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ABSTRACT - "The Metamorphosis of Birds" (Catarina Vasconcelos, 2020, Portugal) is a hybrid non-fiction
film in which the director represents herself and the members of her immediate family, who are an extension
of her, in an intermedial and deliberately lyrical fashion. Starting with Bill Nichols’s performative
modality of documentary, the article will shed light on how the metaphorical network that links mother
(roots and growth), father (life and death) and birds (freedom and creativity) in the film is developed in
connection to the filmmaker and her existence, in a profoundly personal and intimate manner. This performative
autobiographical stance exists midway between the real and the fictional, i.e., in fully autofictional
territory. Permeated with autobiographical details but resorting to imagination, the film seems to be a combination of both “biographical” and “specular” autofiction according to Luz Elena Herrera Zamudio (2007),
presupposing lyricism, on the one hand, and reversibility between the real and the imaginary, on the other.
Mirroring is the core performative act which demonstrates that the creator is an integral part of her work
(film as text) and vice versa.
Descrição
Palavras-chave
Self-representation Autofiction Autobiography Documentary The metamorphosis of birds Catarina Vasconcelos
Contexto Educativo
Citação
Editora
Center for Transdisciplinary Studies, Babeș-Bolyai University