Gender and sexuality
in Marguerite Duras
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The preoccupation in Marguerite Duras with questions of gender and sexuality may be usefully theorised by drawing on ideas central to feminist psychoanalysis. While the creation of a female counter-cinema in Nathalie Granger enabled Duras to question dominant structures of representation, ultimately her films went beyond the dichotomies of gender and sexuality. Although, Nathalie Granger implicitly reproduces the conventional constructions of gender by creating separate 'masculine' and 'feminine' spheres, it can be seen that Duras was beginning to question and deconstruct all gender categories. In terms of feminist psychoanalytical theory, India Song questions the categories of gender and sexuality constructed by the patriarchal Symbolic order by foregrounding the Imaginary. Agatha mirrors transgressive relationship and quasi-incestuous adolescent relationship, as the film resonates with the off-screen voices of Duras and Yann Andréa who also appears on the image-track where he represents Agatha's anonymous brother.

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