in Marguerite Duras
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This final chapter of this book presents some closing thoughts on the key concepts discussed in the preceding chapters of the book. The work of Marguerite Duras, both in literature and in film, distinguishes itself by its oblique, elusive quality which evokes her protagonists' inner landscape instead of dwelling on the appearances of the external world. While Jean-Jacques Annaud's The Lover presumably owes its popularity partly to the fact that it conforms to the dominant codes of representation, it undermines the cinematographic writing of Duras's own films and their emphasis on verbal and vocal as well as visual forms of expression. Her other films, however, have retained their magical timeless quality as the breathtaking beauty of the images in Aurélia Steiner (Melbourne) or in Le Navire Night merge with the haunting echoes of her voices and her music to create an unusually powerful viewing experience.


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