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The Cinema of Marguerite Duras

Multisensoriality and Female Subjectivity

by Michelle Royer

Type
Biographies
Subject
DirectorMarguerite Duras
Keywords
Marguerite Duras, director, literature, woman
Publishing date
2019
Publisher
Edinburgh University Press
Collection
Visionaries: The Work of Women Filmmakers
Language
English
Size of a pocketbookRelative size of this bookSize of a large book
Relative size
Physical desc.
Paperback • 144 pages
5 ½ x 8 ½ inches (14 x 21.5 cm)
ISBN
978-1-4744-2785-2
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Book Presentation:
Examines how the films of Marguerite Duras create a multisensorial experience for spectators

The writer Marguerite Duras was a key figure in post-war French cinema, pioneering innovations such as the disjunction of film and image, and the primacy given to voices, silence and music. Her multisensorial approach opened up new spaces for the female experience to be expressed. Although she worked with some of the best French visual technicians and musicians of her time, critiques have often neglected the visual and sonic aesthetics of her films, and their effects on spectators. Drawing on theories of embodiment and spectatorship, this book analyses the tactility and multisensoriality of Duras’ films, and how they relate to her female-centred perspective.

Key features
• Examines how the director's filmic innovations create a sensorial space for the female experience to be expressed
• Builds on recent work on film as a multisensory medium
• Covers Duras's entire film production, including short films and early adaptations

About the Author:
Michelle Royer is Associate Professor and Chair of the Department of French and Francophone Studies at the University of Sydney, where she teaches French speaking cinema. Her research focuses on 20th and 21st Century cinema, French socio-political films, French female filmmakers, Marguerite Duras’s cinema and French feminist thought. She has published extensively on French Female filmmakers and on star studies in French and in English.

Press Reviews:
Royer’s study is a brilliant repositioning of Duras’s cinema as a poetical, multisensory experience. Informed by recent developments in neuroscience and film theory such as embodied spectatorship and cinesthetic encounters and the feminist criticism of Irigaray, Kristeva, Cixous and others, Royer illuminates Duras’s radically innovative—and gendered--cinematic voice and syntax. A masterly analysis.– Professor Carol J. Murphy, University of Florida

See the publisher website: Edinburgh University Press

See the complete filmography of Marguerite Duras on the website: IMDB ...

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