The autobiographical documentary: archive and montage to represent the self

IF 0.5 0 FILM, RADIO, TELEVISION

Studies in Documentary Film Pub Date : 2020-09-02 DOI:10.1080/17503280.2020.1815123

Vladimir Rosas, R. Dittus

引用次数: 2

Abstract

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.

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自传体纪录片：展现自我的档案和蒙太奇

摘要本文旨在探讨档案材料如何在自传体纪录片中被重新利用，以重建纪录片制作人与家人的关系。电影制作人可以通过重新审视自己的家族史来探索自己的身份，尤其是通过采访和观察手段；然而，国内媒体在创造一种支持话语方面发挥着特殊的作用，这种话语从言论和图像的对抗中找到了新的意义。通过分析三个自传体纪录片的例子，即《Tarnation》（Jonathan Caouette，2003）、《51 Birch Street》（Doug Black，2005）和《Marina Experiment》（Marina Lutz，2009），我们将探讨个人图像的重新语境化是如何作为一种叙事策略来揭示美国自传体电影制作中的身份争议的。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Studies in Documentary Film FILM, RADIO, TELEVISION-

CiteScore

1.00

自引率

16.70%

发文量

期刊介绍： Studies in Documentary Film is the first refereed scholarly journal devoted to the history, theory, criticism and practice of documentary film. In recent years we have witnessed an increased visibility for documentary film through conferences, the success of general theatrical releases and the re-emergence of scholarship in documentary film studies. Studies in Documentary Film is a peer-reviewed journal.