The authoress re-examines one of the first experimental avant-garde films made in Poland in an inter-war period of 1918-1939. She identifies its auto-thematic elements and tries to find out what roles they play in a film work. To answer the question, she looks at the issue of avant-garde from a broader perspective and chooses literary avant-garde. She employs the category of surfiction, invented by Raymond Federman to describe changes in (not only) American literature, now called 'post-modern'. Examining the film from this perspective, she notes that the achievements of 20th century film avant-garde appear to corroborate Federman's later insights about rejection in a literary work of the category of the real at the expense of peculiarly constructed fiction.
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