Etude sur le film comme nouvel objet cinématographique chez Marguerite Duras et Robert Bresson
Study on the film as a new cinematographic object with Marguerite Duras and Robert Bresson
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Marguerite Duras, evoking her admiration for Robert Bresson’s cinema, claimed that he was creating a “new product”, a cinema like no other film-maker has made. We would like to develop this idea by applying it in the same way to Marguerite Duras. Few film-makers have more ties to literature than Duras, a writer, and Bresson, who based his film works on literary texts. Yet their films are renowned for their experimental character deviating from the traditional paths of storytelling inherited from literature. The question which then arises is that of the nature of this “cinematographic writing” which one qualifies the film production of these two authors. A characteristic shared by Duras and Bresson is the awareness and original use of the duplicity of cinema, which is based as much on images as on sounds. However, by playing on this duplicity, by separating the image from the sound or by giving to the sound the role traditionally attributed to the image, the films of Duras and Bresson offer their viewers an original experience which blurs temporality, mixing past, present and future voices to create a truly filmic reality.
Abstract
Marguerite Duras, evoking her admiration for Robert Bresson’s cinema, claimed that he was creating a “new product”, a cinema like no other film-maker has made. We would like to develop this idea by applying it in the same way to Marguerite Duras. Few film-makers have more ties to literature than Duras, a writer, and Bresson, who based his film works on literary texts. Yet their films are renowned for their experimental character deviating from the traditional paths of storytelling inherited from literature. The question which then arises is that of the nature of this “cinematographic writing” which one qualifies the film production of these two authors. A characteristic shared by Duras and Bresson is the awareness and original use of the duplicity of cinema, which is based as much on images as on sounds. However, by playing on this duplicity, by separating the image from the sound or by giving to the sound the role traditionally attributed to the image, the films of Duras and Bresson offer their viewers an original experience which blurs temporality, mixing past, present and future voices to create a truly filmic reality.
참고문헌 (16)
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