Abstract

I look at three recent documentaries in which the self is framed as an interactive viewer of images that fragment the narratives of these filmmakers’ autobiographies. In Agnès Varda’s The Beaches of Agnès, Ross McElwee’s Time Indefinite, and Jonathan Caouette’s Tarnation, the directors’ use of and engagement with key images stages the tension between narrative coherence and a non-unified autobiographical self.

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Additional Information

ISSN
2151-7290
Print ISSN
0898-9575
Pages
pp. 212-241
Launched on MUSE
2013-12-24
Open Access
No
Archive Status
Archived
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