ABSTRACT

Autofiction as realized in cinematic practice adds a figure of identification to the literary author-narrator-character: that of actor/actress. The filmmaker, playing him/herself, employs innovative strategies in audiovisual narration to generate this autofictional identity. This article analyses these strategies as seen in French cinema, on which literary autofiction has a determining influence. My analysis of this practice is mapped along a double axis. The first classifies the films in a progressive evolution from the factualisation of the fictional (documentary’s starting point) to the fictionalisation of the factual (fiction’s starting point). The second analyses the films with regard to the filmmaker’s presence: from the filmeur/filmeuse who stands behind the camera and records the images him/herself to the acteur/actrice who exclusively appears in front of the camera. This cinematic exploration of the self thus situates the filmmaker in all possible positions so as to develop autofictional strategies for exploring postmodern identity and alterity, using parody and irony as effective tools. In this laboratory of the self, filmmakers experiment with the topics they address – reflection on cinema, artistic exploration, self-knowledge, ideological reasoning, and sociopolitical criticism – as well as create valuable screen manifestations of resilience, empathy, sorority, and even pedagogy.

摘要

在电影实践中实现的自述小说为文学作者-叙述者-角色增加了一种身份认同：演员/女演员的身份认同。电影制作人扮演他/她自己，在视听叙事中采用创新策略来产生这种自传身份。本文分析了法国电影中的这些策略，文学自传对此具有决定性的影响。我对这种做法的分析是沿着双轴映射的。第一个将电影分类为从虚构的事实化（纪录片的起点）到事实的虚构化（小说的起点）的渐进演进。第二个分析电影制作人的存在：来自电影制作人/电影用户站在摄影机后面，将自己的影像记录给专门出现在摄影机前的演员/演员。因此，这种对自我的电影探索将电影制作人置于所有可能的位置，从而发展出探索后现代身份和异质性的自小说策略，使用戏仿和讽刺作为有效工具。在这个自我实验室中，电影制作人尝试着他们所讨论的主题——对电影的反思、艺术探索、自我认识、意识形态推理和社会政治批评——并创造出具有韧性、同理心、联谊会甚至教学法的有价值的银幕表现形式.