Representation of Ukrainian Subject Matter of the Revolutionary Events of 1917-1921 in Polish Interwar Documentary Cinema (Based on the Films «Polonia Restituta 1918-1920» and «Sztandar Wolności»)

Abstract

This article investigates how Ukrainian focus related to the revolutionary events of 1917–1921 are portrayed in Polish documentary films of the interwar period, specifically «Polonia Restituta 1918-1920» and «Sztandar Wolności». The research methodology draws on general scientific and specialized historical methods, grounded in fundamental principles of historical analysis. Principles such as historicism and scientific objectivity enabled a detailed exploration of how Ukrainian issues were represented and perceived in these films, considering their complexity, diversity, and connection to the broader historical context of the time. The principle of objectivity was crucial in approaching the topic critically, ensuring an analysis rooted in the recognition of objective historical patterns and careful evaluation of the source material. The novelty of this study lies in analyzing Polish documentary films as historical sources to understand how the Ukrainian Revolution of 1917-1921 was depicted within the context of the Second Polish Republic’s historical policies. The findings reveal a persistent lack of scholarship addressing Ukrainian themes in Polish interwar cinema within both Ukrainian and foreign historiography. The analysis of «Polonia Restituta 1918-1920» and «Sztandar Wolności» shows that the Polish government’s policy during the interwar period was overtly hostile to the West Ukrainian People’s Republic (WUPR), which in Polish historical memory was considered a defeated and illegitimate state entity. Ukrainians living there were often referred to as Ruthenians. Regarding the Kyiv Operation of the Polish Army, which was aimed at assisting the Ukrainian People's Republic (UPR), the filmmakers depicted it with notable pathos. The Polish military campaign of 1920 was portrayed as an analogy to the expedition of Prince Bolesław the Brave, while the UPR was depicted as a secondary partner.

Analysis revealed that the cinematic representation of Ukrainians and the Second Polish Republic's official political stances were in lockstep, generating uniform narratives. Ultimately, the authors emphasize that studying interwar Polish documentary films is a valuable source for understanding the core of the historical policy of the Second Polish Republic.