In this Issue

Table of Contents

Keaton's Leap: Self-Projection and Autobiography in Film

Linda Haverty Rugg
pp. v-xiii
DOI: https://doi.org/10.1353/bio.2006.0026
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Articles

To Act or to Perform: Distinguishing Filmic Autobiography

Nadja Gernalzick
pp. 1-13
DOI: https://doi.org/10.1353/bio.2006.0022
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Autobiography and the Autobiographical in the Bill Douglas Trilogy

Guy Barefoot
pp. 14-29
DOI: https://doi.org/10.1353/bio.2006.0016
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The Influence and Treatment of Autobiography in Confessional Art: Observations on Tracey Emin's Feature Film Top Spot

Christine Fanthome
pp. 30-42
DOI: https://doi.org/10.1353/bio.2006.0020
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The Mandatory Proxy

Peter Mathews
pp. 43-53
DOI: https://doi.org/10.1353/bio.2006.0023
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The Immigrant Experience in Jonas Mekas's Diary Films: A Chronotopic Analysis of Lost, Lost, Lost

Efren Cuevas
pp. 54-72
DOI: https://doi.org/10.1353/bio.2006.0019
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Carousel: Erwin, Elvira, Armin, Fassbinder, and All the Others' Auto/biographies

Milan Pribisic
pp. 73-85
DOI: https://doi.org/10.1353/bio.2006.0024
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Lovers, Filmmakers, and Nazis: Fritz Lang's Last Two Movies as Autobiography

Michael Tratner
pp. 86-100
DOI: https://doi.org/10.1353/bio.2006.0029
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Playing Doctor: Francois Truffaut's L'Enfant sauvage and the Auteur/Autobiographer as Impersonator

Julie F. Codell
pp. 101-122
DOI: https://doi.org/10.1353/bio.2006.0017
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Removing the Experience: Simulacrum as an Autobiographical Act in American Splendor

Jason Sperb
pp. 123-139
DOI: https://doi.org/10.1353/bio.2006.0027
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The Personal Cinema of Maya Deren: Meshes of the Afternoon and Its Critical Reception in the History of the Avant-Garde

Theresa L. Geller
pp. 140-158
DOI: https://doi.org/10.1353/bio.2006.0021
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Vitagraphic Time

Garrett Stewart
pp. 159-192
DOI: https://doi.org/10.1353/bio.2006.0028
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Reviewed Elsewhere

Reviewed Elsewhere

pp. 193-269
DOI: https://doi.org/10.1353/bio.2006.0025
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Contributors

Contributors

pp. 270-271
DOI: https://doi.org/10.1353/bio.2006.0018
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