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Le système D—le malheur merveilleux : Duras and the erotic crimes of montage

Le système D—le malheur merveilleux : Duras and the erotic crimes of montage Le système D. --le malheur in Le Camion and Aurélia merveilleux. Steiner Duras and the erotic crimes of montage In this article, I shall focus on two films by Marguerite Duras--Le Camion (1977) and Aurélia Steiner (Vancouver) (1979) -- discussed already in Paragraph by Leslie Hill in his excellent introduction to her recent work to which I shall have cause later to refer. I shall raise again some of the issues addressed in that article, for example, Duras's desire for the absolute image and the 'impossible' representation of the catastrophic event. My purpose, however, will be rather different: I shall attempt to determine the erotic valencies of montage operating at surface level in these films, this in order to establish whether some current truisms of Duras criticism--for example, Duras as inscriber of impossible mourning , Duras as mystic of non-catharsis , Duras as theologian of pain --are in fact accurate or indeed helpful to an understanding of the so far untold pleasures of Duras's cinema. A close textual ride on Le Camion will initiate this analysis into cinematic form and sublimation. Le Camion is a series of by turns playful and cruel variations on a theme, circulating between http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Paragraph Edinburgh University Press

Le système D—le malheur merveilleux : Duras and the erotic crimes of montage

Williams, James
Paragraph , Volume 15 (1): 38 – Mar 1, 1992
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References (1)

Publisher
Edinburgh University Press
Copyright
© Oxford University Press 1992
ISSN
0264-8334
eISSN
1750-0176
DOI
10.3366/para.1992.0003
Publisher site
See Article on Publisher Site

Abstract

Le système D. --le malheur in Le Camion and Aurélia merveilleux. Steiner Duras and the erotic crimes of montage In this article, I shall focus on two films by Marguerite Duras--Le Camion (1977) and Aurélia Steiner (Vancouver) (1979) -- discussed already in Paragraph by Leslie Hill in his excellent introduction to her recent work to which I shall have cause later to refer. I shall raise again some of the issues addressed in that article, for example, Duras's desire for the absolute image and the 'impossible' representation of the catastrophic event. My purpose, however, will be rather different: I shall attempt to determine the erotic valencies of montage operating at surface level in these films, this in order to establish whether some current truisms of Duras criticism--for example, Duras as inscriber of impossible mourning , Duras as mystic of non-catharsis , Duras as theologian of pain --are in fact accurate or indeed helpful to an understanding of the so far untold pleasures of Duras's cinema. A close textual ride on Le Camion will initiate this analysis into cinematic form and sublimation. Le Camion is a series of by turns playful and cruel variations on a theme, circulating between

Journal

Paragraph – Edinburgh University Press

Published: Mar 1, 1992

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