Opacity and Intermediality in the cinema of Marguerite Duras
DOI:
https://doi.org/10.15448/1980-3729.2023.1.45406Keywords:
opacity, intermediality, dysnarrative processesAbstract
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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