{"title":"(自传体)《我们讲述的故事》(2012)，莎拉·波利","authors":"Pedro Henrique Trindade Kalil Auad","doi":"10.20287/DOC.D24.DT02","DOIUrl":null,"url":null,"abstract":"This article investigates the (auto)biographical procedures adopted by Sarah Polley in her documentary Stories we tell. For this purpose I focus on the chorus of voices that compose the film, the lack of hierarchy between archive images and the recreated images. Thus, it would be possible to think about an autobiography theory sustained by the filmmaker as well as the performative function of storytelling.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"67 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"(Auto)biografia e performance em Stories we tell (2012), de Sarah Polley\",\"authors\":\"Pedro Henrique Trindade Kalil Auad\",\"doi\":\"10.20287/DOC.D24.DT02\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article investigates the (auto)biographical procedures adopted by Sarah Polley in her documentary Stories we tell. For this purpose I focus on the chorus of voices that compose the film, the lack of hierarchy between archive images and the recreated images. Thus, it would be possible to think about an autobiography theory sustained by the filmmaker as well as the performative function of storytelling.\",\"PeriodicalId\":30245,\"journal\":{\"name\":\"Doc OnLine Revista Digital de Cinema Documentario\",\"volume\":\"67 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-09-28\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Doc OnLine Revista Digital de Cinema Documentario\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.20287/DOC.D24.DT02\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Doc OnLine Revista Digital de Cinema Documentario","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.20287/DOC.D24.DT02","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
(Auto)biografia e performance em Stories we tell (2012), de Sarah Polley
This article investigates the (auto)biographical procedures adopted by Sarah Polley in her documentary Stories we tell. For this purpose I focus on the chorus of voices that compose the film, the lack of hierarchy between archive images and the recreated images. Thus, it would be possible to think about an autobiography theory sustained by the filmmaker as well as the performative function of storytelling.
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