| Summary: | Krzysztof Kieślowski is regarded as one of the most universal Polish film
directors. However, the author wishes to argue that his work was deeply rooted
in his sense of Polishness. In terms of research methods, this thesis utilises the
existing abundant li terature on nation and nationalism to provide an overview of
the topic and builds its own theoretical framework and a working definition of
Polishness. The latter is influenced by the author’s studies of both English and
PolishPolish-language materials. In the c ase study part, this paper mostly uses
primary sources, mainly Kieślowski’s films to find traces of Polishness in them.
The analysis builds on the theoretical tools illustrated in the first section.
This thesis offers two s
ets of conclusions. With regard to the theory, it suggests
that Polishness is diverse and very contradictory. With regard to the case of
Krzysztof Kieślowski, this thesis concludes that his work can be fully understood
and appreciated only in the light of his national identity and experi ence
presented in his early films made in Poland. It provides as well some
explanation of some typical Polish customs to help to better understand
Kieślowski and his films by introducing some insight into Polish traditions and
characteristics. Finally, the author recommends further research into Polishness
in the work of other Polish directors working abroad.
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