Luciene Guimarães de Oliveira

“Nada mais sei desde que cheguei ao mar”: espectador à deriva em L’homme Atlantique de Marguerite Duras

Introduction

“nada mais sei desde que cheguei ao mar”: espectador à deriva em l’homme atlantique de marguerite duras. Analise L'Homme Atlantique (1981) de Duras: o mar como poesia, tela escura e voz off levam o espectador à deriva, explorando sentidos e estratégias radicais.

Abstract

No filme L’Homme Atlantique (1981) Duras elege o mar como elemento poético principal da representação. Pretende-se apontar, assim, as estratégias narrativas e audiovisuais utilizadas por Marguerite Duras em seu filme considerado mais radical. A tela escura que permanece, a voz off e o hors-champ do filme, levam o espectador a ficar como num mar à deriva, buscando, ele mesmo ossentidos da representação. Além disso, pretende-se explicitar alguns elementos persistentes e essenciais na criação durassiana como a casa, o mar e o olhar. Palavras-chave: Cinema durassiano. L’Homme Atlanique. Espectador. Cinema. Literatura. AbstractIn the film L'Homme Atlantique (1981) Duras chooses the sea as the main poetic element of representation. The intention is to point out the narrative and audiovisual strategies made up by Marguerite Duras in what is considered her most radical film. The dark screen that lingers , the voice over and the hors-champ lead the spectator to feel adrift in open sea, searching for the meanings of the representation itself. Additionally some persistent and essential elements in the durassic creation are intended to be defined. Keywords: Marguerite Duras’s cinema. The Atlantic man. Spectator. Ccinema. Literature.

Review

This paper proposes an intriguing analysis of Marguerite Duras’s 1981 film, *L’Homme Atlantique*, focusing on the sea as its principal poetic element and the resultant 'adrift' experience of the spectator. The evocative title, borrowed directly from the film's dialogue, effectively sets the tone for an exploration of Duras's radical cinematic strategies. By electing one of Duras's most challenging works, the abstract promises a deep dive into how narrative and audiovisual techniques—specifically the dark screen, voice-off, and *hors-champ*—actively engage and disorient the viewer, forcing them into a solitary quest for meaning. This central premise positions the paper as a valuable contribution to Durasian scholarship, particularly in understanding her unique approach to cinematic representation and spectator engagement. The methodology outlined, though concise, suggests a rigorous formal analysis. The intention to dissect specific cinematic elements like the lingering dark screen, the pervasive voice-off, and the evocative *hors-champ* indicates a strong understanding of Duras’s experimental lexicon. These elements are indeed crucial to generating the sense of a spectator "adrift in open sea," as promised, and their detailed examination could significantly illuminate Duras’s deconstructive filmmaking practice. Furthermore, the paper aims to connect these film-specific analyses to broader, persistent motifs within Duras’s extensive body of work, such as the house, the sea, and the gaze. This dual focus—on the specific film and its place within Duras’s larger creative universe—enhances the paper's potential scope and theoretical resonance. Overall, this abstract presents a compelling and well-defined research project. The emphasis on the spectator's interpretive journey in *L’Homme Atlantique*, coupled with an exploration of Duras's radical techniques and overarching thematic concerns, suggests a nuanced and insightful study. By bridging film analysis with broader Durasian themes, the paper is poised to offer fresh perspectives on the enduring power and challenge of her cinema. It promises to be a significant addition to the critical understanding of Duras's work, particularly for those interested in experimental filmmaking, the role of the spectator, and the intersection of cinema and literature.

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