Film and the Politics of Negative Community. Krzysztof Kieślowski’s Dialectic in the Late 1970s Polish People’s Republic

Polish People’s Republic (PRL) in the late 1970s saw an increased alliance among, and indeed, a blending of, workers and intellectuals, young and old, women and men, actively struggling against the state. A new kind of solidarity emerged that threw off tired notions of what constituted the working class. The preeminent filmmaker of this time, Krzysztof Kieślowski, is often seen as increasingly depoliticized as he moved into fiction, but in this paper the author argues for the dialogic value of his work with respect to political organizing. Kieślowski’s documentarist sensitivity to registering Polish reality and the intimacy of human engagement with the world led him to question the prevailing mode of representing these shifts in politics and class. His feature films, in articulating failures of representation, challenge a “realism” that purported to be universal, but instead reified a certain historical anxiety in the Polish political imaginary (workers vs. intellectuals, urban elites vs. peasantry), or precisely that which was being unraveled by the praxis of the late 1970s. Further, they refuse to cordon off interests of individuals from the very state shown to be oppressing them. Here we have a filmic counterpart to the immanent praxis of workers and intellectuals that turned one of the engines of the state—the trade union—into the greatest weapon against it. The author shows how this functions, in negative terms, in Kieślowski’s first feature, Blizna/The Scar (1976), in which class solidarity is felt stylistically as aporia, and is further developed in Amator/Camera Buff (1979), which expresses the personal as political in the tension between the desire for spokój (peace and quiet) and czegoś wiecej (something more). Rather than a retreat, we should see this in correspondence with the revolutionary consciousness being inscribed in individual Poles by the collective labor action of Solidarity in 1980.