Hipoteza postmodernistycznego obrazu
The Hypothesis of the postmodern image

Summary/Abstract: Postmodernism in films is sometimes difficult to define precisely, as already proven by Frederick Jameson. This article attempts to redefine the phenomenon, or rather narrow, the field of analysis to the issues of narration, the neo-Baroque complex structure of a rhizome, which seems to be a key element in the philosophical battle to reveal the pluralism of truth. An important factor in the analysed films that helps achieve this disillusion is the concept of a game with the viewer. Using the terminology of Arkadiusz Lewicki and Andrzej Zalewski, which has become a permanent part of the film studies discourse in Poland, this article analyses The Hypothesis of the Stolen Painting by Raúl Ruiz in terms of its precursor status as a postmodern film, and compares the tools used by the Chilean filmmaker – narrative and diegetic frames, untrustworthy narrator, mise-en-abyme – to the stylistic means of Peter Greenaway, and earlier Alain Robbe-Grillet and Alain Resnais.

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