Adam Nadolny

The article attempts to define how the film picture becomes a medium to record urban space. The cinecamera showing urban landmarks resulting from the composition allows to note impressions, sensations in real time. Over time, the captured moment becomes a historical record illustrating the character of the city, place or point in space. In the film picture, dynamic rather than stable, urban space is subject to change. Can we still say nowadays that the film picture and the modern city are made for each other?

Tekst ma na celu ukazanie, jak obraz filmowy lat 60. XX wieku – ze wszystkimi jego walorami – stał się zapisem czasu tak ważnego dla historii polskiej architektury. Pisanie o przeszłości to nie tylko opisywanie obiektu historycznego, to także próba ukazania jego obrazu na taśmie filmowej. Chciałbym skupić się na rozważaniach dotyczących traktowania czy też definiowania filmu i architektury jako elementów pamięci zarówno przestrzennej, jak i wizualnej w kontekście ochrony dziedzictwa polskiej architektury modernistycznej.

The goal of this paper, in relation to the conference topic, is to show how a female architect was shown in movies from 1960s. The author presents this in two views of the life of women architects: passive – set in the realization of everyday career goals, and creative – set in creating the architecture of the future. He also emphasizes that, in retrospect, the creative attitudes of presented movie heroines are an excellent record of the times, when being a female architect was associated with the choice in the career path of little creative engagement on behalf of creative activity that could not achieve results because of the social reluctance in the time of the Polish People’s R epublic (PRL).