Due to the identity role which Polish cinema performed in the 20th century, the issue of nationality became one of the most leading problems and outlined the essential interpretational paths as far as cinema research is concerned. One of the results of this perspective was  prepared by the Department of the History of Polish Film UJ collective volume, edited by Tadeusz Lubelski and Maciej Stroiński and titled Polish cinema as national cinema. The approach requires, after all, its continuation and supplementation with transnational perspective, which expands the research field, reaching beyond the borders established by the nation. The transnational aspect is not entirely separated from that which is national, does not indicate the resignation of separate identities but at the same time pays closer attention to the leakiness of the borders, the crossing, interaction between this, what is inside and that which is outside of the national-state, on the phenomena and transnational contexts and often omitted in reflection over the Polish cinema.

In the circle of interest there appears both transnational institutional contacts and individual projects, which do not explain themselves from the perspective of the nation. They will include, for example, the phenomena of co-production, international distribution, addressing and network, as well as the reception of Polish movies outside the national context. The transnational perspective also takes into consideration the cinematic relationship with economic and cultural determinants going beyond national frames, focuses on the way of the presence of Polish creators in foreign cinematography and symmetrical involvement of foreigners in Polish cinema. The view from the transnational perspective also focuses on the mutual influence of Polish and international trends, styles and tendency. The indication of change of transnational relations in different historical moments is also noteworthy: their presence, intensity or weakness depending on the geopolitical situation.

Taking into account the transnational perspectives that leads to the reference of diverse modern methodology from the range of sociological and cultural research, dependence and post-dependence studies, research on universality and locality. Paradoxically, standardization or unification are not objects of transnational view, but they indicate the diversity, that results from inclusion of what is national in the broader context and exposition of its skipped face.


1. International production and distribution; Polish filmmakers’ cooperation with foreign filmmakers
2. The presence of Polish artists (directors, actors, operators, etc.) in foreign films and foreign artists (directors, actors, operators, etc.) in Polish cinema
3. Polish artists within the Hollywood production system (e.g. Pola Negri, Ryszard Bolesławski,  Roman Polański, Agnieszka Holland)
4. International Inspiration: trends (e.g. Italian Neorealism, Free Cinema, French New Wave), styles (e.g. Surrealism, Neomodernism, Postmodernism), narrative patterns (e.g. film genres), aesthetic reference (popular music), models (e.g. star system)
5. Cosmopolitan characters in Polish cinema: including Roman Polański, Walerian Borowczyk, Jerzy Skolimowski, Andrzej Żuławski, Krzysztof Kieślowski, Małgorzata Szumowska
6. The homogenizing effect of Hollywood versus national cinema
7. Polish remake, dubbing, translation: between what is local and what is global
8. Polish cinema from a post-colonial perspective
9. Reception of Polish films abroad
10. Polish cinema at international festivals
11. New technologies and modes of production, distribution and reception and the process of crossing national borders