Maurício Ayer

Césarée de Marguerite Duras e o mar: dispositivo audiovisual, intertextualidade e reencantamento do mundo

Introduction

Césarée de marguerite duras e o mar: dispositivo audiovisual, intertextualidade e reencantamento do mundo . Explore a poética do cinema de Duras em Césarée (1979). Analisa o dispositivo audiovisual, intertextualidade e o reencantamento do mundo, desvendando o embate entre corpo e poder.

Abstract

O cinema de Marguerite Duras ainda provoca estranhamento e fascinação várias décadas após a realização de seus filmes, em grande medida porque a autora francesa fez de sua obra cinematográfica uma investigação permanente das possibilidades do dispositivo audiovisual, reconfigurando os parâmetros de sua linguagem a cada obra. O curta-metragem Césarée (1979) é um dos filmesem que Duras radicaliza essa pesquisa, sobretudo pela marcada disjunção entre imagem visual, discurso verbal enunciado por uma voz e música, realizando o que Deleuze chamou de “ruína do esquema sensório-motor”, característico da imagem cinematográfica clássica. Este artigo busca mostrar como se configura o dispositivo audiovisual de Césarée, estabelecendo não apenas a “morfologia” das suas camadas constitutivas como também as funções que elas exercem na construção de uma linguagem própria. Ao fazê-lo, procurou-se desvendar o seu intrincado jogo de intertextualidade, que envolve a narrativa enunciada pela voz, as imagens que privilegiam esculturas encontradas no espaço público do centro de Paris e a música realizada ao violino por Amy Flamer. O resultado desse processo de decriptação dos sentidos altamente condensados que Duras põe em cena no filme é a descoberta de uma poética de reencantamento do mundo, tendo como nó central o embate entre corpo e poder, simbolizado na confrontação entre a rainha judia que se deixa escravizar por amor e o Império Romano que a rechaça “por razões de Estado”. Palavras-chave: Cinema moderno francês. Linguagem cinematográfica. Intertextualidade no cinema. Marguerite Duras AbstractThe cinema of Marguerite Duras still provokes strangeness and fascination several decades after her films were made, largely because the French author made her cinematographic work a permanent investigation into the possibilities of the audiovisual device, reconfiguring the parameters of film language in each work. The short film Césarée (1979) is one of the films in which Duras radicalizes this research, above all because of the marked disjunction between visual image, verbal discourse enunciated by a voice and music,achieving what Deleuze called the “ruin of the sensory-motor scheme”, characteristic of the classic cinematographic image. This article seeks to show how Césarée’s audiovisual device is configured, establishing not only the “morphology” of its constitutive layers but also the functions they perform in the construction of the film’s unique language. In doing so, we have tried to unravel its intricate intertextuality, which involves the narrative enunciated by the voice, the images that focus on sculptures found in the public space of central Paris and the music performed on the violin by Amy Flamer. The result of this process of decrypting the highly condensed meanings that Duras puts on the film is the discovery of a poetics of re-enchantment of the world, with the central knot being the clash between body and power, symbolized in the confrontation between the Jewish queen who allows herself to be enslaved for love and the Roman Empire that rejects her “for reasons of state”. Keywords: Modern French cinema. Cinematic language. Intertextuality in cinema. Marguerite Duras.

Review

The proposed article, "Césarée de Marguerite Duras e o mar: dispositivo audiovisual, intertextualidade e reencantamento do mundo," promises a compelling and incisive analysis of Marguerite Duras's experimental short film *Césarée* (1979). The abstract effectively frames Duras's cinema as a continuous investigation into the possibilities of the audiovisual device, a characteristic that makes her work enduringly fascinating and challenging. By focusing on *Césarée*, a film described as radicalizing Duras's research through its marked disjunction between visual image, verbal discourse, and music, the article positions itself within a significant critical discourse, explicitly referencing Deleuze's concept of the "ruin of the sensory-motor scheme" to contextualize Duras's avant-garde approach to cinematic language. This theoretical grounding immediately signals the article's academic rigor and ambition to contribute meaningfully to film studies. The methodology outlined is particularly strong, indicating an intention to thoroughly dissect *Césarée*'s audiovisual device by establishing both the "morphology" of its constitutive layers and the specific functions they perform in shaping the film's unique language. A key strength lies in the proposed unravelling of the film's "intricate intertextuality," which encompasses the voice-over narrative, the strategic use of Parisian public sculptures, and Amy Flamer's violin music. This multi-layered analysis promises to move beyond mere description, aiming instead to "decrypt the highly condensed meanings" Duras embeds within the work. The abstract further reveals an intriguing central argument: that this decryption leads to the discovery of a "poetics of re-enchantment of the world," pivoted on the clash between "body and power" and symbolically embodied in the historical narrative of the Jewish queen and the Roman Empire. This thematic focus adds significant depth to the technical analysis. This article appears poised to offer substantial new insights into Duras's *Césarée*, not only elucidating its complex formal strategies but also articulating its profound thematic implications. By meticulously examining the film's disjunctive elements and intricate intertextual weave, the author stands to deepen our understanding of Duras's radical contribution to modern French cinema and experimental film language. The proposed linkage between Duras's formal daring and a "poetics of re-enchantment" offers a fresh perspective, potentially re-evaluating the perceived austerity of her work through a lens of renewed meaning and critical engagement. The article's commitment to unraveling these layers suggests a valuable contribution to the scholarship on Duras, film theory, and the ongoing critical discourse surrounding challenging cinematic narratives.

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