Danielle Curi

Imagem ideal; imagem-sinthoma: o mar no cinema de Marguerite Duras

Introduction

Imagem ideal; imagem-sinthoma: o mar no cinema de marguerite duras. Descubra a "imagem-sinthoma" no cinema de Marguerite Duras. Analisamos a escassez da imagem do mar em filmes como Agatha e O Homem Atlântico, e seu impacto no texto.

Abstract

Sabemos que Marguerite Duras promove a rarefação do visível em seu cinema. Contudo, como afirma Borgomano (2009), o dar a ver nos filmes da escritora-cineasta ocorre exatamente através da escassez da imagem, ou ainda, como nos lembra Foucault, através da “arte da pobreza” (Foucault; Cixous, 2009, p. 357), como uma forma também de privilegiar a palavra, isto é, o texto. A partir da seleção de dois filmes do chamado Ciclo Atlântico: Agatha e as leituras ilimitadas (Duras, 1981a) e O Homem Atlântico (Duras, 1981b), nos guiaremos pela imagem – mar liso, areia amarelada, praia vazia, enquadrada por um olhar que vê a partir da janela de sua casa-hotel em Trouville – para pensarmos a fabricação de uma imagem-sinthoma no cinema da escritora. Com Duras, alguma coisa de indelével aí se produz. Uma imagem ideal por onde a força de seu texto irá desaguar. Palavras-chave: Mar. Imagem. Sinthoma. Cinema. Marguerite Duras. AbstractAs we know, Marguerite Duras promotes the rarefaction of the visible in her cinema. However, as Borgomano states (2009), what is seen in the writer-filmmaker’s films occurs precisely through the scarcity of the image, or even, as Foucault reminds us, through the “art of poverty” (Foucault; Cixous, 2009, p. 375), as well as a way of privileging the word, that is, the text. From the selection of two films from the so-called Atlantic Cycle: Agatha and the unlimited readings (Duras, 1981a) and The Atlantic Man (Duras, 1981b), we will be guided by the mage – smooth sea, yellowish sand, empty beach, framed by a look that sees from the window of her house-hotel in Trouville – to think about the fabrication of a sinthome-image in the cinema of the writer. With Duras, something indelible is produced there. An ideal image where the strength of her text will flow. Keywords: Sea. Image. Sinthome. Cinema. Marguerite Duras.

Review

The proposed paper, "Imagem ideal; imagem-sinthoma: o mar no cinema de Marguerite Duras," outlines a compelling theoretical exploration of Marguerite Duras's unique cinematic aesthetic. The authors intend to analyze how Duras's deliberate "rarefaction of the visible," described as an "art of poverty" by Foucault, serves to privilege the textual element within her films. By focusing on two specific works from her Atlantic Cycle, *Agatha and the unlimited readings* and *The Atlantic Man*, the study aims to investigate how recurring visual motifs—such as the smooth sea, yellowish sand, and empty beach, often framed from a window—contribute to the fabrication of an "ideal image" and, crucially, an "imagem-sinthoma." A key strength of this abstract lies in its sophisticated theoretical framework, specifically the application of the Lacanian concept of *sinthome* to film analysis. This approach, integrated with insights from Borgomano and Foucault, promises to offer a nuanced understanding of how Duras’s visual minimalism does not diminish but rather intensifies the cinematic experience, creating an indelible image where the "strength of her text will flow." The precise focus on the sea imagery from Duras's Atlantic Cycle provides a concrete point of entry for these complex theoretical discussions, suggesting a grounded analysis that will effectively bridge abstract psychoanalytic concepts with specific cinematic instances. The contribution of this research appears significant for Durasian scholarship and broader discussions in film theory. By theorizing the "imagem-sinthoma" and its emergence from a cinematic "art of poverty," the paper offers a valuable lens through which to examine the interplay of image and text in experimental cinema. This interdisciplinary methodology, combining film studies with psychoanalytic thought, holds the potential to illuminate the profound impact of Duras's distinctive aesthetic choices and to advance our understanding of how meaning is constructed and experienced in films that intentionally subvert conventional visual representation.

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