摘要：The performative screen and its look on audiovisual self-portraits. In the context of the film
studies, the theme of self-portraiture is often explored in its relationship with the self-documentary
and auto-ethnographic tendencies which, in the contemporary mediascape, have led to a reversal
of the role of the spectator, involving him/her in a process of emancipation from the
predominantly attentive position. Like home movies and social movies demonstrate, the spectator
can now perform a series of practices that allow him/her to become exposed subject through the
images of himself and produced by himself. The spectatorial look on the screen is infact involved
in a process of reversibility and oscillation between the practice of making self-portraits and the
self-portrait objects, becoming, at the very end of the creative process, the gaze of the screen itself.
The particular relationship between the audiovisual configurations of the self and the displayscreen,
progressively inserted in a performative and reflexive rhetoric that significantly departs
from the pictorial and literary self-portraits, is what we are investigating.
其他摘要：The performative screen and its look on audiovisual self-portraits. In the context of the film studies, the theme of self-portraiture is often explored in its relationship with the self-documentary and auto-ethnographic tendencies which, in the contemporary mediascape, have led to a reversal of the role of the spectator, involving him/her in a process of emancipation from the predominantly attentive position. Like home movies and social movies demonstrate, the spectator can now perform a series of practices that allow him/her to become exposed subject through the images of himself and produced by himself. The spectatorial look on the screen is infact involved in a process of reversibility and oscillation between the practice of making self-portraits and the self-portrait objects, becoming, at the very end of the creative process, the gaze of the screen itself. The particular relationship between the audiovisual configurations of the self and the display-screen, progressively inserted in a performative and reflexive rhetoric that significantly departs from the pictorial and literary self-portraits, is what we are investigating
