Sans Soleil: A Lesson in Témoignage
Autor(a) principal: | |
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Data de Publicação: | 2014 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.34632/diffractions.2014.950 |
Resumo: | The act of bearing witness implies immediacy and chance, but also intimacy and responsibility. The witness observes but also participates in what he sees, in part by reporting back to those who are not present. In Chris Marker’s 1983 Sans Soleil his fictional stand-in, Sandor Krasna, reports back on the events and people he witnesses, both by letter to an unnamed female correspondent and by word and image to the film’s audience. Marker implies that the audience too may bear witness to the people and places visited by Krasna, no matter how foreign they initially seem. In particular, Marker encourages the audience to identify with whichever images – among the multitude presented in the film – resonate with their own experiences, moments of recognition which, as he quotes from a 11th century philosopher, “make the heart leap.” In spurring a more emotional connection, in the style of Proust’s involuntary memory, these moments of recognition allow for a deeper understanding of the other, and, in a postcolonial France, remind us that even the unknown may have associations with the self. |
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Sans Soleil: A Lesson in TémoignageThe act of bearing witness implies immediacy and chance, but also intimacy and responsibility. The witness observes but also participates in what he sees, in part by reporting back to those who are not present. In Chris Marker’s 1983 Sans Soleil his fictional stand-in, Sandor Krasna, reports back on the events and people he witnesses, both by letter to an unnamed female correspondent and by word and image to the film’s audience. Marker implies that the audience too may bear witness to the people and places visited by Krasna, no matter how foreign they initially seem. In particular, Marker encourages the audience to identify with whichever images – among the multitude presented in the film – resonate with their own experiences, moments of recognition which, as he quotes from a 11th century philosopher, “make the heart leap.” In spurring a more emotional connection, in the style of Proust’s involuntary memory, these moments of recognition allow for a deeper understanding of the other, and, in a postcolonial France, remind us that even the unknown may have associations with the self.Universidade Católica Portuguesa2014-01-01T00:00:00Zjournal articleinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/otherinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://doi.org/10.34632/diffractions.2014.950oai:ojs.revistas.ucp.pt:article/950Diffractions; No 2 (2014): (Un-)Boundedness: On Mobility and Belonging; 1-15Diffractions; n. 2 (2014): (Un-)Boundedness: On Mobility and Belonging; 1-152183-218810.34632/diffractions.2014.n2reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://revistas.ucp.pt/index.php/diffractions/article/view/950https://doi.org/10.34632/diffractions.2014.950https://revistas.ucp.pt/index.php/diffractions/article/view/950/873Copyright (c) 2014 Bonnie S. Gillhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessGill, Bonnie S.2022-09-23T15:11:47Zoai:ojs.revistas.ucp.pt:article/950Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:03:46.093488Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Sans Soleil: A Lesson in Témoignage |
title |
Sans Soleil: A Lesson in Témoignage |
spellingShingle |
Sans Soleil: A Lesson in Témoignage Gill, Bonnie S. |
title_short |
Sans Soleil: A Lesson in Témoignage |
title_full |
Sans Soleil: A Lesson in Témoignage |
title_fullStr |
Sans Soleil: A Lesson in Témoignage |
title_full_unstemmed |
Sans Soleil: A Lesson in Témoignage |
title_sort |
Sans Soleil: A Lesson in Témoignage |
author |
Gill, Bonnie S. |
author_facet |
Gill, Bonnie S. |
author_role |
author |
dc.contributor.author.fl_str_mv |
Gill, Bonnie S. |
description |
The act of bearing witness implies immediacy and chance, but also intimacy and responsibility. The witness observes but also participates in what he sees, in part by reporting back to those who are not present. In Chris Marker’s 1983 Sans Soleil his fictional stand-in, Sandor Krasna, reports back on the events and people he witnesses, both by letter to an unnamed female correspondent and by word and image to the film’s audience. Marker implies that the audience too may bear witness to the people and places visited by Krasna, no matter how foreign they initially seem. In particular, Marker encourages the audience to identify with whichever images – among the multitude presented in the film – resonate with their own experiences, moments of recognition which, as he quotes from a 11th century philosopher, “make the heart leap.” In spurring a more emotional connection, in the style of Proust’s involuntary memory, these moments of recognition allow for a deeper understanding of the other, and, in a postcolonial France, remind us that even the unknown may have associations with the self. |
publishDate |
2014 |
dc.date.none.fl_str_mv |
2014-01-01T00:00:00Z |
dc.type.driver.fl_str_mv |
journal article info:eu-repo/semantics/article info:eu-repo/semantics/other |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.34632/diffractions.2014.950 oai:ojs.revistas.ucp.pt:article/950 |
url |
https://doi.org/10.34632/diffractions.2014.950 |
identifier_str_mv |
oai:ojs.revistas.ucp.pt:article/950 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://revistas.ucp.pt/index.php/diffractions/article/view/950 https://doi.org/10.34632/diffractions.2014.950 https://revistas.ucp.pt/index.php/diffractions/article/view/950/873 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2014 Bonnie S. Gill http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2014 Bonnie S. Gill http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Católica Portuguesa |
publisher.none.fl_str_mv |
Universidade Católica Portuguesa |
dc.source.none.fl_str_mv |
Diffractions; No 2 (2014): (Un-)Boundedness: On Mobility and Belonging; 1-15 Diffractions; n. 2 (2014): (Un-)Boundedness: On Mobility and Belonging; 1-15 2183-2188 10.34632/diffractions.2014.n2 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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