Marguerite Duras' Cinematic Production: Towards the “Acknowledged Murder of the Cinema”
Marguerite Duras' Cinematic Production: Towards the “Acknowledged Murder of the Cinema”
复制标题
玛格丽特·杜拉斯的电影制作：迈向“公认的电影谋杀案”
DOI：
10.1111/j.1600-0730.1983.tb01067.x
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发表时间：
1983
期刊：
影响因子：
0.2
通讯作者：
Yvonne Guers
中科院分区：
文献类型：
--
作者：
Yvonne Guers
总结
Summary
Certain constant trends in Duras' career link her novelistic and cinematic production to make it deeply personal and original beyond the confines of specific genres. Her films are characterized by an emphasis upon the word rather than on the image and a strong anti-realistic stance. Their development is briefly examined from Destroy, she said, her first one, to India-Song, her acknowledged masterpiece, then to the voluntary deconstruction of cinematographic art that leads her from Le Camion to the predominantly dark screen of L'Homme atlantique. With this latest work to-date shown in Paris in 1982, Duras seems to have come full circle having more or less retraced in her career as a cineast since 1968 the steps that had led her from mastery of structure and style to fragmentation and rejection of literary devices.