ABSTRACT On the surface, Rohmer’s first two Moral Tales deal with romantic episodes in the lives of young people. As with his other works, here the director does not make explicit his political point of view. In this paper, the author shows how Rohmer’s construction of these stories functions as a compensatory figuration through which he could cope with the historical problems of his time, namely the Algerian War, which weighed heavily on him both professionally and intellectually in his position as editor in chief of Cahiers du cinéma. The author analyses how the formal construction of these two films reflects the ideological framework projected onto them, particularly through Rohmer’s use of memorial perspective (in the form of voice-over) that drives the stories, both told as youthful memories. At the same time, the author shows how this ideology intertwines with a self-deconstructive agency able to undo the coherent production of meaning. This reading shows how Rohmer’s depiction of relationships between men and women – so important for the later development of his cinema – both conceals and transforms a colonial ideology that needed to find a new way to express itself to survive in a supposedly ‘post-colonial’ France.

中文翻译：

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罗默（Rohmer）前两部《道德故事》中的意识形态形象化：“记忆之声”，图像的边缘化和殖民幻想

摘要表面上，罗默的前两部《道德故事》涉及年轻人生活中的浪漫情节。与导演的其他作品一样，导演在这里没有明确表达其政治观点。在本文中，作者展示了罗默尔如何构建这些故事，作为一种补偿性形象，通过它他可以应对当时的历史问题，即阿尔及利亚战争，阿尔及利亚战争在他担任编辑职务时在职业上和思想上都给他造成了沉重打击电影院的院长。作者分析了这两部电影的形式结构如何反映了投射到它们上的意识形态框架，特别是通过罗门（Rohmer）使用纪念性观点（以画外音的形式）来推动故事的发展，两者都被称为青春的回忆。同时，作者展示了这种意识形态如何与能够消除意义的连贯产生的自我解构机构交织在一起。这段读物显示了罗默（Rohmer）对男女关系的描绘-对他的电影的后期发展非常重要-掩盖和改变了一种殖民意识形态，需要寻找一种新的方式来表达自己在所谓的“后殖民时代”中生存法国。