Last month, CD Projekt Red released another game, Cyberpunk 2077, to critical and commercial success (if marred, on some consoles, by technical bugs). Even before its release, Poland, surprisingly, was the world’s fourth largest exporter of video games, behind only China, Japan and Hong Kong. [...]
That seems to be changing. Over the past few years, Polish cinema and literature, as well as video games, have earned international acclaim — bringing modern craftsmanship to the nation’s history, and welcoming people to landscapes as brooding and mysterious as Scandinavia’s, cities as beautiful as France’s, and industrial wastelands as poetic as the North of England’s. [...]
None of this has come without controversy. As Polish art has achieved more international recognition, Poles have been divided on the image of their nation that is being portrayed. Take Ida: many conservatives were troubled by the film’s dwelling on the complicity of some Poles in the persecution of the Jews. Activists campaigned for text to be inserted to emphasise that countless others struggled and suffered to protect Jewish people. [...]
One could hardly pass over the political implications of art but one should avoid being incorrect, or condescending, or opportunistic. Filip Mazurek, a Polish critic, has written that “English language reviewers have ignored or even denied” the “metaphysical, quasi-religious” elements of Tokarczuk’s work, choosing to focus on “Tokarczuk as an anti-nationalist.” (Polish critics, Mazurek argues, did the opposite.) Again, this is not a criticism of Tokarczuk, but one can hardly be shocked that conservative Poles have been less than enthused about her international acclaim when it is premised, to a large extent, on her status as a symbol of opposition to their beliefs.
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