The literature standing behind the concept of autobiography, as it was consecrated in France by Philippe Lejeune at the beginning of the 70’s, slightly becomes dysfunctional if we take into account the paradigmatic switch triggered by non-literary, filmic or photographical autobiographies. The retrospective autodiegetic discourse of Jean-Paul Sartre, Hervé Guibert or Jacques Derrida places itself at the confluence of several artistic practices that disqualify the structure and limits of a genre that can only be apprehended in terms of intermediality and transgressivity.