ABSTRACT
This chapter studies the use of the enunciative device of the (self-)portrait through the analysis of three works. Jane B. par Agnès V. (Agnès Varda, 1987) creates different female portraits, documentary and fictional, to reflect on women’s identity and develop a practice of female intersubjectivity and artistic sisterhood, producing critical thinking about female stereotypes. JLG/JLG, autoportrait de décembre (Jean-Luc Godard, 1994) generates a philosophical identity self-portrait of the author to reflect on his ethical and aesthetic demands, exploring the dialectic between cinematic image and videographic image. Leçons de ténèbres (Vincent Dieutre, 1999) creates the self-portrait regarding gay identity as a vindication of the need to make its reality visible, confronting the self-portrait in Super 8 mm with the videographic image of paintings.
