This research explores the interplay of queerness, camp aesthetics and Poland's unique cultural context. Drawing from Łukasz Szulc, who claims that concepts of queer identities and models of queer activism are continually shaped and reshaped through the processes of queer globalisation, I attempt to address here the question of how Western frameworks of queerness can be interpreted and adapted within localised settings. The central focus here lies in exploring the aesthetics of queer representation within the realm of audiovisual arts, spotlighting music videos from the singer-songwriter Ralph Kaminski and rapper Miuosh. Each video was directed by Kaminski himself, and was selected for their enigmatic and non-linear structures. These videos fill a void in Poland's visual representation of queerness.
I argue that in a nation grappling with escalating queerphobic rhetoric and discriminatory policies, Kaminski's work uses camp sensibilities to construct a cinematic, Polish queer gaze. This activist, audiovisual approach transcends social norms and creates an abstract hyperreality, satirising and critiquing queerphobic attitudes. This activist aspect of camp is emphasised through an audiovisual part of this study that takes the form of a video essay. Within the audiovisual piece, I examine the mise-en-scène and narrative techniques used in the music videos via means that allow me to illustrate camp sensibility instead of solely explaining it.
Campy Poland
Introduction
To consider queerness and queer theory in times of globalisation means challenging the pervasive notion that globalisation is a genderless or sexless phenomenon.1 Far from being a neutral or universal process, globalisation operates through, and is shaped by, complex intersections of power, identity and cultural meanings. As queer languages, images and sensibilities extend beyond geographical boundaries, scholars face the challenge of examining how globalisation studies and queer theory illuminate the interwoven nature of LGBTQIA+ communities across the world.2 This heightened interconnectedness has given rise to inquiries surrounding the adaptation of predominantly Western queer theory and culture into other national contexts. In this research project, I assert that a comprehensive engagement with queer theory demands a meticulous examination of the specific contextual factors that shape its application within localised settings. To illustrate this, I will conduct a case study in the context of Poland. Poland occupies a unique political and cultural position on the edge of Western Europe, and, in turn, simultaneously embraces and rejects elements of Western influence. In this sense, Poland exists in a liminal space - it is neither entirely Western, nor entirely Eastern.
The central focus resides here in scrutinising the aesthetics of queer representation within the realm of audiovisual arts, spotlighting five music videos directed by singer-songwriter Ralph Kaminski: rapper Miuosh’s “Klucze” (2021), and Kaminski’s own “Tata” (2021) “2009” (2020) “Wszystkiego Najlepszego” (2019) and “Kosmiczne Energie” (2019).3 These selections were made based on their enigmatic nature and non-linear plot structures, which may initially perplex audiences. For example, “Klucze”delivers a performance-driven narrative, vividly depicting the story of a cashier who openly expresses her sexual desires within a supermarket setting. “Tata”portrays a drag transformation, which is metaphorically connected to the motifs of fatherhood and masculinity. “2009”unfolds as a narrative-driven music video, following a character played by Ralph Kaminski at a birthday celebration. The conceptual piece “Wszystkiego Najlepszego” portrays Kaminski as an observer within a campsite, while “Kosmiczne Energie” features him as a participant in a physical education class.
In my video essay and this accompanying exegesis, I argue that these cultural artefacts effectively fill a void in the visual representation of queer identities, particularly within the context of Poland, a country grappling with an alarming surge in queerphobic rhetoric and the implementation of discriminatory policies.4 In response to this oppressive environment, Polish artists, activists and academics have taken significant strides in opposition. Yet, despite this decided movement in opposition to Polish oppression, the presence of artists like Kaminski, who employs more intricate and nuanced activist techniques while simultaneously moving beyond a singular focus on (mostly) male homosexuality, are relatively scarce. As articulated by researcher Łukasz Szulc, the Polish LGBTQIA+ movement tends to centre gay-centric perspectives, rather than embracing the broader spectrum of queerness.5 Szulc’s assertion is supported and strengthened in various cultural artefacts, for example Floating Skyscrapers (Tomasz Wasilewski, 2015) and In the Name of ... (Małgorzata Szumowska, 2013), which predominantly explore male-to-male sexual attraction. This limited focus extends even to homophobic propaganda in Polish visual culture, which, as Paweł Knut explores, primarily targets all-male couples while disregarding the existence of diverse identities within the queer community.6
The lack of space given to the broad spectrum of queerness that exists within Polish culture is made more apparent when we turn to look at the work of Kaminski, as the five music videos analysed within this project embody subversive and alternative artistic aesthetics that exist outside of popular ‘male-to-male’ queer discourses. Using Kaminski’s audiovisual works as a springboard, this research delves into the intricate interplay between Polish national identity and queerness, as articulated through the lens of camp – an aesthetic sensibility. Building on Anna Mizerka’s argument that camp inherently carries “the threat of semantic chaos,” not only because of its fluid, unspecified nature but also due to the lack of camp scholarship in Polish academia, I further draw upon the works of American and British scholars.7 Specifically, I base my analysis on the insights of Susan Sontag, Richard Dyer, Moe Meyer and Jack Babuscio to emphasise the need for investigating camp as an integral part of queer theory within activist practices.8 Based on these authors' work, I understand camp here as an inherently queer mode of resistance against social oppression and a means of visualising queer identity through aesthetics of exaggeration, illogic, and theatricality. I assert that camp, as manifested in Kaminski's creations, functions as a cinematic, Polish queering gaze. This transformative perspective transcends heteronormative social conventions, constructing an abstract hyperreality that satirises and critiques attitudes perpetuating queerphobic sentiments. To affirm this thesis, the video essay features the analysis of the mise-en-scène and narrative techniques in the music videos, demonstrating their campy qualities and connecting them to the nuanced interplay between Poland and queering identities.
Camp as The Eccentricity of Queer
Kaminski's music videos conspicuously abstain from directly building queer characters in relation to matters of sexual orientation or gender identity. Rather, they focus on the rejection of logic and the introduction of exaggerated aesthetics. The concept of queerness in these visual narratives lies within the fundamental act of affirming the absurd and rejecting the standard, heteronormative paradigm. To provide a more precise delineation, this study adopts the terminology elucidated by Mireille Rosello and Sudeep Dasgupta, who define “queering” as a perpetual process that subverts normativity while concurrently averting the threat of reinstating non-normativity as a desired and stable program.9 Working within Rosello and Dasgupta’s framework, this exploration of Kaminski's works seeks to unearth elements that deviate from heteronormativity, destabilising and challenging the conventional Polish cultural identity. The two scholars’ delineation of the term ‘queering’ resonates in many ways with the essence of camp aesthetics, as they note the beauty in juxtaposing disparate elements, which in turn defy heteronormativity in ways akin to Susan Sontag’s assertion that “what is most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine.”10 Herein lies an evident correlation between queering and camp's intrinsic nature, as both notions encompass an inclination to rebel against heteronormativity - namely, the stereotypes of gender roles and expressions. The shared essence between camp and queerness resides in their resolute commitment to upending socially constructed norms and exalting uncharted, unconventional realms.
In Kaminski's videos, the presence of a queering abnormality permeates almost everything. This is particularly evident in the use of makeup and costumes across all five videos. The incorporation of drag aesthetics is particularly intriguing, given that drag artists notably emphasise the performative nature of gender and challenge conventional gender dichotomies. For example, in “Klucze” some characters have exaggerated eyebrows drawn over their natural ones (00:38), while in “Tata,” Kaminski performs in full female-presenting drag throughout the video. In “2009,” a drag queen appears wearing light foundation, pronounced contouring, vibrant red lipstick, and notably elongated eyebrows that stretch across her forehead (00:20). These characters amplify feminine attributes to an overt extent, embodying a self-mocking caricature of womanhood. Their over-the-top makeup causes the audience to perceive them neither as ‘real women’ nor ‘real men,’ necessitating a new categorisation that defies binary conventions.
Similarly, “Kosmiczne Energie”underscores a comparable aspect of non-binary gender identity through the body language of the PE teacher. Though outwardly exhibiting traditional masculine attire, including sporty shoes, shorts and a tank top, their entrance into the gym reveals distinctly feminine movements – a balletic strut around the gym space that unreservedly showcases their self-expression (01:20-01:35). The video concludes with the teacher wearing a feather boa, a stark contrast to their initially conventional, masculine clothing (04:23). By defying heteronormative behaviours, they radiate queerness rather than conforming to the normative. A similar instance is present in “Klucze,” where a character unexpectedly starts voguing in a supermarket (01:30-01:45). Through spins, dips and a confident saunter down the store aisles, they exude feminine energy. Despite presenting as male, both characters draw strength from their femininity and wholeheartedly embrace it.
Through these examples, I perceive the aesthetics of camp within Kaminski's videos to be analogous with the queering of traditional notions of gender expression. Camp is very much the primary means by which the characters express themselves, and, as such, the camp aesthetic and sensibility is presented as an inseparable part of them. Kaminski’s work accordingly links itself to the debate surrounding the origins of ‘camp’ and its association with queerness or homosexuality, which has been a lively and extensively discussed topic. Examples of the concept's place within scholarship on queer culture include Susan Sontag’s argument that camp taste goes beyond merely being homosexual taste, instead asserting that camp's metaphorical view of life-as-theatre is uniquely suited to justifying and projecting a certain aspect of the homosexual experience.11 Continuing, she suggests that camp’s emphasis on playfulness and frivolity aligns with the desire of many homosexuals to maintain a youthful spirit, although she also notes that if homosexual individuals had not introduced the concept of camp into culture, someone else may well have done so.12 Although I draw on Sontag's aesthetic insights about camp and its connections to gender crossing, it must be stated that I reject here her notion of camp as “apolitical” and universal.13 The camp aesthetic, as manifested in Kaminski's videos, appears to constitute a distinctively queer viewpoint on the diegetic environment, suggesting its primarily ‘queering nature.’ Meyer, in his essay “Reclaiming the Discourse of Camp,” challenges Sontag's understanding of camp by asserting its intrinsic connection to queer experiences and its significant role in fostering visibility within the queer community.14 Meyer's characterisation of camp as “the production of queer social visibility” succinctly encapsulates my viewpoint, indicating that it is not a universally adaptable aesthetic.15 The work of Richard Dyer expresses a similar sentiment, as he asserts that “the camp sensibility is very much a product of our oppression. And, inevitably, it is scarred by that oppression.”16 In Kaminski's work, the camp sensibility emerges as a response to the ‘scars’ caused by the social constraints and discrimination faced by LGBTQIA+ individuals in Poland. It becomes a means of navigating and challenging the oppressive forces that attempt to suppress queerness, thus becoming activistic and reminiscent of Meyer’s and Dyer’s findings.
Polish National Identity as Anti-Queer
To fully apprehend this role of camp in Kaminski’s videos, one must first flesh out the complex situation of Poland within the globalised context of queer rights. In recent years, Poland has grappled with a stark and concerning rise in queerphobia, marked by discriminatory policies and a hostile social environment towards LGBTQIA+ individuals, for example, with the introduction of so-called LGBTQIA+-free zones across the country.17 This surge of anti-LGBTQIA+ sentiment is interwoven with complex intersections of Polish national identity and queerness. The conflict becomes pronounced against a backdrop of Poland's history, with its strong cultural traditions and the legacy of oppression during the Communist era. In my audiovisual analysis of Kaminski and queerness in Poland, these issues are addressed by integrating sourced footage from Pride marches. This visual material vividly captures instances of nationalist groups launching attacks on the march participants. The recorded scenes depict a prevailing atmosphere of chaos and aggression, where acts of burning the rainbow flag and orchestrating a symbolic performance of the Polish national anthem unfold. The juxtaposition of this footage with Kaminski’s work seeks to illustrate how nationalism demarcates Polish identity from queerness, spotlighting the division between the two spheres. As seen on the banners held by nationalist groups, one focuses on family and traditional values, while the other represents a ‘foreign force.’ By ‘foreign force,’ I mean an ideology or influence that is not Polish in origin - an external set of ideas or values perceived as being imposed on the nation and viewed as a threat to its traditions and sovereignty (00:25–01:36).
Within the discourse of this Polish conflict and queerphobia, the exploration of Ralph Kaminski's music videos becomes essential. The videos’ relevance extends not only from their proximity to the burgeoning atmosphere of queerphobia in the Polish cultural landscape but also from Kaminski's deliberate incorporation of these themes. In the music video “Wszystkiego Najlepszego,” viewers are shown one example of this in a particular scene which expresses queerphobia. At the very beginning of the video, one of the characters uses the rainbow flag as fuel for his barbecue (01:34-01:39). It is a very short scene that appears only once in the whole narrative, but it certainly has significance. It symbolises a rejection of the LGBTQIA+ community and its pride. Alongside this, the music video features elements that fixate strongly upon the Polish cultural environment. For instance, the audience witnesses a man with a cap reading “POLAND” in capital letters (03:30). At another moment, the viewer is introduced to a priest, who wags his finger towards the camera. The manner in which he does this seems like a warning, as if the church is constantly watching society and exercising guardianship over it (02:00-02:15). Furthermore, a discernible allusion to the prevailing political climate concerning the LGBTQIA+ community in Poland can be observed in Ralph Kaminski's appearance in the video. Kaminski’s attire includes a pinkish jumper adorned with the phrase “Dobra Zmiana,” which translates to “Good Change" (00:12-00:20). This phrase was the slogan of the openly queerphobic Polish political party Prawo I Sprawiedliwość (translated as “Right and Justice”), notorious for instigating the establishment of the aforementioned LGBTQIA+-free zones.18 The deliberate choice of this jumper establishes Kaminski's active engagement with the ongoing political discourse surrounding queerphobia in Poland.
Through close analysis of Kaminski’s videos, the Polish political landscape and scholarship that addresses these topics, here I assert that the music videos emphasise one specific, extreme type of queerphobia: the stereotypical homophobic model of a nationalist. In general, nationalism is an ideology that prioritises a nation’s interests above all else, places one’s value ahead of others’ and emphasises the pursuit of national concerns over political and social matters. Within the context of Polish cultural discourse, this nationalist archetype is often linked to deeply ingrained, traditional values rooted in Catholicism, heteronormative binary perspectives on gender roles and notably male homophobia. This dynamic gives rise to the portrayal of various groups and ideologies as “the other.” Under this umbrella term, Polish nationalist groups often consider the European Union, liberals, atheists, and generally any other nations.19 Such discourse constructs a view of the world as intensely polarised and emotionally charged. It operates on the foundation of descriptive and normative opposition between “us” and “them,” effectively placing queer individuals in the latter category by default.20 Polish identity, in this case, appears to be heavily formed through separation from the other, or through a clear delineation of what is not, and what should be, Polish. Within this spectrum, there is no space for queering identity, as its campiness and inherent opposition to gendered binaries do not align with nationalist values. It must be said, however, that Kaminski’s music videos do not feature any explicit conflict or confrontation between queer people and queerphobic ones. Rather, the videos incorporate components of queer expression and nationalist queerphobia, but this relationship is more of an unsaid conflict – a very subtle, taboo subject that, without contextualisation, does not seem to be very pronounced. In light of this nuanced engagement, the question arises as to how these videos address the underlying issue. That is the point where we go back to camp, which, as I argue, satirises the demarcation of Polishness and queerness.
The Polish Queer Gaze
The utilisation of camp is a key aspect of this research, as it appears to be the only way to solve the mystery of Kaminski’s music videos. As discussed above, it is evident that the deliberate campiness within the work serves the purpose of enhancing “queer social visibility,” effectively framing the narratives through a lens of “queering identity.”21 In essence, everything within Kaminski's music videos assumes a campy quality, as it is perceived through this distinctive camp aesthetic. The diegetic worlds presented are characterised by abstraction, frivolity and hyperreality, including even the queerphobic characters presented there. This exaggerated aesthetic style highlights and critiques cultural norms, creating a space where the boundary between sincerity and parody blurs. Ultimately, camp acts as a powerful tool to deconstruct conventional ideas, challenging audiences to rethink identity and representation through its playful yet subversive lens.
To affirm this statement, it is vital to notice that all five music videos share one scheme in their narration structure. In each piece, there is one, abstract moment that contributes to a humorous climax – a resolution that highlights the lack of logic in the storyline. For instance, in “Kosmiczne Energie,” after PE class, the students, teacher and receptionist sit in the middle of a gym and eat junk food. They devour crisps, popcorn and cola while watching TV (04:20-04:30). In “2009,”during the birthday party, Kaminski receives a big present with an old woman inside, who rises from the smoke-filled box and starts performing with him on a stage (02:30-02:45). In “Klucze,”one of the cashiers openly expresses her sexual desires through a very sensual dance (02:45-03:00). While in “Wszystkiego Najlepszego,”a woman who resembles Amy Winehouse hangs laundry next to a cow, and children, dressed as if they were attending the First Communion, lead a car with a beauty pageant winner standing up through the sunroof (03:35-04:00). There is an abstract chaos, full of illogical events that do not convey any clear message. One cannot find a rational explanation for this scene because it does not present the development of characters or linear narration. The images are pure manifestations of aesthetics – a victory of style over content, the pure expression of camp’s nature, as discussed by Sontag.22 The sensibility of camp is the foundation of the diegetic worlds of these music videos; it sets the rules of their realities and establishes the abnormality as a leading premise. Everything that is shown is positioned within the campy environment, including the queerphobic elements mentioned above.
In this view, we are discussing a specific manifestation of a queer gaze: the Polish queer gaze. It represents an activist audiovisual approach that involves adopting the perspective of a character with a queering identity, and effectively challenges and subverts the prevailing norms and conventions within the given environment of Poland. Nevertheless, it is important to clarify that when using the term ‘gaze,’ I intend to distance myself from the psychoanalytical feminist tradition of thinkers like Laura Mulvey.23 While her concept of the male gaze revolved around the perspective of a heterosexual male as either a filmmaker, film character or viewer, my analysis takes more of a political and cultural viewpoint. It focuses on the local context and emphasises the significance of camp within the realm of queer activism, an activism which needs to be specifically contextualised according to the environment in which it is used.
In contrast to the frequently unspoken but ever-pervasive “straight gaze,” the idea of a queer gaze offers a profound understanding of how lesbian, gay, bisexual, transgender and queer individuals engage with art.24 What sets it apart is its fearless interrogation of conventional binary constructs, which are frequently the focal point of discussions surrounding the male gaze/female gaze paradigm. Considering the use of camp aesthetics in the analysed music videos, the queering gaze aims at establishing campiness as a base, and juxtaposes it with heteronormativity to present the oppression that queer people can experience. Such a perspective is built on the previously mentioned ‘scars’ of queer existence that Dyer discusses, and devalues normativity through a re-positioning of socially constructed oppression.25 If one looks at the world through the ‘queer campy glasses,’ the judgement of everything is based on the references to abnormality as an ethical and moral foundation. The normal becomes abnormal and the abnormal becomes standard.
In Kaminski's work, the queer gaze helps bring together queerness and queerphobia without conflict. It introduces a novel lens through which to perceive the world, fundamentally altering our perspective and rendering conventional judgements obsolete. This perspective renders everything as peculiar, divergent and unconventional. As argued in the video essay, within this context, queerphobia, while persisting, transforms. Rather than presenting a significant threat or inciting violence, it takes on an unfamiliarity, resembling that which is encountered by the Polish LGBTQIA+ community when confronted with deeply ingrained social heteronormativity. In this altered reality, notions as weighty as God, honour, and fatherland are imbued with the same importance as concepts like tolerance or freedom. Camp in this Polish context facilitates a unique perspective that challenges conventional dichotomies and invites us to reconsider the boundaries of normalcy and deviance, taking into account the distinct historical and cultural factors at play.
The conducted analysis indicates the contextuality of camp, and argues that camp, as elucidated through Kaminski’s work, is intricately tied to the cultural environment in which it is applied. Jack Babuscio underscores this contextual nature of the campy sensibility, emphasising that it is not a standalone concept but a dynamic interplay between various elements, including activities, individuals, situations, and the expression of a gay sensibility.26 Through exploration of Kaminski's work, we gain profound insights into how camp functions as a window into the intricate interplay between Poland, nationalism, queerphobia, and queerness. It serves as a transformative force that not only challenges societal norms but also reconfigures the dynamics of these complex elements within the Polish context.
Conclusion: The Video-Essay
When considering camp and queerness within the framework of Polish cultural artefacts, they appear as non-conforming elements, inherently shaped by their context. This contextual nature takes on great importance, especially when examining the intersection between Western theories that associate camp with queerness, and the distinctive cultural context of Poland. It is important to note, however, that the discussion about the intersectionality of the issues explored in this research remains an evolving and intricate field. I purposefully avoid connecting my methodology to any theory of intersectionality, as it would alter and broaden the scope of this relatively short project, thus leading to more vague and confusing conclusions. Further research is warranted to comprehensively map the tangible points of convergence between Poland, queerness and camp.
Through this analysis of Kaminski's work, I hope to bring to light the transformative power of art in challenging social norms and advancing a comprehension of queerness within the Polish cultural discourse. These videos do not merely bridge a considerable gap in the visual portrayal of queer identities but have also showcased the activist potential of camp. This sensibility serves as a subversive instrument, effectively deconstructing established conventions of seriousness and creating an abstract hyperreality. Within it, queerphobic attitudes are not merely exposed, but subjected to camp’s satire and critical examination – they are subjected to the Polish queer gaze. It is the role of the audiovisual part of this project to illuminate this gaze with the use of a more poetic mode of expression. While the written portion delves into the academic and analytical aspects of the subject matter, the audiovisual essay assumes the responsibility of vividly illustrating and thus ‘showing’ the problems at hand. All in all, camp as a concept can be somewhat abstract, and providing concrete visual examples might make it more comprehensible to viewers and readers.
Babuscio, Jack. “The Cinema of Camp (aka Camp and the Gay Sensibility).” In Camp: Queer Aesthetics and the Performing Subject: A Reader, edited by Fabio Cleto, 117–135. Edinburgh: Edinburgh University Press, 1999.
Case, Sue-Ellen. “The Queer Globe Itself.” In Staging International Feminisms, edited by Elaine Aston and Sue-Ellen Case, 52–64. London: Palgrave Macmillan UK, 2007.
Ciesek, Bernadetta. “Creation of The Other in the Discourse of Polish Modern Nationalists.” Tekst i Dyskurs - Text und Diskurs 11 (2018): 371–390.
Dyer, Richard. The Culture of Queers. London: Routledge, 2001.
Knut, Paweł. “Homophobia in Polish Visual Culture as an ‘Undiscovered’ Response to the Transformation of Sexual Norms in Poland After 1989.” Adeptus 9 (2017): 1-22.
Majka-Rostek, Dorota. “Męskość i Homofobia Oraz Ich Przedstawienia We Współczesnym Dyskursie Nacjonalistycznym w Polsce” [“Masculinity and Homophobia and their Representations in Contemporary Nationalist Discourse in Poland.”] Tekst i Dyskurs - Text und Diskurs 15 (2021): 451–463.
Meyer, Moe. “Introduction: Reclaiming the Discourses of Camp.” In Politics and Poetics Of Camp, edited by Moe Meyer, 1-19.London and New York: Routledge, 1994.
Mizerka, Anna. “Kamp po polsku” [“Camp in Polish”]. Poznań: Poznańskie Studia Polonistyczne, 2016.
Rosello, Mireille, and Sudeep Dasgupta. “Introduction.” In What’s Queer about Europe? Productive Encounters and Re-enchanting Paradigms, edited by Mireille Rosello and Sudeep Dasgupta, 1-24. New York: Fordham University Press, 2014.
Sontag, Susan. “Notes on ‘Camp’.” In Against Interpretation, and Other Essays, 293-312. New York: Dell, 1966.
Szulc, Łukasz. “Queer in Poland: Under Construction.” In Queer Interventions, edited by Lisa Downing and Robert Gillett, 159–172. New York: Ashgate Publishing, 2011.
Szulc, Łukasz. “Queer Globalization and the Media.” In The International Encyclopedia of Gender, Media, and Communication, edited by Karen Ross, Ingrid Bachmann, Valentina Cardo, Sujata Moorti, and Marco Scarcelli, 1st edition., 1–9. Hoboken: Wiley-Blackwell, 2020.
FONOBO Label. “Ralph Kaminski - Wszystkiego Najlepszego (Official Video).” YouTube video, 5:06. October 25, 2021. Accessed 3 December, 2024. https://www.youtube.com/watch?v=G4MPXybzoRI.
In The Name Of ... Directed by Małgorzata Szumowska. Film. Warsaw: Mental Disorder 4, 2013.
Biography
Michał Bilski holds a Bachelor's degree in Media and Culture and is currently pursuing a Research Master's in Media Studies at the University of Amsterdam. His work explores film theory, queer studies, hydrofeminism, camp aesthetics, and video essayism. Michał frequently utilizes audio-visual formats to examine media and experiment with non-discursive approaches to academic research.
He has presented his ongoing research on hydrofeminism at Sea Mediations: Hydro-criticism and Tidal Thinking at the University of Amsterdam and The Flowing Image: The Ocean On-Screen at the University of Southampton. Alongside his studies, Michał works as a teaching assistant at the University of Amsterdam, supporting courses at both the Bachelor's and Master's levels.
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