The writer Marguerite Duras was a key figure in post-war French
cinema, pioneering innovations such as the disjunction of film and
image, and the primacy given to voices, silence and music. Her
multisensorial approach opened up new spaces for the female
experience to be expressed. Although she worked with some of the
best French visual technicians and musicians of her time, critiques
have often neglected the visual and sonic aesthetics of her films,
and their effects on spectators. Drawing on theories of embodiment
and spectatorship, this book analyses the tactility and
multisensoriality of Duras' films, and how they relate to her
female-centred perspective.
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