My Generation?
In the final year of high school the teacher has asked my class us to write an essay on “our generation”. The content of these essays must have made her anxious: none of the students had positive things to say about themselves. We saw ourselves as hopeless, infantile figures posing as adults. Today I think we exaggerated a lot, especially that we have gained a tragic feat as a redundant generation. Ten years ago we looked into the future with optimism, reassured by the fate of our elder sisters and brothers, who embarked upon their careers in the economic boom of the 1990s. We were convinced that everything would be all right. After we got our degrees, it turned out that the market has been satiated and we were no longer needed. As a result of this process, few are doing what they were trained to do. A geologist, instead of examining the bed of Oder, sells tea. Our generation is doomed to be frustrated – this is the tone of many texts published in the “Ha!art” anthology. We have heard similar statements in the discussion on “Generation Zero” (Generacja Nic). Generation Zero, the article which initiated the discussion, was published in “Gazeta Wyborcza” and written by Kuba Wandachowicz, bass guitarist of the punk band Cool Kids of Death. The article, as well as CKOD’s lyrics, depict the frustration of today’s twenty-year-olds. Piotr Szczepański has filmed Cool Kids of Death for a year; the effect is Generacja CKOD (Generation CKOD), awarded with Złoty Lajkonik at the last Cracow festival of shorts. In the holiday “Kino” (7-8/2004) Szczepański talks about the film.
Szczepański, a lifelong friend of the vocalist Krzysztof Ostrowski, decided to make a sincere documentary. The director’s intention was to make the film as close to the reality as possible, if blurred. The director chose to retain the fragmented structure of reality in the film; for example, when one cannot hear what is being said, subtitles are displayed. The sincerity of the filmmaker, who does not even hide his influence on the film’s form, contrasts with the scenes in which the band talks to music journalists. Methods of conducting interviews – usually fabricated in minute detail before the microphones are switched on – look painfully embarassing. As the film advances, the viewers gradually acknowledge how the entertainment industry looks like.
The case of C.K.O.D. illustrates the commercialisation of rebellion: an alternative band is hired by one of the music industry giants, who categorise them as ‘rebels’. Functioning in the system makes opposition impossible. This is visible in the scenes where C.K.O.D. perform official parties, before VIPs. Musicians are of course aware that they are taking part in a marketing game. Fortunately, having been tagged a rebel, one can play with it, acting as a naughty rock star. In one instance the squiffy vocalist manages to save the situation by behaving in a manner which belongs to the ethos of rock musicians, who can - and sometimes should - go beyond the limit of good manners.
This generation does not have to solve the “to be or to have” dilemma. We know perfectly well that being is not possible without having; what matters is the question of proportions. Wandachowicz’s lyrics are probably sincere in questioning today’s standards, but branded as commercial music the songs become another commercial commodity. Interestingly, the public enjoys the lyrics and seems to believe in the band’s sincerity. “We love you, you’re telling the truth, and the truth is what we’re waiting for” – declares one of the group’s fans. The lyrics sound truthful even though they are a means to earn money. The director admits that he also is a beneficiary of this system – working in an advertising company allows the artist to make money for independent films. Advertising is a job, the cinema – an expensive hobby, declares the director. Paradoxically, being a part of the commercialised world allows one to develop creative independence; working in a company becomes a means to achieve an artistic goal.
This attitude to creative work inspires hope, especially in contrast with the frequency of complaints about the obstacles and difficulties facing young artists. Those who complain seem to forget that a professional start, especially in filmmaking, is always a difficult and effort-consuming accomplishment. Some have already made it - Marcin Pieczonka (Moje wyznanie wiary) and Adrian Panek (Sami sobie), discuss the situation of young Polish filmmakers. I agree with Pieczonka, who notices that employing the pre-1989 film formula, based on oppositions us vs. them, good vs. evil is no longer enough to produce a movie touching contemporary problems. As Panek rightly notices, instead of a common identity one should talk of individual sensibilities. The only thing to do is to create conditions in which the new generation of artists will have an opportunity to express themselves. But who should be in charge of this? New legal regulations for cinematography are still missing. If young artists don’t fight for themselves, nobody is going to help them.
Another example of a self-made filmmaker is Przemek Wojcieszek. Screnwriter, director and producer in one, he managed to have his films co-financed by TV and consequently has already completed his third film, W dół kolorowym wzgórzem. Wojcieszek, an independent filmmaker, counters the stereotype of the Polish TV as an institution which does not allow young artists to show any creativity. It is always advisable to look for support in all possible places; the experience of our generation teaches that waiting to be discovered is usually not a profitable idea.
As I am somewhat closely connected to the sphere of Polish film, I would like to be an optimist. I hope that the new generation of filmmakers will be heard of. I hope that Wojcieszek’s fourth film will be his best and that Szczepański will manage to make a feature film. A story about frustrated twenty-somethings would make me think of my own classmates. This film might pose a few questions about my generation.
Katarzyna Wajda
Translated by Marta Malina Moraczewska
Discussed journals: Kino