ABSTRACT

Twenty-first century documentary production from around the world has used self-reflexivity to challenge assumptions about subjectivity and social positioning in ways that explicitly challenge the politics of filmmaking. Released in 2003 and 2013 respectively, Argentine director Albertina Carri’s Los rubios and Turkish filmmaker Ufuk Emiroglu’s Mon père, la révolution et moi incorporate fictions and fantasies into their autobiographical stories, telling their life stories through alternative narrative forms that deviate from existing social and aesthetic precepts. The two filmmakers seek to understand – and scrutinize – the utopian ideals of the revolutionary movements to which their fathers belonged in 1970s Argentina and Turkey, respectively. The directors use non-realist, non-linear approaches to telling their own life stories as a way of challenging what audiences think they know about their nations’ recent history. Situating these two films within their respective national film industries and within documentary practices around the globe, I show that their shared metonymic structures question the utopic aspects of their respective fathers’ revolutionary politics and the non-place of memory. As I argue in my comparative discussion, these films are ‘redirecting’ utopic autobiographical storytelling to challenge notions of cohesion in both the self and political pursuits.

摘要

来自世界各地的 21 世纪纪录片制作使用自反性来挑战关于主观性和社会定位的假设，这些假设明确地挑战了电影制作的政治。分别于 2003 年和 2013 年上映，阿根廷导演 Albertina Carri 的Los rubios和土耳其电影制片人 Ufuk Emiroglu 的Mon père, la révolution et moi将虚构和幻想融入他们的自传故事中，通过偏离现有社会和审美规则的替代叙事形式讲述他们的生活故事。两位电影制片人试图理解并审视他们的父亲分别在 1970 年代阿根廷和土耳其所属的革命运动的乌托邦理想。导演们使用非现实主义、非线性的方法来讲述他们自己的生活故事，以此挑战观众对他们国家近期历史的了解。将这两部电影置于各自的国家电影产业和全球纪录片实践中，我表明它们共同的转喻结构质疑各自父亲的革命政治的乌托邦方面和记忆的非场所。