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By Alisa Lebow

When a filmmaker makes a movie with herself as a topic, she is already divided as either the subject material of the movie and the topic making the movie. the 2 senses of the note are instantly in play -- the problem and the maker -- therefore the 2 methods of being subjectified as either topic and item. Subjectivity reveals its filmic expression, no longer strangely, in very own methods, but it truly is still formed through and in terms of collective expressions of identification which may rework the cinema of 'me' into the cinema of 'we'. top students and practitioners of first-person movie are introduced jointly during this groundbreaking assortment to contemplate the theoretical, ideological, and aesthetic demanding situations wrought by way of this manner of filmmaking in its different cultural, geographical, and political contexts.

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DR. ALEXANDRA JUHASZ, Pitzer College, US I am a Professor of Media Studies at Pitzer College, teaching video production and media theory. My books include AIDS TV, Women of Vision, and F is for Phony (co-edited with Jesse Lerner). I produced Cheryl Dunye’s first person fake documentary feature films The Watermelon Woman (1995) and The Owls (2010) as well as my own autobiographical works on AIDS, feminist families and the Iraq War. I recently published an online born-digital ‘video-book’, Learning from YouTube (available for free from the MIT Press, 2011) about my experiences learning on and about YouTube with my students and day-to-day YouTubers.

3 For years after Trone died, I often recounted something of his story to friends, as a way of keeping his memory alive. In the course of time, I began to think of making a film about him but without the faintest idea of quite how to do it. One friend – a film producer who came up with the title I have now adopted – suggested a low-budget feature film and offered to raise the money, but I said no, I couldn’t do that, I couldn’t see myself fictionalising his life. Then two things happened which made a documentary film possible.

Most recently, I co-edited two volumes of essays: The Cause of Cosmopolitanism: Dispositions, Models, Transformations (with Patrick O’Donovan; Peter Lang, 2011) and Antonioni: Centenary Essays (with John David Rhodes; BFI, 2011). INTRODUCTION Alisa Lebow ‘The Cinema of Me’ is something of a deceptive title for a collection of essays about first person documentary films. Deceptive in that it preys on the all-too-readily accepted impression of first person films as self-absorbed, myopic, ego-driven films that only a mother could love, despite the fact that the films discussed in this book, almost without exception, defy such expectations.

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