Gendered discourses of nation(hood) and the West in Polish cinema
The present paper by looking at two Polish films featuring foreign women, Do widzenia, do jutra /Good Bye, Till Tomorrow (Morgenstern 1960) and Trzy Kolory: Biay/Three Colours: White (Kielowski 1993), analyses the ways in which the gendered metaphorical representation of the main characters probes into the questions of Polish identity and its relation to the West, and especially, the West's mythical existence in Polish collective consciousness. The paper examines how both films construct Polish and Western identities through endowing their characters with specific attributes and how their romantic relationships can be metaphorically understood to stand for East/West relationships. The article argues that both films should be interpreted within their respective historical and political situations of the thwarted hopes for more freedom and opening to the West after the October revolution of 1956 in the case of Good Bye, Till Tomorrow and the post-1989 Poland's return to Europe in the case of Kielowski's Three Colours: White.
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