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There is a widespread notion in the scholarly literature on autobiographical nonfiction film that there are unchanging, universal models for the investigation of the self through audiovisual media. By insisting on the cultural and historical specificity of that self, the essays in this volume trace the range of politically and theoretically informed taboos, critiques, and proclivities that shape autobiographical filmmaking in German-speaking countries. In doing so, they delineate a new model for contemplating autobiographical film and video. The essays in this volume examine the parameters...