Relevant bibliographies by topics / Autobiographical films

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Autobiographical films'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Autobiographical films"

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Naaman, Dorit. "Unruly Daughters to Mother Nation: Palestinian and Israeli First-person Films." Hypatia 23, no. 2 (June 2008): 17–32. http://dx.doi.org/10.1111/j.1527-2001.2008.tb01183.x.

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This article examines the Israeli documentary My Land Zion and the Palestinian documentary Paradise Lost. Both films are critical autobiographical texts and in both, the woman filmmaker negotiates her emotional and ideological ties with her culture, history, and nation. Naaman proposes that by using the autobiographical genre and by engaging emotionally as well as rationally, the women filmmakers discussed offer a particular gendered position rebelliously outside nationalism and the place of women within it.
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Meng, Jing. "The Autobiographical Turn in Representing History in Chinese Films." a/b: Auto/Biography Studies 32, no. 2 (April 25, 2017): 259–61. http://dx.doi.org/10.1080/08989575.2017.1288031.

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Calvert, Lesley, John Keady, Beena Khetani, Cathy Riley, and Caroline Swarbrick. "‘… This is my home and my neighbourhood with my very good and not so good memories’: The story of autobiographical place-making and a recent life with dementia." Dementia 19, no. 1 (December 25, 2019): 111–28. http://dx.doi.org/10.1177/1471301219873524.

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As part of the wider Neighbourhoods and Dementia Study, co-researchers from the Open Doors Research Group (based in Salford, UK) produced a series of three films with the title ‘The Changing Face of our Neighbourhood’. These films were subsequently placed on ‘YouTube’ and document co-researchers’ storied experiences of Salford and the industrial, economic and social changes that have occurred over the inquiry group’s lifetime. Drawn directly from this autobiographical and socio-generational work, this article focuses on the experience of lead author Lesley Calvert, who was diagnosed with dementia in 2013 and has been a member of the Open Doors Research Group since 2014. Lesley grew up and worked as a district nurse for almost 40 years, remaining close to her place of birth in Salford all her life. In this article, Lesley draws upon her autobiographical narrative which she shares in the three films to describe the intersections between biography, place-making, belonging and dementia. The article concludes with the importance of democratising the research space and why academic researchers need to create opportunities for personal stories to be told, heard and acted upon.
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Ely-Harper, Kerreen. "Writing/performing myself on-screen: Daniel Monks’ memory work on film." Journal of Screenwriting 12, no. 1 (March 1, 2021): 95–111. http://dx.doi.org/10.1386/josc_00050_1.

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Performing memories is a way of working through and reconstructing the self. Films that draw on autobiographical experiences are a way of working through and constructing narratives of the self. How can memory work be applied to the writing and filmmaking process? Can memory work, with its focus on personal and embodied experience, lead us to a more truthful account of our individual histories and ourselves? In addressing these questions, I draw on sociological and memory studies into autobiographical memory in my examination of the screenwriting work of Australian actor/writer Daniel Monks. Monks’ films Marrow (2015) and Pulse (2017) are adapted and developed from the author’s personal memories and experiences. Identifying as disabled and queer, Monks’ work straddles the fact-fiction divide, enabling the social and personal to dynamically interact, producing drama narratives where the body is the primary site for retelling and sharing with an audience his need to be seen. My study includes original drafts of screenplays, produced films and interviews with Monks on his writing and development processes. Demonstrating how Monks uses and refigures his body within a cinematic landscape, I aim to promote discussion on how individual memories function as dynamic and interconnected sources for the screenwriter/filmmaker.
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Mąka-Malatyńska, Katarzyna. "Dokumentalny świat Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 93–116. http://dx.doi.org/10.14746/pt.2017.27.9.

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The article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda's best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films and the conventions of the documentary. Wajda’s overriding aim in using the poetics of documentary is in each case to undertake mise-en-abîme reflections.
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Macedo, Isabel, and Rosa Cabecinhas. "DIASPORIC IDENTITY(IES) AND THE MEANING OF HOME IN AUTOBIOGRAPHICAL DOCUMENTARY FILMS." Revista Lusófona de Estudos Culturais 2, no. 1 (June 17, 2014): 54–71. http://dx.doi.org/10.21814/rlec.55.

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Reconstructed in social contexts, the memories of forced migration experiences such as those lived by filmmakers Diana Andringa and António Escudeiro – who had to leave Angola, the country where they had been born and raised – are now being highlighted, shared, and negotiated in the current audiovisual context. The documentaries analyzed in this work, Escudeiro’s Goodbye, Until Tomorrow (2007) and Andringa’s Dundo, Colonial Memory (2009), allow us to reflect on how these memories of migration experiences are portrayed in contemporary Portuguese cinema. In this article, we argue that autobiographical narratives – oral and visual – are privileged sites for investigating cultural identity and its construction. Our thematic analysis of these two documentaries was complemented by an in-depth interview with the authors. This multi-method approach allowed us to investigate the social and cultural contexts in which they lived, as well as the meanings of home and belonging to the two filmmakers.
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Rossky, Peter J. "An Autobiographical History of Peter J. Rossky." Journal of Physical Chemistry B 124, no. 47 (November 25, 2020): 10594–97. http://dx.doi.org/10.1021/acs.jpcb.0c09811.

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Gelonch, Olga, Neus Cano, Marta Vancells, Marc Bolaños, Laia Farràs-Permanyer, and Maite Garolera. "The Effects of Exposure to Recent Autobiographical Events on Declarative Memory in Amnestic Mild Cognitive Impairment: A Preliminary Pilot Study." Current Alzheimer Research 17, no. 2 (April 25, 2020): 158–67. http://dx.doi.org/10.2174/1567205017666200317093341.

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Background: Individuals with amnestic Mild Cognitive Impairment (aMCI) are at heightened risk of developing Alzheimer's dementia. In recent years, much attention has been given to the search for new interventions to slow down the progression of cognitive decline of these patients. Wearable digital camera devices are one form of new technology that captures images of one’s life events, so they constitute a promising method to be used as a means to stimulate recent autobiographical memory. Objective: This preliminary study investigates the ability of a new cognitive intervention based on exposure to recent autobiographical memory captured by wearable cameras to improve episodic memory in patients with aMCI. Method: Seventeen subjects wore a wearable camera while they went about their daily activities. The images captured were converted into eight different 3-minute films containing the most relevant information of each event. The intervention involved eight individualized weekly sessions during which patients were exposed to a different autobiographical event each week. Besides, several specific questions were formulated within each session. Clinical questionnaires assessing cognitive reserve, premorbid intelligence, depression, and anxiety were administered at baseline. Measures of objective episodic memory were applied at baseline and at post-treatment. Results: Significant improvements were observed at post-treatment in memory measures, and significant associations were found between memory change scores and age and cognitive reserve. Anyway, these associations did not reach statistical significance after adjusting for multiple comparisons. Conclusion: The present study provides preliminary evidence that aMCI patients may benefit from a cognitive intervention program based on re-experiencing recent autobiographical events. However, future studies incorporating a control group will be needed to confirm these preliminary findings.
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Horner, Kierran Argent. "The Equality of the Gaze: The Animal Stares Back in Chris Marker's Films." Film-Philosophy 20, no. 2-3 (October 2016): 235–49. http://dx.doi.org/10.3366/film.2016.0013.

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This article considers a selection of Chris Marker's films in the context of noted differences between Emmanuel Levinas's and Jacques Derrida's positions on the animal as Other, the potential for the animal face. Derrida (2008) himself argues that Levinas ‘did not make the animal anything like a focus of interrogation within his work’ (p. 105). Statements such as this about Levinas's ethics seem to make his position clear. In contrast, Derrida's thinking on the matter of the animal, and in particular human responsibility for them as Other, stands as a thorough and influential body of ethical thought, probing the limited and limiting boundary between human and animal. His autobiographical texts, according to Lynn Turner (2015 , p. 135), welcome animal others. Marker's images, I will argue, address an equity between species through what he refers to as the égalité du regard, an equality in the gaze (of the camera). These images speak to a space beyond themselves and it is within this territory, I will argue, that the animal does have a face, that can occur via that of the human.
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Lebow, Alisa. "Identity Slips: The Autobiographical Register in the Work of Chantal Akerman." Film Quarterly 70, no. 1 (2016): 54–60. http://dx.doi.org/10.1525/fq.2016.70.1.54.

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Chantal Akerman's last film, No Home Movie (2015), deftly distills the filmmaker's key tropes—borders, exile, duration, waiting, transience, Jewishness, home—but none more so than the trope of the mother. Akerman often said that all of her work was autobiographical, even down to where to put the camera and how to frame the scene. This article explores some of her most explicitly autobiographical works (including Letters from Home [1976], Bordering on Fiction: D'Est [1995], Chantal Akerman par Chantal Akerman [1997], Selfportrait / Autobiography: a work in progress [1998], Là-bas [2006], and No Home Movie) to trace the increasingly apparent identity slippages between the filmmaker and her mother. Going well beyond the role of mother as muse, Akerman's films reveal a merger of identification with the mother so profound that her death can be seen to have signaled not only the end of the daughter's filmmaking but potentially of her life as well.
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Dissertations / Theses on the topic "Autobiographical films"

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Wagner, J. R. "Filming the filmmaker : archival and embodied strategies in autobiographical films." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1380191/.

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This thesis analyses autobiographical practices in recent films and addresses significant gaps in existing theory. I argue that the study of autobiographical films requires a new approach that must bring together diverse areas of film theory including theories of documentary, embodiment and haptics, as well as giving due attention to the use of voice. I assess the viability of the category of autobiographical film, and I demonstrate through close analysis how certain films promote complex subjectivities and effect highly emotional spectatorial engagement. I concentrate on two interrelated tendencies in autobiographical practice: the use of archival footage and the self-filming of the filmmaker. In the films I have selected for examination, all of which engage with a moment of personal crisis, the filmmaker is a dominant presence visually on screen or vocally on the soundtrack, or both. I develop a methodology based on Laura U. Marks’s (2000a) observations of archival and embodied strategies in documentary films. I extend her distinction to look also at non-documentary films, demonstrating how autobiography cuts across some of the conventional distinctions between different kinds of filmmaking. Part I focuses on archival strategies, analysing the ways in which various forms of archive can function within autobiographical films. Part II concentrates on embodied strategies, considering the performative body, illness and ageing. I argue that by considering autobiographical films in terms of archival and embodied strategies, we can better understand notions of autobiographical subjectivity, the category of autobiographical films, and the spectatorial engagement that they effect.
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Hegedus, Peter. "Towards a Model for Autobiographical and Socially Conscious Cinematic Documentary in Australia." Thesis, Griffith University, 2008. http://hdl.handle.net/10072/365761.

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The Australian film and television industry is currently undergoing a major transformation, which ultimately will have significant impact on its practitioners. As an Australian filmmaker whose interest and ambition lie in more idiosyncratic and autobiographical films for cinema, I believe a close examination of these filmmaking aspirations in relation to the current codes and practices of the Australian film industry is necessary. Apart from some festivals and media interviews, for filmmakers there is little room for self-reflection. Having the opportunity to conduct a critical and in-depth examination of my work is vital for my professional development, as it signals a necessary shift from emerging filmmaker to the platform of a more mature and established filmmaking practice. The objective of this research work is to investigate whether socially conscious autobiographical cinematic documentary can be a viable filmmaking practice in Australia. This process of investigation is driven by a self-reflexive analysis of my studio projects, challenged, shaped and developed by the work and experience of other film practitioners and documentary theorists whose ideas relate closely to the problem at hand...
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
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Russell, Deirdre Doran. "Narrative identities in contemporary French autobiographical literature and film." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492087.

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This thesis uses concepts of narrative identity to assess the functions and characteristics of storytelling in the articulation of personal and cultural identity in four French literary and filmic autobiographical texts from the 1980s and 1990s: Azouz Begag's novel Le Gone du Chaäba (1986), Claire Denis' film Chocolat (1988), Annie Ernaux's book Journal du dehors (1993) and Dominique Cabrera's film Demain et encore demain (1998). Synthesising various accounts of narrative identity expounded by a range of philosophers, sociologists, psychologists and historians (including Paul Ricceur, David Carr, Jerome Bruner and Adriana Cavarero), the thesis argues that they offer a fruitful approach to autobiographical discourse in terms of the temporal configuration of lived experiences, the blend of historiographical and fictional modes and above all the intersubjective basis of autobiographical identity. The enquiry focuses on evaluating the texts' critical interrogations of the storytelling mode alongside their own uses of narrative. Structured in two parts, the analyses in Part I focus on textual narrative approaches to the intersections and tensions of contested myths and histories in the constitution of hybrid postcolonial identities. Chapter One argues that using a narrative approach to lives and selves to analyse Le Gone du Chaäba yields insights into the formation and expression of identities by individuals located between conflicting traditions and discourses. Chapter Two, on Chocolat, broaches similar territory, but with a greater emphasis on memory processes and the visual dynamics of identity. The analysis probes the film's depiction of the narrative underpinnings of imperialism and its remembrance, as well as how the text develops alternative narrative practices which undermine the totalising knowledge of History in favour of a subjective positioning which foregrounds its own European perspective and limitations. Part II shifts attention to two diaristic works as a means of assessing the validity of the concept of narrative identity regarding texts which appear to eschew the narrative form as the best means of representing lives. Chapter Three, examining Journal du dehors, contends that a spontaneous narrative impulse is crucial to the text's responses to everyday experience and urban public life, and is ultimately expressive of the author's autobiographical identity. Chapter Four focuses on the twofold narrativity of Demain et encore demain: that of living (during the filming), and that of textual revision (during the editing), arguing that the interplay of these two levels and mediation of documentary and fictional registers are central to the therapeutic value of the project. The thesis concludes that while the four texts share a certain scepticism regarding the ideological uses of narrative, they also all express desires to understand and articulate the narrative fabric of lives.
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Hookham, John Henry. "Lives are led: autobiographical film and the new documentary." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/16170/1/John_Hookham_Thesis.pdf.

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This thesis consists of two parts: an autobiographical documentary film and a written exegesis. The film, My Lovers Both, is a record of two journeys back to my native South Africa wherein I confront aspects of my past. These two trips offer a means to explore a personal history around the experiences of immigration, displacement and exile. In the exegesis, I argue that autobiography is changing and rather than offering catalogues of public achievement, contemporary personal histories deal with sites of trauma and challenge dominant narratives of official memory. Likewise, the New Documentary is embracing fictional strategies and moving towards increased subjectivity and introspection. As a consequence, new forms are created that generate novel insights into causality and time. The exegesis goes on to examine the major influences on my work as a filmmaker and then articulates a reflective analysis of the creative process which produced My Lovers Both.
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Hookham, John Henry. "Lives are led: autobiographical film and the new documentary." Queensland University of Technology, 2004. http://eprints.qut.edu.au/16170/.

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This thesis consists of two parts: an autobiographical documentary film and a written exegesis. The film, My Lovers Both, is a record of two journeys back to my native South Africa wherein I confront aspects of my past. These two trips offer a means to explore a personal history around the experiences of immigration, displacement and exile. In the exegesis, I argue that autobiography is changing and rather than offering catalogues of public achievement, contemporary personal histories deal with sites of trauma and challenge dominant narratives of official memory. Likewise, the New Documentary is embracing fictional strategies and moving towards increased subjectivity and introspection. As a consequence, new forms are created that generate novel insights into causality and time. The exegesis goes on to examine the major influences on my work as a filmmaker and then articulates a reflective analysis of the creative process which produced My Lovers Both.
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Moffat, Sandra. "Reading in both directions, a critical autobiographic method of film interpretation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0001/NQ41245.pdf.

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Clark, Ian Alexander. "A clinical neuroscience investigation into flashbacks and involuntary autobiographical memories." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:04f72e37-73fe-4347-8af1-8d8852c05f1b.

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Recurrent and intrusive distressing recollections of trauma are a hallmark symptom of Posttraumatic Stress Disorder (PTSD). The term ‘flashback’ is used in this thesis to refer to vivid, sensory perceptual (predominantly visual images), emotional memories from a traumatic event that intrude involuntarily into consciousness. Furthermore, intrusive image based memories occur in a number of other psychological disorders, for example, bipolar disorder and depression. Clinically, the presence and occurrence of flashbacks and flashback type memories are well documented. However, in terms of the neural underpinnings there is limited understanding of how such flashback memories are formed or later involuntarily recalled. An experimental psychopathology approach is taken whereby flashbacks are viewed on a continuum with other involuntary autobiographical memories and are studied using analogue emotional events in the laboratory. An initial review develops a heuristic clinical neuroscience framework for understanding flashback memories. It is proposed that flashbacks consistent of five component parts – mental imagery, autobiographical memory, involuntary recall, attention hijacking and negative emotion. Combining knowledge of the component parts helped provide a guiding framework, at both a neural and behavioural level, into how flashback memories may be formed and how they return to mind unbidden. Four studies (1 neuroimaging, 3 behavioural) using emotional film paradigms were conducted. In the first study, the trauma film paradigm was combined with neuroimaging (n = 35) to investigate the neural basis of both the encoding and the involuntary recall of flashback memories. Results provided a first replication of a specific pattern of brain activation at the encoding of memories that later returned as flashbacks. This included elevation in the rostral anterior cingulate cortex, insula, thalamus, ventral occipital cortex and left inferior frontal gyrus (during just the encoding of scenes that returned as flashbacks) alongside suppressed activation in the left inferior frontal gyrus (during the encoding of scenes that returned as flashbacks in other participants, but not that individual). Critically, this is also the first study to show the brain activation at the moment of flashback involuntary recall in the scanner. Activation in the middle and superior frontal gyri and the left inferior frontal gyrus was found to be associated with flashback involuntary recall. In the second study, control conditions from 16 behavioural trauma film paradigm experiments were combined (n = 458) to investigate commonly studied factors that may be protective against flashback development. Results indicated that low emotional response to the traumatic film footage was associated with an absence of flashbacks over the following week. The third study used a positive film to consider the emotional valence of the emotion component of the framework. Positive emotional response at the time of viewing the footage was associated with positive involuntary memories over the following week. The fourth study aimed to replicate and extend this finding, comparing the impact of engaging in two cognitive tasks after film viewing (equated for general load). Predictions were not supported and methodological considerations are discussed. Results may have implications for understanding flashbacks and involuntary autobiographical memories occurring in everyday life and across psychological disorders. Further understanding of the proposed components of the clinical neuroscience framework may even help inform targeted treatments to prevent, or lessen, the formation and frequency of distressing involuntary memories.
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Shen, Jiaxi. "Home Video and Nostalgia in Transitional China." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1404.

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This paper is a theoretical and aesthetic exploration of my MFA thesis film- an autobiographical documentary. This documentary was entirely shot in China, with both high-definition footage and Super 8 film; it takes a journey in my hometown to discuss the contemporary housing problem across generations in modern China. By focusing on ordinary family life, the film attempts to reveal the tension and conflicts arising between Chinese people's need for roots and the shifting socioeconomic system. The first part of the paper addresses the highly contrasted filmic textures that establish various temporal dimensions in the film. Taking an autobiographical approach, the first person perspective is employed to connect these times and spaces. The second part of the paper will examine the subjectivity in the film and discuss how the self functions as a storyteller, an outsider and a family member at the same time. The following chapter will visit the physical familiar space. The lens searches for marks and signs left by everyday practices, in order to trace the change of the concept of home in Chinese culture after the invasion of industrialization and consumerism. Such an enormous socioeconomic transformation has eventually given birth to a wave of nostalgia in contemporary China. This nostalgia answers a cultural need that counters the irresistible process of modernization, urbanization and commercialization in the transitional China.
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Mills, Robert. "A comparative analysis of the contemporary documentary films Ryan and Waltz with Bashir as animated representations of autobiographical reality." Thesis, 2010. http://hdl.handle.net/10539/8329.

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Abstract This research paper aims to explore the nature and implications of two animated films where graphic depiction is used to document the complexities of an individual’s account of non-fictional events and situations. Within this position of animation and actuality, a “reality”1 is represented2 by the unreal3 in the form of created (not captured) moving picture images, and therefore the elements found in the live action dominated documentary genre are significantly affected. Animation has become a more acceptable form of documentary filmmaking in the context of postmodernist scepticism about the traditional claims of representation. However, its uniqueness in this situation has led to further developments in the dominant mode of discourse creation within this genre. These developments will be explored in relation to contemporary scholarship in the field of animation. Certain theoretical postulates will then be invoked to set up a comparison between the two films chosen for case study, seen as examples of the subjective4 in animated representations of individuals’ realities, so as to identify and describe their contribution to the contemporary documentary genre. The essential research question may thus be posed as follows: how do these two animated films contribute towards the present notion of actuality representation, through a postmodern autobiographical style, within the developing contemporary documentary genre? 1 What we know, understand and share with each other about the external world. 2 A creation that is a visual or tangible rendering of someone or something. 3 Man-made and invented, not merely captured from reality on a medium like film. 4 Indicating a dependence on personal taste or view. More specifically, the use made of verbal audio interviews within the animation processes in the case studies will be compared in order to address this question, because it is the particular use of interviews (and through them, the contributions to collective memory made by the interviewees) that really sets these two films apart from other autobiographical accounts within animation.
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Reed, Rebecca. "Storytelling and survival in the "Murderer's House": gender, voice(lessness) and memory in Helma Sanders-Brahms' Deutschland, bleiche Mutter." Thesis, 2009. http://hdl.handle.net/1828/1686.

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Helma Sanders-Brahms’ film Deutschland, bleiche Mutter is an important contribution to (West) German cinema and to the discourse of Vergangenheitsbewältigung or “the struggle to come to terms with the Nazi past” and arguably the first film of New German Cinema to take as its central plot a German woman’s gendered experiences of the Second World War and its aftermath. In her film, Deutschland, bleiche Mutter, Helma Sanders-Brahms uses a variety of narrative and cinematic techniques to give voice to the frequently neglected history of non-Jewish German women’s war and post-war experiences.
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Books on the topic "Autobiographical films"

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The autobiographical documentary in America. Madison: University of Wisconsin Press, 2002.

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Conversations with experience: Feminist hermeneutics and the autobiographical films of German women. New York: P. Lang, 2004.

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Conscientious viscerality: The autobiographical stance in German film and video. Berlin: Edition Imorde, 2006.

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Slide, Anthony. A biographical and autobiographical study of 100 silent film actors and actresses. Lexington, Ky: University Press of Kentucky, 2002.

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Weinberger, Gabriele. Nazi Germany and its aftermath in women directors' autobiographical films of the late 1970s: In the murderers' house. San Francisco: Mellen Research University Press, 1992.

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Silent players: A biographical and autobiographical study of 100 silent film actors and actresses. Lexington, Ky: University Press of Kentucky, 2002.

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Weisser-Gleissberg, Janine. Mein Film über mich: Regisseure vor und hinter der Kamera. Berlin: Avinus, 2014.

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American visual memoirs after the 1970s: Studies on gender, sexuality, and visibility in the post-civil rights age. București: Editura Universității din București, 2010.

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universitetsbibliotek, Odense, ed. Fact, fiction and faction. Odense: University Press of Southern Denmark, 2010.

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S, Geduld Marcus, ed. From the heart: Biographical and autobiographical memoirs. Bloomington, IN: AuthorHouse, 2009.

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Book chapters on the topic "Autobiographical films"

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Cai, Shenshen. "Jiang Wenli and Her Autobiographical Film Lan." In Contemporary Chinese Films and Celebrity Directors, 137–54. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-2966-0_7.

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Di Summa, Laura T. "The Autobiographical Documentary." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 627–50. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_27.

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Rondot, Sarah Ray. "Against a Single Story: Diverse Trans* Narratives in Autobiographical Documentary Film." In Trans Narratives, 90–111. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003199465-5.

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Marcus, Laura. "Autofiction and Photography: “The Split of the Mirror”." In Palgrave Studies in Life Writing, 309–25. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_16.

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AbstractThis chapter explores the relationships between life writing, memory, and photography and suggests that the incidence of photographs (actual or described) in life-writing texts is most prominent in autofictional works which possess generic hybridity and often represent identity itself in hybrid terms. The chapter explores images of seeing and mirroring in autobiographical texts, focusing first on transsexual life-writings (including works by Virginia Woolf, Jan Morris, Jay Prosser, and Susan Faludi), in which photographs play a complex role in negotiating continuity and change within the life-course, old and new identities. The second part of the essay turns to recent life-writing texts, including the work of Annie Ernaux (who, like many other French writers, makes substantial use of photographs) and the film and cultural theorist Annette Kuhn.
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"Introduction to Part I." In ReFocus: The Films of Andrei Tarkovsky, edited by Sergey Toymentsev, 13–14. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437233.003.1234.

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This first section of the volume is dedicated to extra-cinematic factors that influenced Tarkovsky’s cinema, such as his biography and his aesthetic views. The section opens with Evgeny Tsymbal’s chapter on the traumatic events in the director’s childhood that continued to haunt him throughout his life. Tarkovsky scholars often point out the autobiographical nature of his cinema and, more specifically, how the divorce of his parents influenced his cinematic representation of marital relationships. According to ...
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Goursat, Juliette. "Contesting Consensual Memory: The Work of Remembering in Chilean Autobiographical Documentaries." In Post-1990 Documentary. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694136.003.0008.

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This chapter analyzes how four films containing a strong autobiographical dimension break with the consensual and normative image the transition fashioned out of the past: En Algún Lugar del Cielo (dir. Alejandra Carmona, 2003), Calle Santa Fe (dir. Carmen Castillo, 2007), Mi Vida con Carlos (dir. Germán Berger-Hertz, 2010), and El Edificio de los Chilenos (dir. Macarena Aguiló, 2010). It argues that the rupture lies in the work of memory these films bring to the foreground. Whereas the transition passively referred to the past and evoked it without question, these filmmakers not only receive an image of the past, they search for it. In this quest, the autobiographical form plays a decisive role, allowing them to reveal the work of remembering and sometimes to undertake a critical scrutiny of memory, as Carmen Castillo does in Calle Santa Fe.
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Tsymbal, Evgeniy. "Tarkovsky’s Childhood: Between Trauma and Myth." In ReFocus: The Films of Andrei Tarkovsky, 15–29. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437233.003.0002.

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This chapter focuses on the traumatic events in the director’s childhood that continued to haunt him throughout his life. Tarkovsky scholars often point out the autobiographical nature of his cinema and, more specifically, how the divorce of his parents influenced his cinematic representation of marital relationships. According to Helena Goscilo, for example, Tarkovsky’s personal trauma of paternal abandonment provides a clue to the narrative structure of his films. For Tsymbal, however, it is the director’s strained relationship with his mother, viewed in the context of André Green’s theory of the dead mother complex, that defines much of his artistic impulse. This chapter also discusses what hardships Tarkovsky experienced during the wartime and how his father’s influence inadvertently helped him choose his future profession.
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Moure, José. "The Incipit of Beaches of Agnès (Les plages d’Agnès)." In Post-cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463727235_ch02.

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Agnès Varda’s recent death at 90 was received by various newspaper or site titles: “Influential French New Wave Filmmaker” (The New York Times), “Beloved French New Wave Director” (The Guardian). Paying tribute to Agnès Varda by analyzing Beaches of Agnès, her 2006 autobiographical film, José Moure draws attention to the fact that it has the singular form of a narrated puzzle from which (the film itself intermingled with its “making of”) a new kind of documentary emerges. (Dominique Chateau, in chapter 14, completes the tribute by considering Varda’s forays into the world of contemporary art.) Through her most recent films, as well as her exhibitions, Agnès Varda can be considered a major figure in post-cinema.
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Pipolo, Tony. "Father Time." In The Melancholy Lens, 12–52. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197551165.003.0002.

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This chapter focuses on Maya Deren, once judged to be the mother of American avant-garde cinema. Three of her films—Meshes of the Afternoon, At Land, and Ritual in Transfigured Time—are studied in light of the autobiographical circumstances that motivated them. Deren’s father died shortly before she became a filmmaker; the chapter argues that the films reflect her conflicted relationship with him and her struggles to overcome them. At Land, in particular, reveals her efforts to come to terms, in the form of a quest, with her dead father. The chapter closely examines the framing, composition, and disjunctive editing of her films, and suggests, from a psychoanalytic perspective, how these formal aspects of Deren’s work can be understood to mirror her internal conflicts.
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Naremore, James. "Warming by the Devil’s Fire (2003)." In Charles Burnett. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520285521.003.0011.

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Warming by the Devil’s Fire is one in a series of films on blues music produced for television by Martin Scorsese. Burnett’s episode is by far the best of the series, in part because it shows the culture of poverty and brutal labor out of which the blues were created. The film contains powerful archival footage of southern black musicians and the world in which they grew up. Interwoven with this material is a fictional but highly autobiographical story about a boy from Los Angeles whose grandmother sends him to visit relatives in Vicksburg, Mississippi. She hopes he will learn about old-time religion, but he falls into the hands of a ne’er-do-well uncle who is a passionate blues historian.
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