"The art of cinema turns off the text, kills its own offspring: the imaginary. This is its virtue: to close. Blocking the imaginary. This block, this closure is called a film." These words by Marguerite Duras prelude to the attempt at a new, completely different way of making cinema, experimented by the author since the 1960s. The article aims to focus on the opening to the imaginary, to the possible, to the ghost, that is the typical opening of the cinematographic works of Duras. Particular reference will be made to India Song (1975) and to the character of Anne-Marie Stretter, the artist's childhood ghost who reappears in novels and films as a fatal figure.

Angelucci, D. (2019). Il fantasma di Anne-Marie. Duras e il cinema dell’immaginario. FATA MORGANA, 36, 161-168.

Il fantasma di Anne-Marie. Duras e il cinema dell’immaginario

angelucci daniela
2019

Abstract

"The art of cinema turns off the text, kills its own offspring: the imaginary. This is its virtue: to close. Blocking the imaginary. This block, this closure is called a film." These words by Marguerite Duras prelude to the attempt at a new, completely different way of making cinema, experimented by the author since the 1960s. The article aims to focus on the opening to the imaginary, to the possible, to the ghost, that is the typical opening of the cinematographic works of Duras. Particular reference will be made to India Song (1975) and to the character of Anne-Marie Stretter, the artist's childhood ghost who reappears in novels and films as a fatal figure.
Angelucci, D. (2019). Il fantasma di Anne-Marie. Duras e il cinema dell’immaginario. FATA MORGANA, 36, 161-168.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11590/352574
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