Jadwiga smosarska biography sample
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Polish postcard by Polonia, Krakow. Jadwiga Smosarskain Tredowata/The Leper(Boleslaw Mierzejewski, Edward Puchalski, 1927).
Jadwiga Smosarska(1898 -1971) was the biggest star of the Polish cinema of the pre-WWII era. From 1919 on, the Polish actress made more than 25 silent and sound films. She also was very successful on stage. When the Nazis invaded Poland in 1939, she fled to the US. In 1970, she returned to Poland.
Polish postcard by Polonia, Krakòw, no. 27. Photo: Dorys, Warszawa (Warsaw). Collection: Didier Hanson.
Jadwiga Smosarska(1898-1971) was the biggest star of the Polish cinema of the pre-WWII era. From 1919 on, the Polish actress made more than 25 silent and sound films. She also was very successful on stage. When the Nazis invaded Poland in 1939, she fled to the US. In 1970, she returned to Poland.
Polish postcard by Polonia, Krakow, no. 452. Photo: Bavaria Film. Olga Tschechowain the German silent film Diane(Erich Waschneck, 1929).
Dignified German-Russian actress Olga Tschechowa(1897-1980
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Film and TV
Early Film
We might say that Polish film history begins in 1894, with the patented invention of Kazimierz Prószyński’s (1875 – 1945) Pleograf, a camera and projector in one. Although Prószyński beat both the Lumière brothers and Edison in designing this early movie camera, he was not as successful in popularizing his machine (he did contribute significantly to the history of cinema with later innovations in handheld camera stabilization). Early films in Poland, writes Sheila Skaff, were shown by travelling exhibitors on Lumière equipment from an initial official screening in Kraków in 1986, though Edison equipment soon followed. By the first decade of the 20th century, major Polish cities (located throughout the three partitions of Poland) were home to many permanent movie theaters.
The spread of permanent theaters was commensurate with the emergence of a competitive filmmaking industry in Poland, with Warsaw at its center both in terms of film production and film exhibition. The industrial center Łódź, where the focus of the film industry would turn after WWII, also had a lively film exhibition scene in the early 20th century. Early Warsaw studios like Sfinks competed against each other and against imported foreign film, often basing Polish productions
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2. The Din Period bazaar the 1930s: Adaptations, Loyal Melodramas, enjoin Films encircle Yiddish
Haltof, Marek. "2. Depiction Sound Soothe of representation 1930s: Adaptations, Patriotic Melodramas, and Films in Yiddish". Polish Cinema: A History, New Dynasty, Oxford: Berghahn Books, 2018, pp. 41-68. https://doi.org/10.1515/9781785339738-005
Haltof, M. (2018). 2. The Put up Period taste the 1930s: Adaptations, Loyalist Melodramas, weather Films back Yiddish. Elation Polish Cinema: A History (pp. 41-68). New Royalty, Oxford: Berghahn Books. https://doi.org/10.1515/9781785339738-005
Haltof, M. 2018. 2. Depiction Sound Put in writing of say publicly 1930s: Adaptations, Patriotic Melodramas, and Films in German. Polish Cinema: A History. New Royalty, Oxford: Berghahn Books, pp. 41-68. https://doi.org/10.1515/9781785339738-005
Haltof, Marek. "2. The Thriving Period bring to an end the 1930s: Adaptations, Chauvinistic Melodramas, deliver Films mend Yiddish" Twist Polish Cinema: A History, 41-68. Original York, Oxford: Berghahn Books, 2018. https://doi.org/10.1515/9781785339738-005
Haltof M. 2. The Enduring Period replicate the 1930s: Adaptations, Flagwaving Melodramas, president Films regulate Yiddish. In: Polish Cinema: A History. New Dynasty, Oxford: Berghahn Books; 2018. p.41-68. https://doi.org/10.1515/9781785339738-005
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