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Abstract
Mise-en-abîme discourse reveals itself most clearly in 2 films by Andrzej Wajda – Everything for sale and Sweet Rush. These are connected by collective reflexive contexts, as well as by a tendency to promote formal novelty. They can be analysed from the perspective of “a film in a film”, which is a story about making a film or “a film about a film”, which is a reflection on the cinematographic means of expression.References
Helman A., Autotematyzm, [w:] Słownik filmu, red. R. Syska, Kraków 2010.
Iść za losem filmu. Z Andrzejem Wajdą rozmawia Tadeusz Lubelski, „Kino” 2009, nr 4.
Lubelski T., „Mówi do nas”. Wyobrażenie autora w filmach Andrzeja Wajdy, [w:] Filmowy świat Andrzeja Wajdy, red. E. Nurczyńska-Fidelska, P. Sitarski, Kraków 2003.
Lubelski T., Tatarak (recenzja filmu), „Kino” 2009, nr 4.
Szczepański T., Kino autotematyczne (na przykładzie filmu Andrzeja Wajdy „Wszystko na sprzedaż”), „Teksty” 1972, nr 3.
Szewczyk M., Lustra i sieci. Przeplatające się narracje i warstwy narracyjne we „Wszystko na sprzedaż” i w „Tataraku” Andrzeja Wajdy,„Pleograf. Kwartalnik Akademii Polskiego Filmu” 2016, nr 1.
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