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Documenting CityscapesUrban Change in Contemporary Non-Fiction Film$
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Iván Villarmea Álvarez

Print publication date: 2015

Print ISBN-13: 9780231174534

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231174534.001.0001

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Self-Portrait as Self-Fiction

Self-Portrait as Self-Fiction

Chapter:
(p.153) Chapter Eight Self-Portrait as Self-Fiction
Source:
Documenting Cityscapes
Author(s):

Iván Villarmea Álvarez

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231174534.003.0009

This chapter explores recent trends in the fake documentary, otherwise known as “self-fiction”, via Manoel de Oliveira's Porto of My Childhood (2001) and Guy Maddin's My Winnipeg (2007). In both films, cinema in general and self-fiction in particular are understood as a means of constructing and expressing their respective identities and worldviews, in which there seems to be no separation between memory and imagination. Porto of My Childhood and My Winnipeg are thus closer to fiction than to documentary because they depict a cityscape that has definitely become a mindscape, as already happened in the case of autobiographical landscaping. Therefore, in this third type of urban self-portrait, the representation of the lived city requires the creation of its fictional double, which can only exist as a “city-character” on the screen.

Keywords:   Porto of My Childhood, My Winnipeg, city-character, fake documentary, self-fiction, autobiographical landscaping, urban self-portrait

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