ABSTRACT

While much of the criticism of director Marguerite Duras’s cinema has tended to prioritise sound over image, the writing process over the cinematographic one, this article argues that at every moment, Duras evokes cinema, its components and its material, thus making Duras a cineaste who thinks cinema. To establish this, the author explores the fundamental questions asked by Duras about the medium of cinema in her film L’Homme Atlantique (1981): What is cinema, and what can it do? She first demonstrates how Duras evokes each element of the apparatus: the screen, the cinema theatre room, the celluloid and the individual image unit on the celluloid – the photogram. She then examines Duras’s use of the black shot and demonstrates how it is in fact an image and not a negation or absence of image. Finally, she investigates the spectator and the camera, where Duras’s spatio-temporal reconfiguration is fully illuminated. The discussion shows that in L’Homme Atlantique, space-time remains in a potential, non-actualised, virtual state.

摘要

尽管对玛格丽特·杜拉斯（Marguerite Duras）导演的电影批评大多倾向于声音优先于图像，但写作过程优先于电影，但本文认为，杜拉斯在每时每刻都会唤起电影，电影的组成和材料，从而使杜拉斯成为电影院想电影。为此，作者探索了杜拉斯在电影《霍姆特·大西洋》中提出的有关电影媒介的基本问题。（1981）：什么是电影，它能做什么？她首先展示了杜拉斯如何唤起设备的每个元素：屏幕，电影院剧院室，赛璐ul以及赛璐ul上的单个图像单元-摄影图。然后，她检查了杜拉斯对黑镜头的使用，并说明了黑镜头实际上是图像，而不是否定图像或没有图像。最后，她研究了观众和摄像机，充分展示了杜拉斯的时空重构。讨论表明，在L'Homme Atlantique中，时空保持在潜在的，未实现的虚拟状态。