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b'John Paizss Crime Wave examines the Winnipeg filmmakers 1985 cult film as an important example of early postmodern cinema and as a significant precursor to subsequent postmodern blockbusters, including the much later Hollywood film Adaptation. Crime Waves comic plot is simple: aspiring screenwriter Steven Penny, played by Paizs, finds himself able to write only the beginnings and endings of his scripts, but never (as he puts it) the stuff in-between. Penny is the classic writer suffering from writers block, but the viewer sees him as the (anti)hero in a film told through stylistic parody of 1940s and 50s B-movies, TV sitcoms, and educational films.In John Paizss Crime Wave, writer and filmmaker Jonathan Ball offers the first book-length study of this curious Canadian film, which self-consciously establishes itself simultaneously as following, but standing apart from, American cinematic and television conventions. Paizss own story mirrors that of Steven Penny: both find themselves at once drawn to American culture and wanting to subvert its dominance. Exploring Paizss postmodern aesthetic and his use of pastiche as a cinematic technique, Ball establishes Crime Wave as an overlooked but important cult classic.'