The aim of this article is an attempt to analyse the world-famous documentary film entitled The Parade (Polish title Defilada). The film has a unique narrative structure, as it belongs to the performing arts, and makes use of hyperbole which represents one of rhetorical tropes. Thus, the narration of the film is characterised by a specific rhetorical order which follows the rules of composing a text about art, culture and other phenomena. The result is often art itself. At the level of creative intention, Andrzej Fidyks’s films constitute spectacles which have to be appealing enough to attract the attention of a contemporary viewer. Thus, spectacularity of this film is not only a feature directly related to audiovisual art. It constitutes an aesthetic value as well, and the spectacle appears as a parade in honour of the country’s leader. Research methods include two types of text analysis, i.e. the rhetorical analysis, and the analysis based on film studies. The neo-rhetorical (i.e., argumentative) approach to the cinematographic text is visible in studying The Parade as a documentary which was created under conditions of full control over the director, together with lack of access to information. Perversity is a deliberate argumentative strategy, as Fidyk uses it in order to explain to the viewers the reality of the visited country.

The purpose of this article is to present and count the North Korean population living in Beijing. The North Korean people in Beijing do not constitute a united community but rather citizens from the same country who are in transit in the Chinese capital. The spatial dimensions of residence of North Koreans in Beijing and the issue of North Korean refugees based in the Chinese capital are emphasized in this paper.