Spectator, enter the paradox in Duras's virtual film L'Homme Atlantique.
While much of the criticism of director Marguerite Duras's cinema has tended to prioritise sound over image, the writing process over the cinematographic one, this article argues that at every moment, Duras evokes cinema, its components and its material, thus making Duras a cineaste who thinks cinem...
| Publicado en: | French Screen Studies Vol. 21; no. 1; pp. 34 - 60 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=148210382&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 148210382 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 26438941 MBE1 jtl: French Screen Studies issn: 26438941 maglogo: N pubinfo: dt: Feb2021 vid: 21 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 148210382 10.1080/26438941.2020.1805234 ppf: 34 ppct: 26 formats: fmt: – @attributes: type: T – @attributes: type: P size: 16.3MB tig: atl: Spectator, enter the paradox in Duras's virtual film L'Homme Atlantique. aug: au: Groff, Elizabeth affil: Department of Modern Languages, Roanoke College, Salem, VA, USA su: L'Homme Atlantique (Film) Duras, Marguerite, 1914-1996 Spacetime Motion pictures Cinematography France sug: subj: France L'Homme Atlantique (Film) Duras, Marguerite, 1914-1996 Spacetime Motion pictures Cinematography keyword: apparatus cinema Deleuze Marguerite Duras spectator virtual ab: While much of the criticism of director Marguerite Duras's cinema has tended to prioritise sound over image, the writing process over the cinematographic one, this article argues that at every moment, Duras evokes cinema, its components and its material, thus making Duras a cineaste who thinks cinema. To establish this, the author explores the fundamental questions asked by Duras about the medium of cinema in her film L'Homme Atlantique (1981): What is cinema, and what can it do? She first demonstrates how Duras evokes each element of the apparatus: the screen, the cinema theatre room, the celluloid and the individual image unit on the celluloid – the photogram. She then examines Duras's use of the black shot and demonstrates how it is in fact an image and not a negation or absence of image. Finally, she investigates the spectator and the camera, where Duras's spatio-temporal reconfiguration is fully illuminated. The discussion shows that in L'Homme Atlantique, space-time remains in a potential, non-actualised, virtual state. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of French Screen Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: French Screen Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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