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The paper addresses the presentation of self in the documentary classic Grey Gardens (The Maysles, USA 1976). Drawing from the work of the American sociologist Erving Goffman and particularly from the Hungarian film theorist Béla Balázs and his outline of the facial close-up, the paper elaborates on the presentation of self on the axis of framing and performing. Instead of emphasizing the premises of authenticity and true character – as is customary in analyses of the film – the paper proposes to view Grey Gardens in terms of asymmetric communication. The paper argues that it is in the asymmetric disposition of framing and performing a self that the documentary carries out the making of the Beales of Grey Gardens into legends.
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