ABSTRACT

This essay aims to examine how archival material is repurposed within autobiographical documentaries in order to reconstruct the documentarian filmmaker’s self in relation to their family. It is plausible for the filmmaker to explore their own identity by reexamining their family history, especially with interviews and observational devices; however, domestic media plays a particular role in creating a supporting discourse that finds new meanings from the confrontation of statements and images. By analyzing three examples of autobiographical documentaries, namely Tarnation (Jonathan Caouette, 2003), 51 Birch Street (Doug Black, 2005) and The Marina Experiment (Marina Lutz, 2009), we will explore how the re-contextualization of personal images works as a narrative strategy to unveil identity contestations in American autobiographical filmmaking.

摘要

本文旨在研究档案材料如何在自传纪录片中重新利用，以重建纪录片电影制片人与其家庭相关的自我。电影制作人通过重新审视他们的家族历史来探索他们自己的身份是合理的，尤其是通过采访和观察设备；然而，国内媒体在创造支持话语方面发挥着特殊作用，从陈述和图像的对抗中找到新的意义。通过分析自传纪录片的三个例子，即 Tarnation（乔纳森·考埃特，2003 年）、桦树街 51 号（Doug Black，2005 年）和码头实验（Marina Lutz，2009 年），我们将探索个人图像的重新语境化如何作为一种揭示美国自传电影制作中身份争议的叙事策略。