Opacity and Intermediality in the cinema of Marguerite Duras

Authors

DOI:

https://doi.org/10.15448/1980-3729.2023.1.45406

Keywords:

opacity, intermediality, dysnarrative processes

Abstract

Marguerite Duras’s cinema, especially her films of the 1970s, is opposed to mainstream cinema through several processes, such as breaking the realistic and referential illusion, or the principle of transparency. For example, the appearance of filming equipment in the staging, or the camera, highlights the opacity of his cinema. We therefore propose to question Durassian cinema according to its dysnarrative processes, as well as its intermedial relationship with literature.

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Author Biography

Luciene Guimarães de Oliveira, Federal University of São João Del-Rey (UFSJ), São João Del-Rey, MG, Brazil

PhD from the Littérature et arts de la scène et de l’écran program at Université Laval, in Québec, Canada. Member of CRIalt – Center de recherches Intermédiales sur les Arts, les Lettres et les techniques, at the Université de Montréal, Canada. Member of the Intermídia group at the Federal University of Minas Gerais (UFMG). Postdoctoral student at the Federal University of São João Del-Rey (UFSJ-PROMEL), in São João Del-Rey, MG, Brazil. CAPES scholarship.

References

AGATHA et les lectures illimitées. Direção: Marguerite Duras. Les Productions Berthemont, Des Femmes Filment. Intérpretes: Bulle Ogier, Yann Andrea. Institut National de l’Audio-visuel, [1981], son, color, 83 minutes.

AUMONT, Jacques. Le cinéma et la mise en scène. Paris: Armand Colin, 2010.

AUMONT, Jacques; MARIE, Michel, Dictionnaire théorique et critique du cinéma. Paris: Armand Colin, 2016.

BOLTER, Jay David; GRUSIN, Richard. Remediation. Understanding New Media. Massachusetts: MIT Press, 1999. DOI: https://doi.org/10.1108/ccij.1999.4.4.208.1

DURAS, Marguerite. OEuvres completes. Édition publiée sous la direction de Gilles Philippe. Avec la collaboration de Bernard Alazet, Christiane Blot-Labarrère, Marie-Hélène Boblet, Brigitte Ferrato-Combe, Robert Harvey et Julien Piat. Paris: Bibliothèque de la Pléiade, 2011.

DURAS, Marguerite. L’amant de la Chine du Nord. Paris, Gallimard, 1991.

DURAS, Marguerite, Le livre dit, entretiens de Duras film. Édition établie, présentée et annotée par Joëlle Pages-Pindon. Paris, Gallimard, 2014.

JENKINS, Henry. La Culture de la convergence. Des médias au transmédia. trad. de l’anglais par C. Jaquet. Paris: Armand Colin: Ina Éd., coll. Médiacultures, 2013.

LARRUE, Jean-Marc; VITALI-ROSATI, Marcello. Media do not exist – Performativity and mediating conjunctures. Amsterdam: Institute of Network Cultures, 2019.

ROYER, Michelle. The cinema of Marguerite Duras: multisensoriality and female subjectivity. Edinburgh: Edinburgh University Press, 2019. DOI: https://doi.org/10.1515/9781474427869

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Published

2024-03-11

How to Cite

Guimarães de Oliveira, L. (2024). Opacity and Intermediality in the cinema of Marguerite Duras. Revista FAMECOS, 30(1), e45406. https://doi.org/10.15448/1980-3729.2023.1.45406

Issue

Vol. 30 No. 1 (2023): Single Volume

Section

DOSSIER: French Cinematography: from the Lumières & Méliès to VR & AI

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