsoEndnoteReference"><span style="font-size: 10pt; font-family: "Calibri","sans-serif";">[iv]</span></span></span></span></span></a><span style="font-size: 10pt; font-family: "Calibri","sans-serif";"> Ibid, page 147.</span></p> </div> </div> </div></div>Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-70668596024831137012011-01-20T10:05:00.000-08:002011-01-20T10:22:44.775-08:00February 2: The Theatre of Tadeusz Kantor<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPxxWUZ3Ssnnhrw7MEC-KZL8bRiMpE96FH5K8L0KGeJO63gqiXwyCtXRPfgAuz_5wALgijTLqTFq6vg8ulRdFRkT0mIwjMpyV-kMwIWYKKCprxSgYMvLnBZc9mmMshh15QCEAWEueyOA/s1600/Kantor.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 278px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPxxWUZ3Ssnnhrw7MEC-KZL8bRiMpE96FH5K8L0KGeJO63gqiXwyCtXRPfgAuz_5wALgijTLqTFq6vg8ulRdFRkT0mIwjMpyV-kMwIWYKKCprxSgYMvLnBZc9mmMshh15QCEAWEueyOA/s400/Kantor.jpg" alt="" id="BLOGGER_PHOTO_ID_5564335148626077938" border="0" /></a><br />Join us for Movie Nite at the Polish Club!<br /><br /><span style="font-weight: bold;">Polish Movie Nite </span>is happy to present <span style="font-style: italic;">The Theatre of Tadeusz Kantor</span> (1991), a unique documentary by Denis Bablet about the work of <a href="http://en.wikipedia.org/wiki/Tadeusz_Kantor">Tadeusz Kantor</a>, a legendary genius of theatre. From his upbringing in Poland to his development as a theatrical artist of rare invention, the film details Kantor's life and his founding and leadership of the Cricot 2 acting company, complete with riveting glimpses of Kantor at work. In one unique scene, Kantor is on stage and "conducts" the actors as a symphony conductor might lead an orchestra. Extensive segments from some of Kantor's most famous works, <span style="font-style: italic;">The Dead Class </span>(1975), and <span style="font-style: italic;">Wielopole, Wielopole </span>(1980), are also included.<br /><br />The film will be introduced by Marcella Faustini, a San Francisco-based artist and curator. She earned her MFA at the California College of the Arts, San Francisco. Originally from Brazil but now neither from here nor there, she currently finds herself counting walls at <a href="http://www.nomagallerysf.com/">Noma Gallery</a>.<br /><br /><span style="font-style: italic;">The Theatre of Tadeusz Kantor</span><br />1991<br />145 minutes<br />In English and French with English subtitles<br /><br />8pm Wednesday<br />February 2, 2011<br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110<br /><br /><span></span><span>Special thanks go to</span><span> Mrs. Krystyna Chciuk and </span><span>Maureen Mroczek Morris</span><span> of the Polish Club for their ongoing support of Polish Movie Nite, and to</span> <span>Trumer Pils and Krol Vodka for sponsoring this event</span>.<br /><br /><span style="font-weight: bold;">Polish Movie Nite</span> is a monthly screening organized for the benefit of the Polish Club. Events are free and open to the public. Donations are welcome.Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-35716013241618526412011-01-04T16:10:00.000-08:002011-01-04T16:27:02.112-08:00Upcoming Programs<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtIUnytG1_qUSuNPo3LGQHekVNBUu0GxJ-mjFk9sBmA7Q3ybjYAVhz3hgtjfbDn4hlpQXBc2zryPVgUWD-k0GNhDwiWpUuahOi3jfX6vdA-IxhY7a6Ht8_UY6EFlW9ignPYE7AMKk2awo/s1600/SeaSymphony.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 241px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtIUnytG1_qUSuNPo3LGQHekVNBUu0GxJ-mjFk9sBmA7Q3ybjYAVhz3hgtjfbDn4hlpQXBc2zryPVgUWD-k0GNhDwiWpUuahOi3jfX6vdA-IxhY7a6Ht8_UY6EFlW9ignPYE7AMKk2awo/s400/SeaSymphony.jpg" alt="" id="BLOGGER_PHOTO_ID_5558490955138852674" border="0" /></a><span style="font-size:85%;">Tadeusz Kantor, </span><span style="font-style: italic;font-size:85%;" >Sea Concert </span><span style="font-size:85%;">(from The Panoramic Sea Happening), 1967</span><br /></div><br />Happy new year, movie-watchers! We've got some great films lined up for the coming months, including selections by Marcella Faustini, Chris Fitzpatrick, Arden Sherman, Zohar Weiman Kelman, and, ahem, yours truly. I'll be sure to update this page as details are worked out. In the meantime, save the date for our first screening of the year on February 2, when Marcella will present a documentary about the Polish artist Tadeusz Kantor. Hope to see you there!<br /><br />8pm Wednesday<br />February 2, 2011<br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-23872040225608916342010-12-19T23:05:00.001-08:002010-12-27T10:00:25.283-08:00Susannah Magers introduces In The Name Of Their Mothers<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjENGbKi-lTmRxdT-NEXKs1-KvsM7p6IDOCH6uUF-g5skqDbPW0NFAwxFnnUI0a4ygLFfQL9GLcjSYQh5Y0jR4e2pxQ-i2SLEYrFcPviXZFgycACp5dXCtxgWZHdoL8t7q1I2xpGhb-XYE/s1600/P1020248+%2528Medium%2529.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjENGbKi-lTmRxdT-NEXKs1-KvsM7p6IDOCH6uUF-g5skqDbPW0NFAwxFnnUI0a4ygLFfQL9GLcjSYQh5Y0jR4e2pxQ-i2SLEYrFcPviXZFgycACp5dXCtxgWZHdoL8t7q1I2xpGhb-XYE/s400/P1020248+%2528Medium%2529.JPG" alt="" id="BLOGGER_PHOTO_ID_5552658347401238050" border="0" /></a><span style="font-size:100%;"><span style=";font-family:arial;font-size:100%;" ><span style="font-size:85%;">Susannah Magers introduced Mary Skinner<em><span style="font-style: normal;">'s </span></em><em>Irena Sendler: In The Name Of Their Mothers</em><em></em> at the Polish Club on December 15.<br />photo by Maureen Mroczek Morris</span><br /><br /><span style="font-weight: bold;">Introduction to Mary Skinner</span><em style="font-weight: bold;"><span style="font-style: normal;">'s </span></em><em style="font-weight: bold;">Irena Sendler: In The Name Of Their Mothers</em><em style="font-weight: bold;"></em><em style="font-weight: bold;"></em><em><span style="font-style: 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mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Cambria","serif"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">It is an honor to introduce <i style="">Irena Sendler: In The Name Of Their Mothers</i>, a film by Mary Skinner.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">As a curator, educator, and student of history, the moment of World War II and the Holocaust hold particular significance in my historical memory. My first introduction to the subject was in a social studies class as a seventh grader at a public school in New Hampshire. We learned about the timeline of the war, read <i style="">Night</i> and <i style="">Day</i> by Elie Wiesel, and a classmate and I gave a presentation about Auschwitz. The year’s diversity and tolerance-themed curriculum also included readings and discussion of apartheid in South Africa.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">I remember that despite the widespread support for this progressive middle school curriculum, there were parents who worried that exposure to this ugly portion of history was inappropriate. This reaction, to protect and shield us from history, puzzled me then as much as it does now. Later, as an undergraduate history major at UC Santa Cruz, I read Primo Levi and Imre Kertesz, saw films such as <i style="">Night and Fog</i>, <i style="">Shoah</i>, and <i style="">The Shop on Main Street</i>, and discovered the meticulous and obsessive architecture of the Holocaust and Nazi ideology. <i style="">In The Name Of Their Mothers</i> is a story of how this architecture was undermined and resisted. The story of the silencing of Irena Sendler’s experience, as is recounted in the film, is a reminder of how fortunate I was to have been exposed to this history—one whose living testaments so often go unheard.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"><b style="">The Landscape of Warsaw During WWII</b></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">As a social worker in Warsaw when World War II broke out in 1939, Sendler was assigned as a public health provider. This involved treating the children she found wandering on the streets of the city, but it’s important to note that Nazi policy allowed Sendler to treat only Catholic Poles, not Jews. In 1940, a wall was erected, enclosing a portion of Warsaw’s center—a mere two square miles—into a ghetto for the 400,000 Jews that lived in the city. Deeply troubled after learning what transpired behind these walls, Sendler began to organize a system for getting the ghetto’s children out. Her project involved the participation of many, with no guarantee of survival, and risk of death if caught. Despite this, Sendler and her coworkers, mostly women, smuggled these children out in whatever ways they could, tucking them in garbage, toolboxes, suitcases, and bundles of newspaper, or walking them out through city sewers.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">The complexity of the navigation of the warring Warsaw landscape is staggering. This was a world where nothing was sacred, remotely safe, or known, and where the fear of being stopped, searched, and interrogated loomed always. That a toddler would be ordered to prove that she was not ‘them’—through the recitation of a prayer to a religion that wasn’t hers, in a language that might have not been hers either—is one of the most haunting visuals invoked by the film. The degree to which everyone involved had to participate in a constant process of cloaking and concealing, day after day, for the duration of the war, is striking. Escaping the ghetto successfully was only the first step; the children were taken to a safe house before awaiting yet another transfer to the relative safety of a convent or orphanage in rural Poland.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"><b style="">Hidden Children: Double Identity and Forced Forgetting</b></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">As I listen to the various accounts as the film progresses, from the hidden children that now enjoy older age, I begin to think about the repercussions of being saved. What exactly is the price? The choice of the word “hidden” to describe the children saved by Sendler and Żegota, is a decidedly appropriate one; everything about their lives was hidden, and what’s more, forcibly forgotten, un-learned, and then re-taught to them, sometimes in the middle of the night. Magda Rucinek recalls waking children to recite Catholic prayers, preparing them for the chance that it would not be her the next time, but the Gestapo. </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">This double identity is confusing and frightening, as expected, for a child. Faced with the challenge to grasp why you have been taken from your family, coupled with strangers instructing you as to your every move, all with an imperative secrecy, is difficult to comprehend. This adaptation included a new Polish name, language, appearance, and religious system: “you are not Rachel, but Roma; not Isaac, but Jacek.” Boys were put in dresses to confound any attempt to discover their Jewishness from the evidence of their anatomy. Sister Maria Ena, a nun at a Polish convent, tells the story of a young girl Jasia, whose facial features were contained by wrapping her face in bandages. Hidden child Michal Głowiński remembers the forced forgetting of his vocabulary, having to stop himself from using certain words that would betray his background. This crisis of double identification and double loss begs the following questions: what happens when you are a witness to the destruction and disappearance of your own history? How do you contend with the knowledge that you may be the only link to it?</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"><b style=""> </b></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"><b style="">Irena Sendler’s Legacy</b></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">Sendler’s story, and the combined efforts of Żegota, have been memorialized in many ways. <i style="">Life in a Jar</i>, a 1999 high school play in Uniontown, Kansas was the first public recognition for Sendler’s story. The play was put on by four female high school students, who discovered Sendler during research for one of their history classes. Upon discovering Sendler was alive, they were urged by their teacher to visit her in Poland. The play has been performed over 250 times, and is now on DVD. These four students are credited with unearthing Irena Sendler’s story.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">Sendler and her network have also been represented in a made-for-television movie called <i style="">The Courageous Heart of Irena Sendler</i>, with Anna Paquin as Sendler, adapted from the 2005 biography <i style="">Mother of the Children of the Holocaust: The Irena Sendler Story,</i> by Anna Mieszkowska. In 2007, Sendler was nominated for the Noble Peace Prize. (Al Gore took the award for his research into global climate change.) Sendler apparently didn’t meet the Nobel criteria that humanitarian activities must have been done in the past two years prior to nomination. The stories of Żegota and the Polish resistance had been silenced for decades, and have only begun to be told internationally in the last two decades.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">I am struck by a quote, from the memory of William Donat, regarding a harrowing raid by Polish blackmailers who found the then five-year old Donat in hiding at his aunt’s house. His aunt said, "When this is over, the decent Polish people will remember who sided with our enemies, the Germans." This appeal to their conscience (and a bribe) was successful then, but proves an empty threat when weighed against how history has negated Sendler and her Polish resistance accomplices. Far from being heralded, they were punished for their bravery and selfless acts by the Communists in Poland when they came to power after the war: a double silence of their efforts.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">I want to also address the word and notion of miracle, as if some divine intervention could be attributed to Sendler’s actions. It is invoked often in the film, but it is important to note that the rescue of 2,500 children from the Final Solution was not a miracle. It was the result of persistent courage and compassion, and is very human—a different humanity that sprang to action in the face of the insanity of Nazism. There were real people who took real risks and endured real pain. <i style="">In The Name Of Their Mothers</i> is a story of those who did the right thing—who decided to act against fear, and to resist passive participation in the calculated genocide of the Jewish people. It is a reminder that the human spirit can prevail despite the circumstances.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"> </span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">In closing, there were Oskar Schindlers and Irena Sendlers, and their stories are never more relevant than now. In an interview in 2007 with ABC News, Sendler voiced her own frustration: "After the Second World War it seemed that humanity understood something, and that nothing like that would happen again. Humanity has understood nothing. Religious, tribal, national wars continue. The world continues to be in a sea of blood." She went on to say that, "the world can be better if there’s love, tolerance, and humility. It is simple. If you see someone drowning, give them your hand." The question now is not to ask how this could have happened, but how we will prevent it from happening again.</span></p>Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-60366752045281439782010-11-22T11:47:00.001-08:002010-11-23T09:58:03.567-08:00December 15: Code Name: Zegota<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJMkT-wIeqqPKy_gGZCsx92BbvlSLCOkqyk4HycRvy2A7EeGl8cT6vo2PB-r9WqOysEVcm4HZQqvPk_SzsljGacTeF-DtWTahPxYF-jPrThCITDbrSVIS-jNRZPPUB44vjoTCr5qaPprs/s1600/51rmojQ59lL._SL500_AA300_.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 197px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJMkT-wIeqqPKy_gGZCsx92BbvlSLCOkqyk4HycRvy2A7EeGl8cT6vo2PB-r9WqOysEVcm4HZQqvPk_SzsljGacTeF-DtWTahPxYF-jPrThCITDbrSVIS-jNRZPPUB44vjoTCr5qaPprs/s400/51rmojQ59lL._SL500_AA300_.jpg" alt="" id="BLOGGER_PHOTO_ID_5542805903358944770" border="0" /></a><br />Join us for a special book event at Polish Movie Nite!<br /><br />To complement the screening of <span style="font-style: italic;">I</span><span style="font-style: italic;">rena Sendler: In The Name Of Their Mothers</span> (information in the blog post below), <span style="font-weight: bold;">Polish Movie Nite </span>is happy to present the newly-published book <span style="font-style: italic;">Code Name: Zegota (Rescuing Jews in Occupied Poland, 1942-1945: The Most Dangerous Conspiracy in Wartime Europe)</span> by Irene Tomaszewski and Tecia Werbowski, with a foreword by Norman Davies. It is the first English-language book on the subject, and copies will be available for purchase during the event.<br /><br /><i>Code Name: Zegota </i>tells the story of the only secret organization in occupied Europe set up for the sole purpose of saving Jews. The book details the danger and complexity behind Zegota rescue attempts, clarifying the relationship of the Germans, who had total control; the Poles, who were relegated to sub-human status and treated as slave labor; and the Jews, designated nonhuman and collectively condemned to death.<br /><br />Illuminating the moral dilemmas that arose as one life was pitted against another under the lawless apartheid conditions created by the Nazis, <i>Code Name: Zegota</i> explores the critical situation in occupied Poland and the personalities that responded to desperate conditions with a mix of courage and creativity. It profiles the key players and the network behind them and describes the sophisticated organization and its mode of operation. The cast of characters ranges from members of prewar Poland's cultural and political elite to Girl Guides and Boy Scouts, who worked as couriers. As this inspiring book shows, all of these brave souls risked torture, concentration camps, and death—and many paid the price.<br /><br /><span style="font-style: italic;">Code Name: Zegota<br />Rescuing Jews in Occupied Poland, 1942-1945: The Most Dangerous Conspiracy in Wartime Europe</span><br />by Irene Tomaszewski and Tecia Werbowski<br />Foreword by <a href="http://en.wikipedia.org/wiki/Norman_Davies">Norman Davies<br /></a>2010<br />Hardcover, 182 pages<br />For more information, visit <a href="http://www.abc-clio.com/product.aspx?id=51492">http://www.abc-clio.com/product.aspx?id=51492</a><br /><br />8pm Wednesday<br />December 15, 2010<br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110<br /><br /><span>This event is made possible by </span><span>Maureen Mroczek Morris</span><span>, with additional support from Trumer Pils and Krol Vodka.</span><span> Thanks also go to</span><span> Mrs. Krystyna Chciuk</span><span> of the Polish Club for her ongoing support of Polish Movie Nite, and to</span> Susannah Magers and Bre Leigh Peters for their help in the preparation of this event.<br /><br /><span style="font-weight: bold;">Polish Movie Nite</span> is a monthly screening organized for the benefit of the Polish Club. Events are free and open to the public. Donations are welcome.Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-31788776389207082672010-11-18T20:17:00.000-08:002010-11-22T11:54:45.361-08:00December 15: In The Name Of Their Mothers<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0d5_xH_WGBeOjGfZmVheKoU3tMb1kaNG7jfz6anwZTecS24lhaGBPKzsOC1okQwt8dKI9BJ0nrkz6XrgZUK2LmuazUuFZ0QLGgJhNAUhAsMoiPsfX7ZjDpE7EtwXd5VfoKTvTHX99iPc/s1600/IrenaSendlerNameofMothers.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 300px; height: 372px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0d5_xH_WGBeOjGfZmVheKoU3tMb1kaNG7jfz6anwZTecS24lhaGBPKzsOC1okQwt8dKI9BJ0nrkz6XrgZUK2LmuazUuFZ0QLGgJhNAUhAsMoiPsfX7ZjDpE7EtwXd5VfoKTvTHX99iPc/s400/IrenaSendlerNameofMothers.jpg" alt="" id="BLOGGER_PHOTO_ID_5541119060812842162" border="0" /></a><br /><img src="file:///C:/DOCUME%7E1/Asia/LOCALS%7E1/Temp/moz-screenshot.png" alt="" />Join us for Movie Nite at the Polish Club!<br /><br /><span style="font-weight: bold;">Polish Movie Nite </span>is happy to present <span style="font-style: italic;">I</span><span style="font-style: italic;">rena Sendler: In The Name Of Their Mothers</span> (2010), a new documentary by filmmaker Mary Skinner. In the film, 95-year-old <a href="http://en.wikipedia.org/wiki/Irena_Sendler">Irena Sendler</a> tells the true story of <a href="http://en.wikipedia.org/wiki/%C5%BBegota">Żegota</a>, a secret network of Polish women who rescued thousands of Jewish children from the Warsaw ghetto and hid them until the end of the war. In 1943 the Gestapo captured Sendler, tortured her and sentenced her to death, but she refused to divulge anything about the women or the hidden children. She escaped on the day she was to be executed when the Polish Resistance bribed a German guard. All of the 2,500 children rescued by her conspiracy survived the war and many were re-united with their Jewish families. But for decades, they could not tell their stories. The new Communist regime in Poland silenced former members of the Polish Resistance and most of Sendler's liaisons were persecuted or exiled. Over 65 years later they can finally speak about their wartime work as the once hidden Jewish children return to Warsaw to re-unite with their Polish protectors.<br /><br />The film will be introduced by local curator Susannah Magers.<br /><br /><span style="font-style: italic;">Irena Sendler: In the Name of their Mothers</span><br />2010<br />58 minutes<br />For more information, see <a href="http://www.irenasendlerfilm.com/">www.irenasendlerfilm.com</a><br /><br />8pm Wednesday<br />December 15, 2010<br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110<br /><br /><span>This event is made possible by </span><span>Maureen Mroczek Morris</span><span>, with additional support from Trumer Pils and Krol Vodka.</span><span> Thanks also go to</span><span> Mrs. Krystyna Chciuk</span><span> of the Polish Club for her ongoing support of Polish Movie Nite, and to</span> Mary Skinner, Irene Tomaszewski, Susannah Magers, and Bre Leigh Peters for their help in the preparation of this event.<br /><br /><span style="font-weight: bold;">Polish Movie Nite</span> is a monthly screening organized for the benefit of the Polish Club. Events are free and open to the public. Donations are welcome.Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-31256481844978042472010-10-29T11:14:00.000-07:002011-02-10T17:06:29.162-08:00Julian Myers introduces Possession<span style=";font-family:times new roman;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi840eXthqxbIa-Flb_EuFadsEgnGNw5GRvyKEXDkQdrSJbBnyhXRboU1j3HSYdFleUgGbB01xKPxSJpSznvqYAqNHqWBa9R7Rp9TvL1N0rNNenZRpxNz040OhxFJxaEqYEJYwNRuC4wxU/s1600/P1010785+%28Medium%29.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi840eXthqxbIa-Flb_EuFadsEgnGNw5GRvyKEXDkQdrSJbBnyhXRboU1j3HSYdFleUgGbB01xKPxSJpSznvqYAqNHqWBa9R7Rp9TvL1N0rNNenZRpxNz040OhxFJxaEqYEJYwNRuC4wxU/s400/P1010785+%28Medium%29.JPG" alt="" id="BLOGGER_PHOTO_ID_5533533337244812818" border="0" /></a></span><span style="font-size:100%;"><span style="font-family:times new roman;">Julian Myers introduced </span></span><span style=";font-family:times new roman;font-size:100%;" >Andrzej Żuławski<em><span style="font-style: normal;">'s </span></em><em>Possession</em><em><span style="font-style: normal;"></span></em></span><span style="font-size:100%;"><span style="font-family:times new roman;"> at the Polish Club on October 27.</span><br /><span style="font-family:times new roman;">photo by Maureen Mroczek Morris </span><br /><br /></span><span style=";font-family:times new roman;font-size:100%;" > Introduction to Andrzej Żuławski<em><span style="font-style: normal;">'s </span></em><em>Possession</em><em><span style="font-style: normal;"> (1981)<br />by Julian Myers</span></em></span> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">It is my great pleasure and difficult task, now, to introduce to you the 1981 <em><span style="font-style: normal;">film </span>Possession</em><em><span style="font-style: normal;">,</span> </em>directed by <em><span style="font-style: normal;">Andrzej </span></em><em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski<em><span style="font-style: normal;"></span></em></span><span style="font-size:100%;"><em><span style="font-style: normal;">.</span></em><em><span style="font-style: normal;"></span></em> Let me start with a quote from </span><span style=";font-family:times new roman;font-size:100%;" >Żuławski<em><span style="font-style: normal;"></span></em></span><span style="font-size:100%;"> about the film.<i style=""> </i></span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;"><i style="">“To please the majority is the requirement of the Planet Cinema. As far as I'm concerned, I don't make a concession to viewers, these victims of life, who think that a film is made only for their enjoyment, and who know nothing about their own existence.”</i></span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">This sounds something like the narcissistic proclamation of an avant-gardist. I want, at least in part, to argue with it. For <i style="">Possession</i> is no dry exercise in extremity. The film is visually ravishing. 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10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--><em><span style=";font-family:";font-size:12pt;" >—</span></em><span style="font-size:100%;"><em><span style="font-style: normal;">more for its timing than its central love story, it must be said, which </span></em><em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski<em><span style="font-style: normal;"></span></em></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em><em><span style="font-style: normal;"> describes as “ludicrous,” but the reference stands. It’s worth </span></em>noting, too, <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski<em><span style="font-style: normal;"></span></em></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em>’s unpretentious pitch to his American producer: “<i style="">Possession</i> is a film about a woman who fucks an octopus.” To which his American producer replied, with gusto, “<i style="">Let’s do it! </i>How much money do you need?” </span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">That his film addresses itself to viewers described as “victims of life”—this, however, is something worth elaborating further, alongside the real conditions of victimhood from which <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski<em><span style="font-style: normal;"></span></em></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em> composed the film. </span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">Some history will bring the director’s attenuated victimhood into view. <i style="">Possession</i> was <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski<em><span style="font-style: normal;"></span></em></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em>’s fourth film, preceded by <i style="">The Third Part of the Night</i> and <i style="">Devil</i>—films made in Poland, in Polish, with Polish actors, funded by the state. After the relative critical success of <i style="">Third Part, Devil, </i>an allegory of the suppression of the Polish student movement in the late 1960s, in the grotesque register of Heironymous Bosch, was banned by the Polish government, and not seen for sixteen years.</span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">Offered the choice of leaving cinema and leaving Poland, </span><span style=";font-family:times new roman;font-size:100%;" >Żuławski<em><span style="font-style: normal;"></span></em></span><span style="font-size:100%;"> chose to leave Poland. He went to France, where in the mid-1960s he had studied Political Science at the Sorbonne, and made the film, <i style="">L'important c'est d'aimer</i>, which was both a critical and commercial hit, in relative terms. With a new authority and fame, he returned to Poland in 1975 to work on a version of his great-uncle Jerzy <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski<em><span style="font-style: normal;"></span></em></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em>’s book <i style="">On the Silver Globe.</i> But again the government interfered, stopping production and confiscating his materials. He resumed <i style="">Silver Globe</i> in 1986, but the aborted project was hard to salvage and the film was never exactly what he wanted it to be. </span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">In the wake of this dispossession, he left again to the West. He wrote the script for <span class="il"><i style="">Possession</i></span> in 1978, in New York City, during the aftermath of this second disaster. Indeed, alongside its central story of love, the primary subject of the film would seem to be exile, and the feelings of displacement, alienation and miscommunication that exile provokes. This is registered, in <i style="">Possession</i>, by a wild disorientation of place. The whole film seems to be lurching precipitously around tiny corridors, cramped apartments and compressed streets.</span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">The film was also written out of the personal collapse of his marriage to Ma<em></em></span><span style=";font-family:times new roman;font-size:100%;" >ł</span><span style="font-size:100%;"><em></em>gorzata Braunek, a luminously beautiful actress, and one of the stars of <i style="">Third Part</i>. If <i style="">Possession</i> is a meditation on exile, its other primary force comes from the unnerving, enigmatic, explosive meltdown of the relationship between its two characters, Anna and Mark, played by Isabelle Adjani and Sam Neill.</span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">The choice of actors emphasized their double alienation: Adjani is Algerian French, and Sam Neill is from New Zealand, and the film takes place in West Berlin, this strange little claustrophobic zone. Their personal “exile” from one another, that is to say, is refracted and multiplied by cultural difference. The effect is that the characters are completely estranged, from each other and their surroundings, and barely able to communicate with one another. “We spend our lives not facing each other,” </span><span style=";font-family:times new roman;font-size:100%;" >Żuławski</span><span style="font-size:100%;"> says, and indeed his characters often seem to be speaking around corners or with their backs to one another.</span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">Both actors are fantastic and unforgettable. Adjani emerged as a major force in this moment. She won a prize at Cannes for her performance in <i style="">Possession</i>, and she's almost unspeakably beautiful and compelling in it, even as spasmodic as she becomes. <span class="text">There’s something to be said for </span><em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski</span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em><span class="text">’s direction of women actors—they’re routinely at their very best in his films—and Adjani most of all. “I came from the French cinematic school of real thinking,” </span><em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski</span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em> says, “<span class="text">and I believe that, with few exceptions, acting is a female occupation.” His filmography—and in particular <i style="">L’important c’est d’aimer</i> and <i style="">Une femme publique</i>—attests to this. But </span>Neill, too, is incredible here, and it is his strange performance that holds the film together. He is a volatile stick-man: weird, sweaty, beaky, and lurid. You can't take your eyes off him.</span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">Two more characters are played by Germans, who are no more at home than Mark or Anna. Heinz Bennent, fresh off Truffaut's <i style="">Last Metro</i>, plays a “karate-Zen” guru. “I hate this guy,” <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski</span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em> says, bluntly. “He’s better at everything than Sam Neill. But he’s totally wrong as well. He’s dangerous like poison.” Another character is played by the wonderful Margit Carstensen, who starred in numerous Fassbinder movies, notably <i style="">Bitter Tears of Petra Von Kant</i>; she'd just been filming <i style="">Berlin Alexanderplatz.</i> Both put in fascinating turns.</span></p><p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">But they’re nothing compared to the strange, hypnotic performances of the main two, who right from the start are acting in a hyper-charged manner: amped up, hysterical, agitated, weirdly avid. Perhaps this is a technique related to radical forms of dance-theater pursued by Jerzy Grotowski and Ryszard Cie<span style="font-size:14pt;"></span>ś</span><span style="font-size:100%;"><span style="font-size:14pt;"></span>lak in Poland in the 1970s. 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mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--><em><span style=";font-family:";font-size:12pt;" >—</span></em><span style="font-size:100%;">though <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski</span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em><span class="text"></span></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em> says he originally intended the film to be set in Detroit, with Neill as a factory worker in an auto plant—what a different movie this might have been! He has just gotten back to Berlin. From where, is never quite explained. And since he’s been gone, something has gone <i style="">very</i> wrong with his marriage. His wife is cheating on him—this we learn in the first minutes. What soon becomes clear is that something more sinister is going on as well. </span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">The details of this I will leave to the film. But what emerges is a pained portrait of a woman's sexual dissatisfaction and hysteria, and a man's jealous, violent rage and bewilderment at her desire. This is a trauma so mutually disfiguring that both partners end up being replaced by horrifying versions of each other. Indeed, after seeing the final cut of <i style="">Possession</i>, Adjani—who hadn’t watched the “rushes,” the daily shots during production, and so didn’t know during in the process how she was being pictured—disparaged the film as “psychological pornography.”</span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">This charge speaks to the film’s raw emotions, and suggests that something more than mere “horror,” in its “Planet Cinema” sense, is going on here. Indeed, <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski</span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em><span class="text"></span></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em> describes <i style="">Possession</i> as “the story of his life,” an autobiography, exposing with self-lacerating candor his personal problems and misbehavior with a partner that he dearly loved. <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski</span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em><span class="text"></span></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em> is, he admits, a “strong believer in couples and marriages and children.” The film shows these beliefs under enormous, unbearable pressure and distortion. But, nevertheless, we begin in reality, he says. This is an <i style="">ordinary</i> situation. A marriage is ending. </span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">But increasingly, a second level or order is introduced, gradually overwhelming the first. An ordinary story becomes a surreal fable. It gains along the way a mythic dimension. Certainly <i style="">Possession</i> acquires in its second half a sort of inscrutable dream-logic. This mythic dimension, <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski</span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em><span class="text"></span></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em> asserts, however leads us not to pure fantasy, but to a kind of deeper truth of human relations.</span></p><p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;"><i style="">“Every possible theory,”</i> he says, <i style="">“every way of orchestrating life: all of this is wrong. But what is left? Individualism, or anarchy? No. What is left is human decency. All good films are about morals. This film is about morals.”</i></span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">These are strong words about movie concerning a woman who fucks an octopus. But I think they attempt to answer Adjani’s misgiving about her own brilliant performance. Far from pornography, <em><span style="font-style: normal;"></span></em></span><span style=";font-family:times new roman;font-size:100%;" >Żuławski</span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em><span class="text"></span></span><span style="font-size:100%;"><em><span style="font-style: normal;"></span></em> answers, <i style="">this</i> is the task of any cinema worth its salt, and what morality and human decency truly demands: to face up to our own separation and self-delusion, to traverse the phantasmagoria of our pain, and not to look away.</span></p> <p class="MsoNormal" style="font-family:times new roman;"><span style="font-size:100%;">And so, my fellow “victims of life,” here is <i style="">Possession</i>.</span></p>Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-38340919283333609132010-10-24T14:15:00.000-07:002010-10-29T11:13:22.096-07:00October 27: Possession<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijTE2iaBR5c2h61taf6_ZyfFuHWbeHwMTGrd6fsk442n0B2j9daDlD3fgYT1jsZRrW8FeJwkos2SeR2F6bqArYfCz8cYEM2E8XhpfWl_r7lI5QwQYSYe6VY3SJoaalEzD7Ccg9SuYCyfA/s1600/Screen+shot+2010-07-01+at+11.40.07+PM.png"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijTE2iaBR5c2h61taf6_ZyfFuHWbeHwMTGrd6fsk442n0B2j9daDlD3fgYT1jsZRrW8FeJwkos2SeR2F6bqArYfCz8cYEM2E8XhpfWl_r7lI5QwQYSYe6VY3SJoaalEzD7Ccg9SuYCyfA/s400/Screen+shot+2010-07-01+at+11.40.07+PM.png" alt="" id="BLOGGER_PHOTO_ID_5523136735261817170" border="0" /></a><br />Join us for Movie Nite at the Polish Club!<br /><br /><span style="font-weight: bold;">Polish Movie Nite </span>is happy to present <span style="font-style: italic;">Possession</span> (1981), an English-language film set in West Berlin. This psychological thriller by Andrzej Żuławski depicts the demented, fever-dream relations of a broken couple (played brilliantly by Isabelle Adjani and Sam Neill) who, from the very start of the movie, are barely able to communicate with one another. <span style="font-style: italic;">Possession</span> was chosen by Julian Myers, Assistant Professor at California College of the Arts, who will introduce the film.<br /><br /><span style="font-style: italic;">Possession</span><br />1981<br />123 minutes<br />For more information, see <a href="http://en.wikipedia.org/wiki/Possession_%281981_film%29">Wikipedia</a>, <a href="http://cinemarchaeologist.blogspot.com/2008/12/possession-1981.html">The Dig</a>, and <a href="http://www.slantmagazine.com/house/2009/03/outsiders-shamans-and-devils-part-1-a-discussion-of-central-european-new-wave-cinema-with-film-writer-daniel-bird/">Slant Magazine</a>.<br />Watch the <a href="http://www.youtube.com/watch?v=xxVdtYAs8-w">trailer</a> on YouTube.<br /><br />8pm Wednesday<br />October 27, 2010<br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110<br /><br /><span>This special Halloween event is made possible in part by Trumer Pils and Krol Vodka.</span><span> </span><span>A great big THANK YOU go to </span><span>Maureen Mroczek Morris and Mrs. Krystyna Chciuk</span><span> of the Polish Club for their ongoing support of Polish Movie Nite.</span> Thanks also go to Julian Myers, Arden Sherman, and Sharon Lerner for their help in the preparation of this event.<br /><br /><span style="font-weight: bold;">Polish Movie Nite</span> is a monthly screening organized for the benefit of the Polish Club. Events are free and open to the public. Donations are welcome.Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-28061094368049476772010-10-24T11:41:00.001-07:002010-10-24T11:56:21.326-07:00Modjeska- Woman Triumphant<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyaKjGuZjoAAdRki7tlnFX9Qr-6EbASuEU0y0npRZ8Ka0DgVd5Ugjzjjs7-NNfiEOMHfRgC8mTz7XK6W7talBXbjQIMqbm3q2fduJa5gOEExZwFunJcEa7Vrixjbkj3lDXBPskCasCn1M/s1600/P1010669+%28Medium%29.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyaKjGuZjoAAdRki7tlnFX9Qr-6EbASuEU0y0npRZ8Ka0DgVd5Ugjzjjs7-NNfiEOMHfRgC8mTz7XK6W7talBXbjQIMqbm3q2fduJa5gOEExZwFunJcEa7Vrixjbkj3lDXBPskCasCn1M/s400/P1010669+%28Medium%29.JPG" alt="" id="BLOGGER_PHOTO_ID_5531685252622400178" border="0" /></a>About 100 guests crowded the entrance to the Delancey Street Screening Room on October 17.<br />photo by Maureen Mroczek Morris<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4_z-va8BDMkhmnCml05xY1Gy7YeQKnqCuxeB3VdUS-EyG4xaXSGURbWlSqc9lkj5fTDWhvtUOmR9BTqXMQGeOX3Z3_rXgO64HRdgn5M64hvU8yrSYVKnO6HfVqB1b2AsRdfJLK5afxfs/s1600/P1010679+%28Medium%29.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4_z-va8BDMkhmnCml05xY1Gy7YeQKnqCuxeB3VdUS-EyG4xaXSGURbWlSqc9lkj5fTDWhvtUOmR9BTqXMQGeOX3Z3_rXgO64HRdgn5M64hvU8yrSYVKnO6HfVqB1b2AsRdfJLK5afxfs/s400/P1010679+%28Medium%29.JPG" alt="" id="BLOGGER_PHOTO_ID_5531687869947252850" border="0" /></a>Caria Tomczykowska introduced <span style="font-style: italic;">Modjeska- Woman Triumphant</span> at the Delancey Street Screening Room on October 17.<br />photo by Maureen Mroczek Morris<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBHpTL3OcmwvIGamul8A79ZXWNf6o5jTY7t3TxbG1Q7wPjZsacQTKME5gwD8BZmX-50RQfUncD17MrVoFLMMO8Al6O6bL1LkXiPeC5P1JMSVNk1CXX-br1gEIX4q8zFk0ki40YwAU9V18/s1600/P1010675+%28Medium%29.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBHpTL3OcmwvIGamul8A79ZXWNf6o5jTY7t3TxbG1Q7wPjZsacQTKME5gwD8BZmX-50RQfUncD17MrVoFLMMO8Al6O6bL1LkXiPeC5P1JMSVNk1CXX-br1gEIX4q8zFk0ki40YwAU9V18/s400/P1010675+%28Medium%29.JPG" alt="" id="BLOGGER_PHOTO_ID_5531688296597213282" border="0" /></a>About 100 guests attended the San Francisco premiere of <span style="font-style: italic;">Modjeska- Woman Triumphant</span> at the Delancey Street Screening Room on October 17.<br />photo by Maureen Mroczek MorrisJoanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-87775442184708687552010-10-11T10:44:00.000-07:002010-10-12T11:48:01.811-07:00October 17: Modjeska- Woman Triumphant<div style="text-align: center;"><div style="text-align: left;"><span style="font-weight: bold;">Polish Movie Nite</span> is happy to announce the San Francisco premiere of <span style="font-style: italic;">Modjeska- Woman Triumphant</span>, presented by Maureen Mroczek Morris. My thoughts and commentary of the film follow below (full disclosure: I helped with some research for the film back in 2005).<br /><a href="http://www.modjeskawomantriumphantmovie.com/"><br /><span style="font-style: italic;">Modjeska- Woman Triumphant</span></a><br />2009<br />57 minutes<br /><br />3pm Sunday<br />October 17, 2010<br /><br />Delancey Street Screening Room<br />600 Embarcadero<br />San Francisco, CA 94107<br /><br /><span style="font-style: italic;">Modjeska- Woman Triumphant</span> is presented by Maureen Mroczek Morris for the benefit of the <a href="http://www.polishclubsf.org/">Polish Club</a>. Suggested donation: $5-10. Please call (415) 244-5252 to reserve your seat.<br /><br /></div><br /><a href="http://1.bp.blogspot.com/_zoKVUhUIwHY/SrRrwanZthI/AAAAAAAABI4/UFmOMCL7Z4I/s1600-h/61919-004-E568E9F6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 311px;" src="http://1.bp.blogspot.com/_zoKVUhUIwHY/SrRrwanZthI/AAAAAAAABI4/UFmOMCL7Z4I/s400/61919-004-E568E9F6.jpg" alt="" id="BLOGGER_PHOTO_ID_5383045934137062930" border="0" /></a>Helena Modrzejewska<br /></div><br />The stylized documentary<span style="font-style: italic;"> Modjeska- Woman Triumphant</span> is the culmination of six years of work by director Basia Myszynski, who has referred to the film as the “project of [her] life.” Probably most compelling is the narration by <a href="http://slaviceurasian.duke.edu/people?Gurl=%2Faas%2FSlavics&Uil=beth.holmgren&subpage=profile">Beth Holmgren</a>, professor at Duke University, who is currently working on a book about Modjeska.<br /><br /><div style="text-align: center;"><a href="http://4.bp.blogspot.com/_zoKVUhUIwHY/SrRsBFMdZAI/AAAAAAAABJI/Nn-JH0O4Nv8/s1600-h/download.htm"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_zoKVUhUIwHY/SrRsBFMdZAI/AAAAAAAABJI/Nn-JH0O4Nv8/s320/download.htm" alt="" id="BLOGGER_PHOTO_ID_5383046220444689410" border="0" /></a>On September 13, 2009, nearly 200 guests filled the courtyard of <a href="http://www.cinefamily.org/">The Silent Movie Theater</a>, housed in a 1940s art deco building on Fairfax Ave in Hollywood, following the Los Angeles premiere of the film.<br /><br /><a href="http://3.bp.blogspot.com/_zoKVUhUIwHY/SrRr9CYQ8yI/AAAAAAAABJA/BP0q20FClnw/s1600-h/Opening.htm"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/_zoKVUhUIwHY/SrRr9CYQ8yI/AAAAAAAABJA/BP0q20FClnw/s320/Opening.htm" alt="" id="BLOGGER_PHOTO_ID_5383046150969422626" border="0" /></a><br /></div><div style="text-align: center;"><a href="http://1.bp.blogspot.com/_zoKVUhUIwHY/SrRsEILa3mI/AAAAAAAABJQ/utofR6X6nh0/s1600-h/PatriciaModjeskaPalmer.htm"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://1.bp.blogspot.com/_zoKVUhUIwHY/SrRsEILa3mI/AAAAAAAABJQ/utofR6X6nh0/s320/PatriciaModjeskaPalmer.htm" alt="" id="BLOGGER_PHOTO_ID_5383046272785243746" border="0" /></a>Basia Myszynski (left) with Patricia Modjeska Palmer<br /><br /><a href="http://2.bp.blogspot.com/_zoKVUhUIwHY/SrUiox7_i8I/AAAAAAAABKI/ymLUABmdy08/s1600-h/IMG_3029.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://2.bp.blogspot.com/_zoKVUhUIwHY/SrUiox7_i8I/AAAAAAAABKI/ymLUABmdy08/s320/IMG_3029.jpg" alt="" id="BLOGGER_PHOTO_ID_5383247013586373570" border="0" /></a>Basia and Leonard Myszynski<br /></div><br />Born in 1840 (arguably, but that's a whole other story), <a href="http://en.wikipedia.org/wiki/Helena_Modjeska">Helena Modrzejewska</a> was a famous Polish actress working in the second half of the 1800s. Although much literature and other materials exist about Modjeska (as she came to be known in the States), most notably about her life and career in Europe (<a href="http://en.wikipedia.org/wiki/Partitions_of_Poland">Poland did not exist as a sovereign nation at that time</a>), this is the first film to specifically focus on Modjeska and her life in Southern California, which she so loved.<br /><br /><div style="text-align: center;"><a href="http://3.bp.blogspot.com/_zoKVUhUIwHY/SrRtYzC9IEI/AAAAAAAABJo/u67vEjKBROY/s1600-h/414px-Helena_Modrzejewska_Krak%C3%B3w_1867.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 276px; height: 400px;" src="http://3.bp.blogspot.com/_zoKVUhUIwHY/SrRtYzC9IEI/AAAAAAAABJo/u67vEjKBROY/s400/414px-Helena_Modrzejewska_Krak%C3%B3w_1867.jpg" alt="" id="BLOGGER_PHOTO_ID_5383047727401476162" border="0" /></a>Modjeska as Adam Kazanowski in <span style="font-style: italic;">The Court of Prince Wladyslaw</span><br /></div><br />In 2009, I attended a lecture by <a href="http://www.usc.edu/schools/music/private/faculty/mzebrows.php">Marek Zebrowski</a> (director of the Polish Music Center at USC), hosted by the <a href="http://modjeska.org/">Modjeska Art and Culture Club of Los Angeles</a>, during which he spoke about Modjeska's close friendship and intellectual exchange with composer <a href="http://en.wikipedia.org/wiki/Ignacy_Jan_Paderewski">Ignacy Paderewski</a>. Zebrowski, who was also interviewed for Myszynski's film, made the case that Modjeska left Europe for the US for largely political reasons. Interestingly, <span style="font-style: italic;">Woman Triumphant</span> puts forth another thesis, namely that Modjeska also fled greatly for personal reasons. With an illegitimate son in tow (and her own legitimacy also frequently pointed out), she could reinvent herself in a new country without the stigma and gossipy journalism that publicly followed her every performance. No doubt, it was a combination of multiple pressures that pushed her out of the Russian Empire (although she had been born near Krakow under the more lenient Austrian rule, she had advanced quickly to play leads in Warsaw as well as in Russian cities). In a brief email exchange, Myszynski explained to me, "The film focuses on the most personal of reasons because [they] most affected her [and] me as a filmmaker." Focusing on the personal in addition to the political reasons "would highlight the drama best in understanding why we make the choices we make - usually we are most affected by the personal," she writes.<br /><br /><div style="text-align: center;"><a href="http://1.bp.blogspot.com/_zoKVUhUIwHY/SrRsxC3KVkI/AAAAAAAABJY/kl5jJM6DxBo/s1600-h/800px-MadamModeska.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 270px;" src="http://1.bp.blogspot.com/_zoKVUhUIwHY/SrRsxC3KVkI/AAAAAAAABJY/kl5jJM6DxBo/s400/800px-MadamModeska.JPG" alt="" id="BLOGGER_PHOTO_ID_5383047044452210242" border="0" /></a>Madame Modjeska in front of her <a href="http://en.wikipedia.org/wiki/Stanford_White">Stanford White</a>-designed <a href="http://en.wikipedia.org/wiki/Modjeska_House">house at Arden</a>, which is now a National Historic Landmark<br /></div><br />That said, Modjeska was not only running away from problems, but turning to new opportunities. She envisioned the formation of a utopian artist colony in the Wild West, where she and fellow ex-patriots would live off the land and at night could discuss art, literature, and music around a campfire. She would eventually call her property Arden, referring to the work of her beloved Shakespeare. After emigrating in 1876, she settled in 1888 in Orange County, in what is now known as <a href="http://en.wikipedia.org/wiki/Modjeska_Canyon">Modjeska Canyon</a>. She stayed at Arden until 1906, when she moved to Newport Beach where she would spend the last years of her life writing her memoirs.<br /><br />Unfortunately, of her utopian dream only the discussions at Arden were fruitful; the intellectuals she settled with knew nothing of farming, let alone in the rocky and dry climate of Southern California. In short, she proceeded to travel around the country in her customized <a href="http://en.wikipedia.org/wiki/Pullman_Company">Pullman</a> railroad car, supporting herself and her son as well as her friends back at the colony. Remarkably, in addition to extensively traveling the American country, she made the sea journey to her homeland five times after settling in the States.<br /><br />The film includes numerous interesting historical documents such as photographs of the actress in her many roles, and interviews with historians and Modjeska's living progeny. Several interesting claims are also made. Among others, Myszynski puts forward a strong case that Modjeska contributed to changing societal attitudes toward female actors. Whereas actresses at the time were often likened to prostitutes, Modjeska insisted on personal dignity and respect for her craft. She diligently maintained and guarded the image of a lady, perhaps only for her own sake, but as a result she effectively altered the public understanding of women in theater.<br /><br /><div style="text-align: center;"><a href="http://2.bp.blogspot.com/_zoKVUhUIwHY/SrRtVY1iluI/AAAAAAAABJg/ajVFYTXQxQ8/s1600-h/Modjeska.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 221px; height: 354px;" src="http://2.bp.blogspot.com/_zoKVUhUIwHY/SrRtVY1iluI/AAAAAAAABJg/ajVFYTXQxQ8/s400/Modjeska.jpg" alt="" id="BLOGGER_PHOTO_ID_5383047668826281698" border="0" /></a>Modjeska as <span style="font-style: italic;">Ophelia </span>in Hamlet<br /></div><br /><span style="font-style: italic;">Woman Triumphant</span> also chronicles the subject's own personal and professional aspirations through published press reviews and Modjeska's own colorful writings. Apparently, although she was an acclaimed Shakespearean actress in the States early on, her ultimate professional goal was to play Shakespeare in London, which she felt she had achieved with great success toward the end of her career.<br /><br />Overall, the film provides a lot of information on Modjeska's life, especially in California, and I recommend multiple viewings for the full appreciation of this part of her astonishing biography. Additionally, the little-known early history of today's Orange County is personalized and illuminated.<br /><br /><span style="font-style: italic;">Modjeska- Woman Triumphant</span> (2009), 57 minutes, English and Polish with English subtitles, produced by OC Influential Productions, LLC, in association with GetBizzy Entertainment, Inc. Created by filmmakers Basia and Leonard Myszynski. More information at www.modjeskawomantriumphantmovie.com<br /><br /><div style="text-align: center;"><a href="http://2.bp.blogspot.com/_zoKVUhUIwHY/SrRtt95oTZI/AAAAAAAABJw/Lx0ftxd_3g8/s1600-h/San_Francisco_Bay_Bridge_lit.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="http://2.bp.blogspot.com/_zoKVUhUIwHY/SrRtt95oTZI/AAAAAAAABJw/Lx0ftxd_3g8/s400/San_Francisco_Bay_Bridge_lit.jpg" alt="" id="BLOGGER_PHOTO_ID_5383048091092405650" border="0" /></a>Bay Bridge<br /></div><br />P.S. <a href="http://en.wikipedia.org/wiki/Ralph_Modjeski">Ralph Modjeski</a>, Helena Modjeska's son, grew up to be a famous American civil engineer and bridge builder. Among others, he designed the San Francisco-Oakland Bay Bridge, still in use today. Now every time you drive over it, maybe you'll think of Ralph and his pioneering mother...Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-3181730920477307552010-10-09T16:01:00.000-07:002010-10-12T11:52:37.567-07:00October 10: KUSF 90.3FM<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF94qwmKjDbEhU6Tw6J75psEF_kvMr8jz0-76UO6k5659mTSKA0DVXqDLEzTFfJ-xBUsijkFQikDiwA47tzFyBrXL08QEB8gmt7BlR_yJo-6XU1uXMPEtpO7xa3z8gkIHBML7lCIUs_aU/s1600/KUSF_Logo_150dpi_1x1.101130332.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 146px; height: 100px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF94qwmKjDbEhU6Tw6J75psEF_kvMr8jz0-76UO6k5659mTSKA0DVXqDLEzTFfJ-xBUsijkFQikDiwA47tzFyBrXL08QEB8gmt7BlR_yJo-6XU1uXMPEtpO7xa3z8gkIHBML7lCIUs_aU/s400/KUSF_Logo_150dpi_1x1.101130332.jpg" alt="" id="BLOGGER_PHOTO_ID_5526185834207288626" border="0" /></a>Tune in to KUSF 90.3FM tomorrow, Sunday October 10, from 2pm to 3pm. "Studio Poland" host Zbigniew Stanczyk will talk with Maureen Mroczek Morris and Joanna Szupinska about the film <span style="font-style: italic;">Modjeska- Woman Triumphant</span>, scheduled to screen next week at the Delancey Street Screening Room.<br /><br />Listen online at www.kusf.org<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRHyLjBkgEXSakn3WxaObbP41JBAKTj-656eG9SohucyNSoO11Vv8Qbrgd0azmqEi6wtSzanNRvx_kCtocDg53r9zROHEHWOfUqfAnIF9ggxwjIAZj64F1wlbg4AHnl1w6DtaN5wGReQk/s1600/KUSF_04.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 302px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRHyLjBkgEXSakn3WxaObbP41JBAKTj-656eG9SohucyNSoO11Vv8Qbrgd0azmqEi6wtSzanNRvx_kCtocDg53r9zROHEHWOfUqfAnIF9ggxwjIAZj64F1wlbg4AHnl1w6DtaN5wGReQk/s400/KUSF_04.jpg" alt="" id="BLOGGER_PHOTO_ID_5527233750216623266" border="0" /></a>Maureen Mroczek Morris and Joanna Szupinska at the KUSF station on the University of San Francisco campus, October 9.<br />photo by "Studio Poland" host Zbigniew StanczykJoanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-77815120334379889932010-10-01T10:27:00.000-07:002010-10-01T10:28:47.824-07:00Joseph Becker introduces MDM<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-YmHWASasEyGWSmdhuwUfqFY0FFMqPMKDtPHDgCE0iCpM2jLr_EkeEibTmJReSKsx7nxnYfkIj8USmgXw6EPLWPVVHUV2NBIQj85xamhq8VeoHAA9XWajN114O-6siSYwRLD5-UE4Coc/s1600/P1010525+%28Medium%29.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-YmHWASasEyGWSmdhuwUfqFY0FFMqPMKDtPHDgCE0iCpM2jLr_EkeEibTmJReSKsx7nxnYfkIj8USmgXw6EPLWPVVHUV2NBIQj85xamhq8VeoHAA9XWajN114O-6siSYwRLD5-UE4Coc/s400/P1010525+%28Medium%29.JPG" alt="" id="BLOGGER_PHOTO_ID_5523130828367295330" border="0" /></a>Joseph Becker spoke about Stalinist architecture at the Polish Club on September 30.<br />photo by Maureen Mroczek MorrisJoanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com1tag:blogger.com,1999:blog-1440600147579871699.post-15850130004752900722010-08-29T23:38:00.001-07:002010-10-01T10:40:44.292-07:00September 30: Destination - Nowa Huta! and MDM<object height="385" width="640"><param name="movie" value="http://www.youtube.com/v/Ookjs7gIhQQ&rel=0&color1=0x5d1719&color2=0xcd311b&hl=en_US&feature=player_embedded&fs=1"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/Ookjs7gIhQQ&rel=0&color1=0x5d1719&color2=0xcd311b&hl=en_US&feature=player_embedded&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" height="385" width="640"></embed></object><br /><br />Join us for Movie Nite at the Polish Club!<br /><br /><span style="font-weight: bold;">Polish Movie Nite </span>is happy to present two shorts this month. <span style="font-style: italic;">Destination - Nowa Huta!</span> (1951) is a propaganda film by Andrzej Munk that promotes the building of the steelworks, located east of Krakow. This will be followed by our screening of <span style="font-style: italic;">MDM</span> (2005), a documentary film by Warsaw-based filmmaker Eric Bednarski. The film illuminates the complex socio-political issues of 1950s Poland through the lens of urban planning. The screening will be preceded by an introduction by Joseph Becker, Assistant Curator of Architecture and Design at SFMOMA.<br /><br /><span style="font-style: italic;">Destination - Nowa Huta!</span><br />1951<br />13 minutes<br />Watch <a href="http://www.youtube.com/watch?v=gyszcaYpPB0">part 1</a> and <a href="http://www.youtube.com/watch?v=xLBdlqMb_hI">part 2</a> on YouTube.<br /><br /><span style="font-style: italic;">MDM</span><br />2005<br />37 minutes<br />For more information, please visit <a href="http://szadek.com/film_mdm.html">Szadek Productions</a>.<br /><br />8pm Thursday<br />September 30, 2010<br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110<br /><br /><span class="text_exposed_show">Special thanks go to </span><span class="text_exposed_show">Maureen Mroczek Morris</span><span class="text_exposed_show"> and Eric Bednarski for their essential support in the preparation of this screening.</span> Thanks also to Krol Vodka and Trumer Pils beer.<br /><br /><span style="font-weight: bold;">Polish Movie Nite</span> is a monthly screening organized for the benefit of the Polish Club. Events are free and open to the public. Donations are welcome.Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-29182587757931496872010-08-29T23:34:00.000-07:002010-09-17T03:05:47.098-07:00Matthew Post introduces Rabbit à la Berlin<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif4oobvcZBFuOsds4Sr46rWnft63gzfBte_DHolHRfpJKI68O-Ml7kB6kb2qJYADGOuWjVwoIWQe2WKHzeS21LrWVQSBazRJQfrG2KzGseDFk4JaHeUv1MiZrYpZCGzHyHukdSrAsakhg/s1600/2010_0826_MovieNite.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif4oobvcZBFuOsds4Sr46rWnft63gzfBte_DHolHRfpJKI68O-Ml7kB6kb2qJYADGOuWjVwoIWQe2WKHzeS21LrWVQSBazRJQfrG2KzGseDFk4JaHeUv1MiZrYpZCGzHyHukdSrAsakhg/s400/2010_0826_MovieNite.jpg" alt="" id="BLOGGER_PHOTO_ID_5511088252569666818" border="0" /></a><br />Matthew Post spoke to a full house at the Polish Club on August 26.<br />photo by Maureen Mroczek MorrisJoanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0tag:blogger.com,1999:blog-1440600147579871699.post-83172012096710448752010-08-11T14:45:00.000-07:002010-08-26T18:13:32.441-07:00August 26: Rabbit à la Berlin<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga5pFLTFtBFc4bPfkI7ype6F0NX__zwMZpZPBMx705ZN_G1PxAj_nXlsl2HAZeeJHYwZy4ZeVjh7CPAsBmaMkDg9j7BQvRLcCehLt1Hmb-mdN7BlWXq_ZJOl992pQ4UeybIfnlVR_8Y7s/s1600/2010_0826_KrolikpoBerlinsku.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 284px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga5pFLTFtBFc4bPfkI7ype6F0NX__zwMZpZPBMx705ZN_G1PxAj_nXlsl2HAZeeJHYwZy4ZeVjh7CPAsBmaMkDg9j7BQvRLcCehLt1Hmb-mdN7BlWXq_ZJOl992pQ4UeybIfnlVR_8Y7s/s400/2010_0826_KrolikpoBerlinsku.jpg" alt="" id="BLOGGER_PHOTO_ID_5509116643190643474" border="0" /></a><br />Join us for Movie Nite at the Polish Club!<br /><br />This month we'll be screening the Oscar-nominated documentary by Bartosz Konopka <span style="font-style: italic;">Rabbit à la Berlin</span> (2009). The film chronicles the history of the Berlin Wall through the eyes of wild rabbits. The screening will be preceded by brief comments from San Francisco-based independent curator Matthew Post.<br /><br /><a href="http://www.rabbitalaberlin.com/"><span style="font-style: italic;">Rabbit à la Berlin</span></a><br />2009<br />51 minutes<br />Watch the <a href="http://www.youtube.com/watch?v=65uV_LnxcL0">trailer</a>.<br /><br />8pm Thursday<br />August 26, 2010<br /><br />Polish Club of San Francisco<br />3040 22nd Street<br />San Francisco, CA 94110<br /><br /><span class="text_exposed_show"><span style="font-style: italic;">Rabbit à la Berlin</span> is presented at Movie Nite thanks to the generous support of Maureen Mroczek Morris. Polish Movie Nite events are made possible by <a href="http://www.trumer-international.com/">Trumer Pils</a> and <a href="http://www.krolvodka.com/">Krol Vodka</a>. </span><span class="text_exposed_show">Special thanks also go to </span><span class="text_exposed_show">Irene Tomaszewski as well as </span><span class="text_exposed_show">Eric Bednarski, Sarah Lau, Sharon Lerner, Julian Myers, Maria Elena Ortiz, Arden Sherman, </span>Maja Stroinska, <span class="text_exposed_show">and Basia Suroz</span><span class="text_exposed_show"> for all their logistical support and advice.</span><br /><span class="text_exposed_show"><br /></span><span style="font-weight: bold;">Polish Movie Nite</span> is a monthly screening organized for the benefit of the Polish Club. Events are free and open to the public. Donations are welcome.Joanna Szupinskahttp://www.blogger.com/profile/11680488681466208475noreply@blogger.com0