Polish-Soviet War in Film and Cinema: A New Perspective Based on the Films For You, O Poland (1920) and Miracle on the Vistula (1921)

Pryt, Karina (1974– )

doi:2450-8462

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Polish-Soviet War in Film and Cinema: A New Perspective Based on the Films For You, O Poland (1920) and Miracle on the Vistula (1921) Pryt, Karina (1974– )

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Polish-Soviet War in Film and Cinema: A New Perspective Based on the Films For You, O Poland (1920) and Miracle on the Vistula (1921)

Acta Poloniae Historica T. 124 (2021) ; The Polish-Bolshevik War, 1919-21

Pryt, Karina (1974– )

Polska Akademia Nauk. Komitet Nauk Historycznych ; Polska Akademia Nauk, Instytut Historii im. Tadeusza Manteuffla

Institute of History of the Polish Academy of Sciences

Instytut Historii Polskiej Akademii Nauk

Warszawa

2021

p. 123-147

Poland - history - periodicals

The Polish-Soviet War, particularly the Battle of Warsaw (13–25 August 1920), soon became a subject of legend and myth. Irrespective of its fundamental political significance, the defeat of the Red Army was glorified as salvation for both Poland and Europe in military, ideological and metaphysical terms. Conducted beyond academia, the narrative was forged mainly by veterans, the Catholic Church and various forms of literature and art. Due to government subsidies, documentary and feature films also conveyed a normative notion of these dramatic events and their participants.This article focuses on cinematic works like Dla Ciebie, Polsko [For You, o Poland, PL 1920], and Cud nad Wisłą [The Miracle on the Vistula, PL 1921] produced in order to commemorate the war between the Poles and the Bolsheviks. Taking the iconic turn, this article scrutinises the cinematic self-portrait of the Polish nation that had already been ‘imagined’ as a bulwark of European culture in the East by earlier literary works. Spotlighting protagonists who were given a place in the pantheon of national heroes, it also asks about those who were denigrated or marginalised like women and Jews. Finally, using quantitative methods and Geographical Information System (QGIS) as a tool, the article juxtaposes the maledominated, ethnically and confessional homogeneous ‘imagined nation’ with the film entrepreneurs and actual cinema audiences characterised by their diversity.

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