Abstracts
Résumé
L’auteure aborde le film Césarée de Marguerite Duras (1979), comme lieu privilégié de l’émergence du travail de l’écriture filmique. En refusant de résoudre l’écartement, les ruptures, le film table sur le conflit et plutôt que de le taire, le fait proliférer. Le lisible devient comme autre du visible et le visible, autre du lisible.
Abstract
The author approaches the film Césarée by Marguerite Duras, as a privileged position from which to stydy the emergence of a work of film writing. Refusing to resolve the distance and the ruptures, the film is based on conflict and rather than hide them, the film chooses to multiply them. Thus, that which is written becomes other than that which is seen, and that which is seen, becomes other thanthat which is written.