CINEMATIC AUTOBIOGRAPHISM - HISTORICAL AND THEORETICAL RECONNAISSANCE (Autobiografizm filmowy. Rekonesans historyczno-teoretyczny)
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The subject of the article is cinematic autobiographism: indication of main trends from which it originates and theoretical concepts attempting to set its boundaries. The first part discusses the process of cinematic autobiographism's occurrence in the history of the cinema and critical evidence regarding the presence of a cinematic creator and his or her autobiography as an important aspect of a cinematic work. At the beginning, cinematic autobiographical works existed within the trends of artistic cinema (avant-garde, underground, and new wave cinema) which was the first to give up the anonymity of the cinema and thus strengthened the position of a cinematic author. The taking over of documentary cinema - from cinéma-vérité through self-reflexive cinema to the more and more private cinema inspired by the style of home movie - was the next stage reached by the cinematic autobiographism. The second part of the article focuses on arranging abundant autobiographic film material (both documentary and feature), theoretical concepts, and terminological determinations according to three types of autobiographical 'self': empirical 'self', 'self' as porte-parole, and sylleptic 'self'.
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