This paper is dedicated to analysis of narration practices about Jews in Polish cinema in 1960-1989. This period includes several significant events in cultural, political and social life: the dawn of the Polish film school; political crisis and policy of anti-semitism in 1968-1971; victory of Solidarność. These events indicate significant changes both in the Poles' self-image and in the understanding of Jews' role and culture.
Aleida Assman emphasises that tragic events are often catalytic for creating collective narratives. Nowadays films and discussions which dedicated to Polish Jews concentrates on the events of World War II. But the role of Polish Jews is more complex and more complicated than this. In this paper I suggest to analyse all roles and specifics of Jewish theme in Polish cinema in 1960-1989.
I propose to use Carl Shсmitt's, Martin Heidegger's and Martin Buber's theories to define difference between concepts of «other» and «alien» and role of this concepts in constructing of self-image. «Other» is close to Buber's «You» and involve invention and empathy to him/her. «Alien» at the same time is incomparable and impossible to understand. Both concepts are based on difference between «us» and «them» but on completely dissimilar reasons.
This conceptual frame helps to analyse changes in representation of Jewish Theme from 1960 to 1989 in more than 30 movies made by such directors as W.Jakubowska, A.Wajda, A.Munk, E.Petelska and C.Petelski, W.J.Has, J.Kawalerowicz, J.Nasfeter, J.Machulski, A.Holland et al. In addition to the given conceptual framework, a significant result of the analysis was the emergence of the concept of «Missing Other» which was substantial for period of policy of anti-semitism in 1968-1971 and shows significance of Jewish culture in Poland. In work with an inner or imaginary «Missing Other» Jews turn out to be an element of introspective reflection. The most relevant examples are «Mother Joan of the Angels» and «The Hourglass Sanatorium».
Since 1960 to 1989 the image of Jew in Polish had significantly changed. In the 1960s, the Jewish theme is associated with the tragic events of wartime. But the Jews here either act passively, or become a «background» for the actions of heroes and heroines of Polish origin («Passenger», «People on the Train»). They are devoid of agency and not explicitly represented. But they are often referred to as a gap or absence. In the 1970s, Jews and Jewish culture are in the realm of alternative, possible reality, but are not really present. They are rather imaginary and represent a memory or introspection («The Hourglass Sanatorium»).
In the early 1980s, there is an open discussion about the events of 1968-1970. In dramatic films, including those devoted to military events, Jews acquire agency, a future, and the ability to identify themselves as Jews («Blind Chance», «Bitter Harvesеt», «Europа Europа»). Here the Jews become reality as «Others».
