Like many Eastern European countries, Poland has seen a succession of divergent economic and political regimes over the last century, from prewar “embedded liberalism,” through the state socialism of the Soviet era, to the present neoliberal moment. Its cinema has been inflected by these changing historical circumstances, both mirroring and resisting them. This volume is the first to analyze the entirety of the nation’s film history—from the reemergence of an independent Poland in 1918 to the present day—through the lenses of political economy and social class, showing how Polish cinema documented ordinary life while bearing the hallmarks of specific ideologies.

The history of the European oil and gas industry reflects local as well as global political events, economic constraints and the personal endeavours of individual petroleum geoscientists as much as it does the development of technologies and the underlying geology of the region. The first commercial oil wells in Europe were drilled in Poland in 1853, Romania in 1857, Germany in 1859 and Italy in 1860. The 23 papers in this volume focus on the history and heritage of the oil and gas industry in the key European oil-producing countries from the earliest onshore drilling to its development into the modern industry that we know today. The contributors chronicle the main events and some of the major players that shaped the industry in Europe. The volume also marks several important anniversaries, including 150 years of oil exploration in Poland and Romania, the centenary of the drilling of the first oil well in the UK and 50 years of oil production from onshore Spain.

This study explores the representation of international migration on screen and how it has gained prominence and salience in European filmmaking over the past 100 years. Using Polish migration as a key example due to its long-standing cultural resonance across the continent, this book moves beyond a director-oriented approach and beyond the dominant focus on postcolonial migrant cinemas. It succeeds in being both transnational and longitudinal by including a diverse corpus of more than 150 films from some twenty different countries, of which Roman Polański’s The Tenant, Jean-Luc Godard’s Passion and Krzysztof Kieślowski’s Trois couleurs: Blanc are the best-known examples. Engaging with contemporary debates on modernisation and Europeanisation, the author proposes the notion of “close Otherness” to delineate the liminal position of fictional characters with a Polish background. Polish Migrants in European Film 1918-2017 takes the reader through a wide range of genres, from interwar musicals to Cold War defection films; from communist-era exile right up to the contemporary moment. It is suitable for scholars interested in European or Slavic studies, as well as anyone who is interested in topics such as identity construction, ethnic representation, East-West cultural exchanges and transnationalism.