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International audience; The materialization of autofiction in cinematic practice allows a new identification, adding to the literary author-narrator-character that of the actor. The filmmaker then plays himself generating multiple and interesting procedures of this autofictional presence only possible in audiovisual narration. This article aims to analyse these procedures in French cinematic creation, in which the exhaustiveness and relevance of literary autofiction have a determining influence. The analysis of this practice establishes a double axis. The first classifies the films in a progressive evolution from the factualisation of the fictional (documentary starting point) to the fictionalisation of the factual (fictional starting point). The second analyses them regarding the filmmaker's presence: from the cinéaste-filmeur(e) who stands behind the camera and records the images himself to the cinéaste-acteur/actrice who exclusively appears in front of it. This cinematic exploration of the self situates the filmmaker in all possible positions, developing autofictional procedures that delve into the concepts of postmodern identity and alterity using parody and irony as efficient tools. In this laboratory of the self, filmmakers experiment with the topics they address-cinematic reflection, creative search, intimate self-knowledge, ideological self-criticism, social and political criticism-as well as they create valuable materialisations of resilience, empathy, sisterhood and even pedagogy.

The materialization of autofiction in cinematic practice allows a new identification, adding to the literary author-narrator-character that of the actor. The filmmaker then plays himself generating multiple and interesting procedures of this autofictional presence only possible in audiovisual narration. This article aims to analyse these procedures in French cinematic creation, in which the exhaustiveness and relevance of literary autofiction have a determining influence. The analysis of this practice establishes a double axis. The first classifies the films in a progressive evolution from the factualisation of the fictional (documentary starting point) to the fictionalisation of the factual (fictional starting point). The second analyses them regarding the filmmaker’s presence: from the cinéaste-filmeur(e) who stands behind the camera and records the images himself to the cinéaste-acteur/actrice who exclusively appears in front of it. This cinematic exploration of the self situates the filmmaker in all possible positions, developing autofictional procedures that delve into the concepts of postmodern identity and alterity using parody and irony as efficient tools. In this laboratory of the self, filmmakers experiment with the topics they address –cinematic reflection, creative search, intimate self-knowledge, ideological self-criticism, social and political criticism– as well as they create valuable materialisations of resilience, empathy, sorority and even pedagogy.

International audience; Yves Navarre’s oeuvre is one of the greatest representatives of the use of epistolary material in French postmodern literature. L’Espérance de beaux voyages (1984) is his only epistolary novel, exclusively composed of letters. The present article aims to analyse how the author creates a roman épistolaire indécidable in which the letter materialises the different elements of literary postmodernity –renarrativization, discontinuity and hypertextuality– until reaching its saturation. Thus, Navarre generates an experience of the epistolary genre in which the diversel postmoderne arises from the transformation of fiction and autofiction into an auto/alter-fiction that allows to explore the writing alterity.; La obra literaria de Yves Navarre es una de las máximas representantes del uso de la materia epistolar en la literatura francesa de la posmodernidad. L'Espérance de beaux voyages (1984) es su única obra propiamente epistolar, exclusivamente compuesta por misivas. El presente artículo pretende analizar cómo el autor crea un roman épistolaire indécidable en el que la carta materializa los diferentes elementos de la posmodernidad literaria -renarrativización, discontinuidad e hipertextualidad- hasta alcanzar su saturación. Navare genera así una experiencia límite del género epistolar donde el diversel posmoderno surge de la transformación de la ficción y la autoficción en una auto/alter-ficción que permite explorar la alteridad escritural.; L'oeuvre littéraire d'Yves Navarre est l'une des plus grandes représentantes de l'utilisation de la matière épistolaire dans la littérature française postmoderne. L'Espérance de beaux voyages (1984) est son seul roman proprement épistolaire, composé exclusivement par lettres. Le présent article se propose d'analyser comment l'auteur crée un roman épistolaire indécidable dans lequel la lettre matérialise les différents éléments de la postmodernité littéraire -renarrativisation, discontinuité et hypertextualité- jusqu'à atteindre sa saturation. Ainsi, Navarre génère une expérience limite du genre épistolaire où le diversel postmoderne surgit de la transformation de la fiction et l'autofiction en une auto/alter-fiction qui permet l'exploration de l'altérité scripturale.

International audience; De las diversas prácticas literarias que conforman l'extrême contemporain de la literatura francófona, l'autofiction es sin duda una de las más fértiles, tanto en su propia producción como en el trabajo teórico que suscitan. Desde que en 1977 apareciera por primera vez esta expresión en la contraportada de Fils de Serge Doubrovsky, diferentes autores han desarrollado y discutido este concepto dentro de la teoría literaria. (Colonna, 1989;, entre otros). El propio Doubrovsky, tres décadas después de acuñar el término, defiende la actualidad de l'autofiction: "L'autofiction, c'est la forme postmoderne de l'autobiographie" (Doubrovsky, 2007: 64-65). L'autofiction se convierte así en encrucijada literaria de la Posmodernidad, por la que transitan multitud de autores: Hervé Guibert, Annie Ernaux, Camille Laurens, Philippe Forest, Christine Angot, Frédéric Beigbeder, Catherine Cusset o Chloé Delaume, entre otros muchos. Arnaud Genon e Isabelle Grell mantienen actualizada este espacio crítico en la web autofiction.org, cuyas últimas aportaciones han surgido del segundo congreso de Ceressy (2012) dedicado al mismo: Lisières de l'autofiction (2016), cuatro años después de la celebración del primero en 2008, Autofiction(s) (2010). Un espacio teórico, sin duda controvertido y polémico, que exploran igualmente los propios autores, y que en nuestra opinión Chloé Delaume analiza con acierto en La règle du je: "L'autofiction est un genre expérimental. Dans tous les sens du terme. C'est un laboratoire […] Un vrai laboratoire. D'écriture et de vie" (Delaume, 2010: 20). Siguiendo la misma caracterización definitoria impuesta por la Posmodernidad, surge una autoficción fílmica de idéntico interés y relevancia, pero sin duda menos profusa que el fenómeno literario.

Yves Navarre's literary work is one of the greatest materialisations of epistolary writing in postmodern literature. This article aims to analyse the different elements and procedures through which the epistolary matter becomes a practice of postmodern writing that continues to evolve throughout his prolix literary oeuvre. First, the epistolary writing of fictional characters becomes an element of the renarrativisation that participates in processes of discontinuity: a progressive fragmental writing –from his first novel Lady Black (1971) to the last Dernier dimanche avant la fin du siècle (1994)– and the hybridisation with diaristic writing and literary metadiscourse –Le Petit Galopin de nos corps (1977), Kurwenal ou la Part des êtres (1977), Le Temps voulu (1979), Romances sans paroles (1982). Besides, these same practices are brought into the autofictional space, where the possibilities of hypertextuality are further deepened by quotation, intertext and metadiscourse –Biographie (1981), Romans, un roman (1988). Finally, the two spaces converge in an auto/alter-fiction in which postmodern diversel materialises through experimentation with alterity, giving rise to récits indécidables –L’Espérance de beaux voyages (1984), La terrasse des audiences au moment de l’adieu (1990). Throughout his entire literary work, and in all the aforementioned spaces, the abundant metadiscourse about epistolarity allows to draw a sort of postmodern phenomenology of epistolary activity.

Yves Navarre's literary work is one of the greatest materialisations of epistolary writing in postmodern literature. This article aims to analyse the different elements and procedures through which the epistolary matter becomes a practice of postmodern writing that continues to evolve throughout his prolix literary oeuvre. First, the epistolary writing of fictional characters becomes an element of the renarrativisation that participates in processes of discontinuity: a progressive fragmental writing –from his first novel Lady Black (1971) to the last Dernier dimanche avant la fin du siècle (1994)– and the hybridisation with diaristic writing and literary metadiscourse –Le Petit Galopin de nos corps (1977), Kurwenal ou la Part des êtres (1977), Le Temps voulu (1979), Romances sans paroles (1982). Besides, these same practices are brought into the autofictional space, where the possibilities of hypertextuality are further deepened by quotation, intertext and metadiscourse –Biographie (1981), Romans, un roman (1988). Finally, the two spaces converge in an auto/alter-fiction in which postmodern diversel materialises through experimentation with alterity, giving rise to récits indécidables –L’Espérance de beaux voyages (1984), La terrasse des audiences au moment de l’adieu (1990). Throughout his entire literary work, and in all the aforementioned spaces, the abundant metadiscourse about epistolarity allows to draw a sort of postmodern phenomenology of epistolary activity.

Yves Navarre's literary work is one of the greatest materialisations of epistolary writing in postmodern literature. This article aims to analyse the different elements and procedures through which the epistolary matter becomes a practice of postmodern writing that continues to evolve throughout his prolix literary oeuvre. First, the epistolary writing of fictional characters becomes an element of the renarrativisation that participates in processes of discontinuity: a progressive fragmental writing –from his first novel Lady Black (1971) to the last Dernier dimanche avant la fin du siècle (1994)– and the hybridisation with diaristic writing and literary metadiscourse –Le Petit Galopin de nos corps (1977), Kurwenal ou la Part des êtres (1977), Le Temps voulu (1979), Romances sans paroles (1982). Besides, these same practices are brought into the autofictional space, where the possibilities of hypertextuality are further deepened by quotation, intertext and metadiscourse –Biographie (1981), Romans, un roman (1988). Finally, the two spaces converge in an auto/alter-fiction in which postmodern diversel materialises through experimentation with alterity, giving rise to récits indécidables –L’Espérance de beaux voyages (1984), La terrasse des audiences au moment de l’adieu (1990). Throughout his entire literary work, and in all the aforementioned spaces, the abundant metadiscourse about epistolarity allows to draw a sort of postmodern phenomenology of epistolary activity.

Yves Navarre's literary work is one of the greatest materialisations of epistolary writing in postmodern literature. This article aims to analyse the different elements and procedures through which the epistolary matter becomes a practice of postmodern writing that continues to evolve throughout his prolix literary oeuvre. First, the epistolary writing of fictional characters becomes an element of the renarrativisation that participates in processes of discontinuity: a progressive fragmental writing –from his first novel Lady Black (1971) to the last Dernier dimanche avant la fin du siècle (1994)– and the hybridisation with diaristic writing and literary metadiscourse –Le Petit Galopin de nos corps (1977), Kurwenal ou la Part des êtres (1977), Le Temps voulu (1979), Romances sans paroles (1982). Besides, these same practices are brought into the autofictional space, where the possibilities of hypertextuality are further deepened by quotation, intertext and metadiscourse –Biographie (1981), Romans, un roman (1988). Finally, the two spaces converge in an auto/alter-fiction in which postmodern diversel materialises through experimentation with alterity, giving rise to récits indécidables –L’Espérance de beaux voyages (1984), La terrasse des audiences au moment de l’adieu (1990). Throughout his entire literary work, and in all the aforementioned spaces, the abundant metadiscourse about epistolarity allows to draw a sort of postmodern phenomenology of epistolary activity.