Abstract
L’imaginaire romanesque de l’œuvre d’Annie Ernaux se déploie non seulement par les livres et les chansons mais aussi par le biais de représentations cinématographiques et de figures d’acteurs et actrices. Cette tendance est accentuée dans Mémoire de fille (2016), où les références au cinéma comme contrepoint de l’histoire personnelle s’accompagnent d’un mode de narration que l’on peut qualifier de filmique, comprenant des techniques de distanciation, mise en scène et montage. Cet article, en examinant les possibilités de projection-identification ouvertes par le cinéma et les outils narratifs qui viennent dire à la fois la mise à distance et l’aliénation du sujet autobiographique, suggère que le recours au cinéma dans Mémoire de fille permet de constituer une forme narrative originale, par laquelle l’auteure regagne le contrôle sur une expérience passée de dépossession.
The influence of romance in the works of Annie Ernaux is disseminated not only through books and songs, but also thanks to representations on screen via films and actors. Mémoire de fille (2016) goes one step further in its use of cinema: not only do references to film shed light on the narrator’s story, but this story acquires a filmic quality thanks to distancing techniques, mise en scene and montage. This study examines the possibilities of projection-identification opened up by cinema and the narrative tools employed to convey both distance and alienation of the autobiographical subject. By doing so, this article suggests that the use of cinema and filmic techniques in Mémoire de fille creates an original narrative form, through which the author regains control over a past experience of dispossession.
The influence of romance in the works of Annie Ernaux is disseminated not only through books and songs, but also thanks to representations on screen via films and actors. Mémoire de fille (2016) goes one step further in its use of cinema: not only do references to film shed light on the narrator’s story, but this story acquires a filmic quality thanks to distancing techniques, mise en scene and montage. This study examines the possibilities of projection-identification opened up by cinema and the narrative tools employed to convey both distance and alienation of the autobiographical subject. By doing so, this article suggests that the use of cinema and filmic techniques in Mémoire de fille creates an original narrative form, through which the author regains control over a past experience of dispossession.
Translated title of the contribution | The filmic romantic in A Girl’s Story: A cinematic use of romance and the romanesque in Annie Ernaux's Mémoire de fille/ A Girl's Story |
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Original language | French |
Pages (from-to) | 45-57 |
Number of pages | 12 |
Journal | Littérature |
Volume | 2022/2 |
Issue number | 206 |
DOIs | |
Publication status | Published - 1 Jun 2022 |