Cinema Tanguy Viel
In this story, the narrator is a man obsessed with one movie, that completely changed his life and which is dependent almost like a drug. He sees and reviews the film and the text is the description scholarly, detailed, obsessive, not only of film but the effect it has on the narrator, sometimes abortive attempts to do that sometimes work to understand his friends, his ratings of some details of the film, etc.. In the narrator's life everything is measured in terms of this movie, everything takes on meaning in relation to the film. Tanguy Viel cinephile warned, plays on the relationship between cinema and literature. It gives us a kind of critical crazy, stretching, obsessive, a cult film, which he does not reveal the identity until the end of the story. The beauty of this text comes from its sense of suspense thrillers that mimics the movies: dose effects the writer reveals the story in small bits, incorporates film dramatization while preserving the quality purely literary text ;: prose alert, taut and simultaneously swirling style effects, the interior monologue and redundant litany. We think a bit by reading Thomas Bernhard, mostly Old Master, where the narrator watches his friend who Reger crashes each day in front of the canvas The man with the white beard Tintoretto. Like Bernhard's prose, the sentence in Cinema is infinite, peppered with italics, sharp and obsessive, as if the narrator's madness drowned in the inner sense of detail and concern for accuracy in description of things, just as in Bernhard where writing advance stalled, mired in the mind of the narrator and his observation of the world. The story is also related to the books of Borges. The vertigo of mimesis, pushed to its limit by a sense of ubiquity, duplication, can savor a double fiction.
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