Sans Soleil, Where Everything Communicates
Abstract
Sans Soleil (Chris Marker, 1983) represents the official birth of the cinematographic essay for having revealed to the cinema the canonical properties of this increasingly fertile modality in the contemporary audiovisual. Coinciding with the centenary of the birth of its author, the objective of this article is to provide a specific analysis of the mechanisms with which Marker, Montaigne's direct heir, translates thought-form into mechanisms strictly audiovisual, simultaneous and sometimes even independent of verbal mechanisms that are attributed by principle to the essay. Beyond the enunciative mode on which most of the studies on Sans Soleil have focused so far, this analysis takes as a reference the literary theory of the argumentative macrogenre, where science and poetry merge. The rhetorical figures produced in the montage are revealed as a primary element to reproduce, among other keys, the flow of memory-consciousness and the interconnection between the multiple dimensions of History, thought and emotion.
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