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Language also encodes our past. We want to know who we are. To know who we are, we have to know who we used to be. Consequently, our literature, written in the past, anchors us in that past.
Andrzej Wajda
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It was progressively more difficult to find work in the theatre, as well.
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It turned out that the country was helpless in the face of a new reality.
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In the same period, Polish literature also underwent some significant changes. From social-political literature, which had a great tradition and strong motivation to be that way, Polish literature changed its focus to a psychological rather than a social one.
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In the forty years of the people's republic, some of the worst historical traits were preserved in our people. These included even the common characteristics developed in the economic reality of the time of partitions in the 17th and 18th centuries.
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In the first years after the systemic transition, our screens showed American entertainment that had not been available before, or had been available only sporadically.
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In the first years after 1989, films were partly financed from the state's budget as well as by public television. Still, except for a few special cases, most films are made this way.
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In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
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However, that old mode of Polish filmmaking virtually disappeared.
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Films made in the spirit of the past continued to be made.
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Eventually, the state's funding covered only the stages leading to presenting a film project to potential funding bodies. It was enough to produce a script, indicate casting and put together a budget to present it all, but nothing beyond that.
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Even better, there were established two separate committees deciding on state film funding.
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Cinemas gained new young audiences who wanted films made for them.
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