Abstract

This article explores how Jean-Luc Godard's film Vivre sa Vie (1962) sets about deconstructing—rather than reproducing—the autobiographical act within cinema. Central to Godard's exercise is the decision to cast Anna Karina, his wife at the time, as the lead actress. Godard repeatedly demonstrates that the cinematic image functions as an opaque screen, a "mandatory proxy," between actor and viewer that renders a truly authentic autobiography impossible.

pdf

Additional Information

ISSN
1529-1456
Print ISSN
0162-4962
Pages
pp. 43-53
Launched on MUSE
2006-06-28
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.