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Her films create unusual rapports between image and sound, diegetic and extra-diegetic elements, and textual and intertextual dimensions of cinematic representation. Duras rejected conventional forms of cinematic address that encourage the spectator to develop a positive identification with the film's diegesis and narrative. The dark room is also a metaphor for the film theater and, by extension, for the filmic experience.
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The 'dark room' in the collection's title refers to one of Duras's metaphors for the writing process, la chambre noire, as the solitary space of literary creation, the place where she struggles to project her 'internal shadow' onto the blank page. This book examines Duras's contribution to contemporary cinema.
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Marguerite Duras, eds Joël Farges and François Barat ( Paris . Richard Seaver ( New York : Grove Press, 1965 ). Moderato Cantabile in Marguerite Duras : Four Novels, tr. Moderato Cantabile ( Paris : Éditions de Minuit, 1958 ). Exceptional for their range in mood and situation, these four novels are unparalleled exhibitions of a poetic beauty that is uniquely Duras. In this volume of four short novels, Duras demonstrates her remarkable ability to create an emotional intensity and unity by focusing on the intimate details of the relationships among only a few central characters: from the park bench couple in The Square (1955) to the double love triangle in Ten-thirty on a Summer Night (1960), each novel probes the depths of human emotion, of love and of despair. Long acknowledged as one of the most important literary figures in France, Marguerite Duras has garnered worldwide praise for her work, from the acclaimed screenplay Hiroshima Mon Amour to the best-selling novel The Lover. At its origin the crime is witnessed, perpetually retold by the second couple and mutely relived, but only emotionally, not in . Moderato Cantabile is the story of an auto - intoxication, a seduction desired and lived on two levels.