product description:
In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Person theorizes this figure s protean temporality and revisionist capabilities and it considers its import in terms of social representativity and exemplarity.
Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-holocaust testimonial cinemas. The book contextualizes Zavattini s proposal that in neorealism everyone should act his own story in a sort of anti-individualist, public display (
Love in the City and We the Women). It checks the convergence between verité experiments, a heightened self-critique in France and the reception of psychodrama in France (
Chronicle of a summer and
The Human Pyramid) in the late fifties. And, through Bazin, it reflects on the quandaries of celebrity biopics: how the circularity of the star s iconography is checked by her corporeal limits (
Sophia her Own Story and the docudrama
Torero!).
In Person traces a shift from the exemplary and transformative ethos of fifties reenactment towards the un-redemptive stance of contemporary reenactment films such as Lanzmann s
Shoah, Zhang Yuan s
Sons, Andrea Tonacci s
Hills of Chaos. It defines continuities between verite testimony (
Chronicle, and
Moi un Noir) and later para-juridical films such as the
Karski Report and Rithy Panh s
S21, the Khmer Rouge Killing Machine suggesting the power of co-presence and in person actualization for an ethics of viewership.
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