Gillian Wearing / 吉莉安·韦尔林 · premiered 2010 / released 2011
Self Made
Self Made
Documentary performance training and fictional roles alternate between clarity and opacity; identity shifts continuously through performance.
Film details
- Original title
- Self Made
- Director
- Gillian Wearing / 吉莉安·韦尔林
- Year
- premiered 2010 / released 2011
- Region
- United Kingdom
Analysis and scene sources
Shots and scenes
Primary texts, scholarship, and locators
Theory coordinate: Deamer, 2016, pp. 309–313
- 01Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images
Detailed reconstruction with a film index; the nine-cell grid and eleven film cases carry the evidence status of Deamer’s later interpretation.
Open the atlas source record →
This film in books and research
The Cinematic Body · Further discussion
Desire exceeds identity; costs are still distributed by identity
pp. 72–73
Claim: Molecular mobility can undo naturalized identities, but it cannot cancel the unequal distribution of law, labor, medicine, and violence through identity categories.
Extension: Rizzo tests Deleuzian embodiment and becoming through feminist analysis; Clover returns cross-gendered spectator identification, pain, and survival to the institutions of horror genre.
Tension: The book's molecular transsexuality and claim that all desire is homosexual are 1993 philosophical provocations, not present-day trans identity theory, and they cannot erase communities, consent, or material sanctions.
Rizzo, Deleuze and Film: A Feminist IntroductionClover, Men, Women, and Chain Saws
Viewing gateways and editions
- BFI Playerplayer.bfi.org.ukOpen film page ↗
- Source type
- Institutional source