Preserve both title and edition evidence
The archive’s firsthand reconstruction account identifies the 1947 American release as Romans w Zakopanem. It describes surviving material rearranged to cover gaps, with added narrative cards and a new American-style opening. Keep that release title next to the source’s description rather than treating it as an unrelated film or a simple modern translation.
For a viewing comparison, record the title actually displayed in the selected presentation, its credits and any restoration information supplied. A catalogue may use the better-known original title while describing a particular surviving copy. Neither the displayed title nor an apparently complete narrative is enough on its own to identify the arrangement of the material.
Use openings and transitions as edition clues
FINA describes added fades and changed shot order in the American version, as well as narrative cards bridging missing action. These are useful leads when comparing credited editions, but they should not become a claim that every fade or intertitle proves an American re-edit. The account concerns this film’s documented preservation history.
Keep a comparison note with the passage, the visible transition and the edition information provided by its publisher. Do not silently join fragments from different presentations into an assumed original sequence. A reconstruction question requires evidence about source material and arrangement, not merely the longest available running time.
Separate preservation dates from the film’s production
The archive recounts a copy found in Chicago in 1962 and another short reel received from the Łódź film school in 1963. Those are acquisition and rediscovery dates, while the film itself was made in 1939 and first screened during the occupation. Preserve each date’s role rather than assigning the newest one as the film’s production year.
If identifying an edition for a screening note or research reference, state what the publisher credits and cite the reconstruction account for the historical distinction. Avoid promising that a current online item is the restored original unless its own edition information establishes that. This keeps a renamed historical re-edit, an archival source copy and a later reconstruction from becoming one undifferentiated viewing reference.