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The author begins his reflections with the remark that biographism is becoming an increasingly clear aspiration of contemporary cinema and may at the same times constitute a response to the deep crisis of today's film culture and to audiovisual culture in general. According to him, one of the symptoms of the crisis is depersonalization of the forms of screen performance which results from the dominant role of 'no man's' (anonymous) look on the world and on man in today's films. This analysis leads him to assert that contemporary cinematographer wishes to be a 'biographer' again (modeled on the first cinematographic devices of the late 19th century, like Biograph or Bioscope), while the life-writing with a camera is not just an elusive fad of today's cinema. The author stresses the vital cognitive role of biographism that leads to an understanding of the macro-process of the biographisation of contemporary cinema. He closes by saying that biographism constitutes the mature and conscious response of some filmmakers, including Woody Allen, Mike Leigh, Spike Lee or Jim Jarmusch, to digital irrealism and an anonymous nature of cinematic performance.
The author unveils before our eyes a crook movie, a genre that is unidentified albeit strongly present in Polish and international film tradition (he points out that the term may also refer to a characteristic film character). According to the working definition of the term, it is a genre of suspense-adventure film whose story, told in a lively manner, exhibits the unexpected situations and colourful events of the life of film heroes. The represented world of a crook film combines fictional elements with the widely known and familiar realities of a given place and time, designed to lend credence to it. The buffo tone and tongue-in-cheek humour, closely connected with the conventionality of unreal events and the presence of comedy convention, top the list of characteristic features of the genre. The author sketches the outline of the history of a crook film but focuses first of all on Polish examples. He also writes extensively on a crook, the character so strongly rooted in domestic film tradition.
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