The subject is marked by way of autobiographical and performative gestures; an unstable, yet productive figure which is constructed, summoned up, and repressed. Subjectivity has become a central production factor. Stories are evoked via (supposed) autobiographical settings, fictional series are introduced by home movie trailers. A critical conception of the subject meets an anthropomorphic camera and questions of memory, alterity, and trauma affect film as a form of cultural memory. Subjectively narrated experimental (auto)biographies, diary films, shifting performative figures, and “biomythographies” enriched with documentary gestures are all to be shown. Narrative discoveries are inherent to auto-ethnographic strategies. The relationships of the image, truth, and self-evidence of non-fictional forms of narrative require that the documentary gesture be clarified. A screening with examples from the Arsenal collection. (mb) (13. & 20.11.)
