ABSTRACT
This chapter studies the use of autofiction as enunciative device through the analysis of three works. Lettre pour L… (Roman Goupil, 1992) instrumentalises autofiction to generate an audiovisual thinking process that reflects on the love–cinema–politics dialectics through the collage of different enunciations, genres, materials and enunciative positions. Pourquoi (pas) le Brésil (Lætitia Masson, 2004) creates autofiction from the adaptation of Christine Angot’s Pourquoi le Brésil (2002), developing its audiovisual thinking through a double juxtaposition: between nonfiction and autofiction, and between nonfiction and fiction. Viaggio nella dopo-storia (Vincent Dieutre, 2015) is an autofiction that appropriates Rossellini’s Viaggio in Italia (1954) to create a mise-en-post-history, an audiovisual thinking process on the evolution and divergences between cinematic modernity and audiovisual postmodernity.
