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Filming desire
in Marguerite Duras
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Marguerite Duras's aim was to transcend the limitations of both literature and cinema by creating what M. Borgomano has called an écriture filmique. The most innovative and enduring of Duras's techniques in the cinema is desynchronisation and, in particular, her use of the voix off. She employed it in several of her films such as India Song, Son nom de Venise dans Calcutta desert, Césarée and Le Navire Night. Perhaps the most fundamental impulse which underscores Duras's writing and her films is precisely the desire to overcome divisions and oppositions. Through her reading of the texts, she lends her voice to the protagonists' stories or even to the protagonists themselves. Aurélia Steiner (Melbourne) and its sequel Aurélia Steiner (Vancouver), both made in 1979, trace a young Jewish woman's search for her identity and her origins, as she attempts to reconnect with her parents who died in a concentration camp.

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