Os filmes depois da noite : a imagem a voz e o amor no cinema de Marguerite Duras

• Ano de defesa: 2024
• Autor(a) principal: Danielle Curi
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FAF - DEPARTAMENTO DE PSICOLOGIA; Programa de Pós-Graduação em Psicologia; UFMG
• Palavras-chave em Português: Mar; Olhar; Voz; Amor; Cinema; Marguerite Duras; Psicanálise; Psicologia - Teses; Cinema - Teses; Duras, Marguerite, 1914-1996; Amor - Teses; Psicanálise - Teses
• Link de acesso: http://hdl.handle.net/1843/70778; https://orcid.org/0009-0004-7047-8437

Based on the selection of some films from Marguerite Duras’s cinematography, we investigated some elements – detached pieces – that are recurring within her work as a whole, having the Lacanian psychoanalysis as the chosen theoretical framework. The image: smooth sea, yellowish sand, empty beach, framed by a look from the window of her house-hotel in Trouville, examined through the films Agatha and the limitless readings (Duras, 1981) and L’Homme Atlantique (Duras, 1981). The voice-over: disembodied, incarnated, reincarnated and, finally, anchored, from the films of the so-called Indian Cycle, namely, Woman of the Ganges (Duras, 1972-1973), India Song (Duras, 1974) and Her Venetian Name in Deserted Calcutta (Duras, 1976a). And love: an occasional, absolute and painful encounter, experienced in Hiroshima mon amour (Resnais & Duras, 1959) and revisited, also through the gaze, in the novel “The Ravishment” (Duras, 1964), or, to put it another way, in the cinema of Lol V. Stein.