ABSTRACT
This chapter studies the use of the hybridisation of different enunciation through the analysis of three works. Lettres d’amour en Somalie (Frédéric Mitterrand, 1982) is created from the hybridisation between the epistolary intimacy and the diaristic social and political reality to produce critical thinking about the need to make the political question a personal cause. Du verbe aimer (Mary Jiménez, 1985) generates reflection on identity trauma, and the cinematic possibilities for overcoming it, through the dialectics between past autobiography and the present self-portrait. Les Plages d’Agnès (Agnès Varda, 2008) presents the dissolution of that dialectics through the destruction of temporality. Autobiography is updated through present self-portraits (installation, performance and recreation) that generate reflection on creation, time and memory.
