Abstract
This article explores how Jean-Luc Godard's film Vivre sa Vie (1962) sets about deconstructing—rather than reproducing—the autobiographical act within cinema. Central to Godard's exercise is the decision to cast Anna Karina, his wife at the time, as the lead actress. Godard repeatedly demonstrates that the cinematic image functions as an opaque screen, a "mandatory proxy," between actor and viewer that renders a truly authentic autobiography impossible.
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