This doesn't mean there weren't any 'immunitarian' tendencies, however, which manifested themselves in political, social and cultural practices, cutting off socialist societies fromespeciallythe 'perilous' West, but also in form of ongoing discriminations against ethnic minorities. The internationalist discourse was politically strongest during the Stalinist era, but lived on in post-Stalinist states as a communist ideal and a narrative of transnational solidarity among the oppressed. Such questions seem especially important in view of the ideologically promoted internationalism in the socialist states. Therefore, regarding Piwowski's film I would like to address bodily performances and communication as processes of bonding and/or cutting social bonds.
While the former signifies open, integrative social exchange, its latter, closing counterpart stands for social decontamination and isolation. Political philosopher Roberto Esposito put forward the concepts of communitas and immunitas as intertwined mechanisms strongly related to biopolitics and communication. The analytical focus lies on processes of community-building: on inclusion and exclusion through (mis)communication. This chapter aims to investigate the concepts of communitas in Polish culture after 1968 by analyzing the post-March comedy film Rejs (The Cruise, 1970), directed by Marek Piwowski.
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