%0 Journal Article
%T Voix-off et voix(e) narrative : la conscience entre les lignes dans l¡¯ uvre de Arnaud Desplechin
%A Marie-Anne Lieb
%J Cahiers de Narratologie
%D 2012
%I CIRCPLES
%R 10.4000/narratologie.6519
%X L¡¯ uvre d¡¯Arnaud Desplechin est particuli¨¨rement int¨¦ressante ¨¤ bien des ¨¦gards et a fortiori pour sa virtuosit¨¦ narrative. Cin¨¦ma romanesque et introspectif, la narration passe entre autres, par l¡¯usage savant de la voix-off comme mode d¡¯¨¦nonciation ou par celui des voix (es) narratives proches de la   moving box   propre ¨¤ Terence Malick. Des aventures spirituelles, au marivaudage et aux qu¨ºtes existentielles, leur utilisation au sein de la filmographie conf¨¨re aux personnages une tendance ¨¤ l¡¯affabulation. L¡¯enjeu r¨¦side en ce que le cin¨¦aste cherche ¨¤ raconter une histoire autant que ses personnages tentent de se raconter eux-m¨ºmes. Recomposant la complexit¨¦ humaine, Desplechin d¨¦ploie un cin¨¦ma dans lequel la voix-off ouvrent un peu plus les possibles narratifs en forme d¡¯insularit¨¦ humaine. Arnaud Desplechin¡¯s work is particularly interesting in many respects but especially so for his narrative virtuosity. In his style of cinema, which combines both story-telling and introspection, the plot unfolds by the wise use, amongst other things, of voice-over as a means of statement or by narrative voices similar to the ¡°moving box¡± technique used by Terence Malick. The use of such techniques, ranging from spiritual adventures to light hearted banter and existential quests, in the heart of filmography can give the impression that characters do not ring true. For the film-maker, the problem is how to balance the unfolding of the overall story-line with the exteriorisation of each character¡¯s personal thoughts. By rearranging human complexity, Desplechin develops a cinema in which the voice-over progressively opens up the possible narratives reflecting human insularity.
%K introspection
%K conscience
%K d¨¦doublement
%K fabulation
%K voix int¨¦rieure
%K moving box
%K France
%K XIX¨¨me
%K XX¨¨me
%K XXI¨¨me
%U http://narratologie.revues.org/6519