ABSTRACT

This article presents a study of the creative process of Silverlake Life: The View from Here (Tom Joslin and Peter Friedman, 1993), from the perspective of its authorial multiplicity. Silverlake Life is regarded as one of the main representatives of autobiographical documentary in the 1990s. The specificity of the film is found in the circumstances of the death of the filmmaker-autobiographer, Tom Joslin. By recognizing a tripartite process of creative autonomy among Tom Joslin, Mark Massi and Peter Friedman, this article outlines both how each individual contributed to the achievement of the film and how Silverlake Life preserves its status as autobiographical documentary despite the tragic deaths of both Joslin and Massi before the film’s completion. This work of comprehending the film’s collaborative autobiographical process was made possible through the analysis of three extratextual sources: the original proposal for the film, written by Tom Joslin and which appears at the beginning of the narrative; the written diary of Mark Massi, Joslin’s widower; and extensive interviews with Peter Friedman on the subject.

摘要

本文从作者多样性的角度对《银湖生活：从这里看》 （Tom Joslin 和 Peter Friedman，1993）的创作过程进行了研究。《银湖人生》被视为20世纪90年代自传体纪录片的主要代表之一。这部电影的特殊性体现在电影制片人兼自传作家汤姆·乔斯林的死亡环境中。通过认识汤姆·乔斯林、马克·马西和彼得·弗里德曼之间的三方创作自主过程，本文概述了每个人如何为电影的成就做出贡献，以及银湖生活如何尽管乔斯林和马西在影片完成前不幸去世，但它仍保留了自传纪录片的地位。这项理解电影合作自传过程的工作是通过对三个文本外来源的分析而得以实现的：汤姆·乔斯林撰写的电影最初提案，出现在叙事的开头；乔斯林的鳏夫马克·马西的日记；以及对彼得·弗里德曼（Peter Friedman）关于这个主题的广泛采访。