1. To Act or to Perform: Distinguishing Filmic Autobiography
  2. Nadja Gernalzick
  3. pp. 1-13
  4. DOI: 10.1353/bio.2006.0022
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  1. Autobiography and the Autobiographical in the Bill Douglas Trilogy
  2. Guy Barefoot
  3. pp. 14-29
  4. DOI: 10.1353/bio.2006.0016
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  1. The Influence and Treatment of Autobiography in Confessional Art: Observations on Tracey Emin's Feature Film Top Spot
  2. Christine Fanthome
  3. pp. 30-42
  4. DOI: 10.1353/bio.2006.0020
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  1. The Mandatory Proxy
  2. Peter Mathews
  3. pp. 43-53
  4. DOI: 10.1353/bio.2006.0023
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  1. The Immigrant Experience in Jonas Mekas's Diary Films: A Chronotopic Analysis of Lost, Lost, Lost
  2. Efren Cuevas
  3. pp. 54-72
  4. DOI: 10.1353/bio.2006.0019
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  1. Carousel: Erwin, Elvira, Armin, Fassbinder, and All the Others' Auto/biographies
  2. Milan Pribisic
  3. pp. 73-85
  4. DOI: 10.1353/bio.2006.0024
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  1. Lovers, Filmmakers, and Nazis: Fritz Lang's Last Two Movies as Autobiography
  2. Michael Tratner
  3. pp. 86-100
  4. DOI: 10.1353/bio.2006.0029
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  1. Playing Doctor: Francois Truffaut's L'Enfant sauvage and the Auteur/Autobiographer as Impersonator
  2. Julie F. Codell
  3. pp. 101-122
  4. DOI: 10.1353/bio.2006.0017
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  1. Removing the Experience: Simulacrum as an Autobiographical Act in American Splendor
  2. Jason Sperb
  3. pp. 123-139
  4. DOI: 10.1353/bio.2006.0027
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  1. The Personal Cinema of Maya Deren: Meshes of the Afternoon and Its Critical Reception in the History of the Avant-Garde
  2. Theresa L. Geller
  3. pp. 140-158
  4. DOI: 10.1353/bio.2006.0021
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  1. Vitagraphic Time
  2. Garrett Stewart
  3. pp. 159-192
  4. DOI: 10.1353/bio.2006.0028
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  1. Reviewed Elsewhere
  2. pp. 193-269
  3. DOI: 10.1353/bio.2006.0025
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  1. Keaton's Leap: Self-Projection and Autobiography in Film
  2. Linda Haverty Rugg
  3. pp. v-xiii
  4. DOI: 10.1353/bio.2006.0026
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  1. Contributors
  2. pp. 270-271
  3. DOI: 10.1353/bio.2006.0018
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