National Identity And Symptoms In Andrzej Wajda's Films

Andrzej Wajda is one of the most important directors in polish film history.His 60-year creative career has left a precious legacy for polish film.With the beginning of "war trilogy",Wajda's art has been widely concerned by the international community in the light of "nationality".In addition,the polish school represented by him is the first important film art phenomenon in the history of polish national film.In the mid-1970 s,Wajda continued to play an important role in the art trend of "Cinema of Moral Concern" in Poland.Man of Marble and Man of Iron were the two most important films in this period,which focused on sensitive political issues in polish society and exposed the deception and harm of political lies.After the transformation of polish society,Wajda is still engaged in the creation of films including Mr.Tardush and Katyn.At present,there are relatively few researches and introductions about Wajda in China,with only a few interviews,translations and some summary articles published in newspapers.The author try to systematize this film master with his modest and enthusiastic contribution,and also makes a contribution to the understanding of the increasingly colorful polish films on the international stage.This paper is divided into three parts.The first part mainly USES the method of historical compost and literature analysis to place the film of wajda under the context of the polish national film in the 20 th century to investigate the interaction between wajda's film and polish film.The topic of national identity has always been the focus of wajda's attention,so the second part of this paper mainly adopts the method of cultural research and text analysis to focus on the expression of national identity in wajda's films.In the course of the research,it is found that there is a close relationship between the construction of national identity in wajda's historical films and the cultural tradition of polish romanticism.The thirdpart mainly adopts the methods of symptom reading,ideological analysis,aesthetic analysis and comparative reading to focus on the aesthetic expression of wajda's films and the ideological imprint behind the film texts.This paper discusses the different aesthetic aspects of wajda's films from the perspectives of modernism and classicism.Modernism from the aspect of vision,oriented to the ashes and the diamond as an example to explore its potential on the level of the visual codes in the expression in the movie,to other typical film as an example and reference eisenstein variety of montage theory analysis,we found that the continuity of tile IDA part of the movie picture with inner ideological expression is closely related to film,highlight the text;another meaningClassicism mainly analyzes the classicism film text from the creation idea and text expression of wajda.In addition,when resorting to ideological expression,the "blankness","silence" and "defects" in the text of wajda's films are always exposed.This is mainly manifested in the narrative gap in the classical texts with stories as the core,while in the film texts with modernist aesthetic orientation,it is more reflected in the unconscious level of the radical aesthetics adopted,all these important aspects are included in this paper.