French Literature Reviews - 2026
The I on Screen
Art and Visual Culture
The I on Screen
edited by Jean-Pierre Esquenazi and André Gardies
Éditions L'Harmattan - 2006
ISBN 2-296-01444-5
EAN 9782296014442
Table of Contents
Preamble
Part I: General Approaches
The Spectator in Search of the I (and Vice Versa), by André GARDIES
The Emergence of the "I" in Television Fiction, by Gilles DELAVAUD
The Constitution of Subjectivity in Filmic Worlds, by Jean-Pierre ESQUENAZI
Reflexivity and Television Enunciation, by Pierre BEYLOT
Narcissism and the Autobiographical, by Francis VANOYE
Part II: The Central "I"
Confession in Cinema, by Dominique CHATEAU
"What Do I Know?", by Marion FROGER
The Effects of Autofiction, by Fabien BOULLY
From Cinematic Self-Portrait to the Notion of Representation, by Julia FABRY
The Self-Portrait in Cinema: The Example of Nanni Moretti's Caro Diario, by Muriel TINEL
Photo-Fictions, by Roger-Yves ROCHE
Interview with Joseph Morder, Episode 1, by Dominique BLUHER
Part III: Authors and Films
The Sound-I in Kiarostami, by Martin BARNIER
Clamor and Murmur of the Subject: Marguerite Duras, by Jean CLEDER
The Ironic Relationship to Space, by Claude MURCIA
The Scar and the Wound, by Régine-Mihal FRIEDMAN
The "I" Laid Bare, by Aurélia GAILLARD
The Language of the I and the Imaginary of Community in Kurosawa's Dreams, by Patrice TAMINIAUX
The study of subjectivity in film often draws upon the intersection of narratology and psychoanalytic theory, exploring how the cinematic apparatus constructs a sense of self. This collection, The I on Screen, edited by Jean-Pierre Esquenazi and André Gardies, examines the manifestation of the first-person perspective across various media, moving from the general constitution of subjectivity in filmic worlds to specific modes of expression. By addressing topics such as confession, narcissism, and the autobiographical, the contributors situate the cinematic I within a broader discourse on representation. Readers interested in the evolution of self-reflexive techniques in visual media may find this collection relevant to their research.
The volume engages with the formal and aesthetic strategies that filmmakers and television producers employ to articulate individual identity. Through the essays included, the text explores how the I is rendered visible or audible on screen. The collection covers a range of approaches, from the study of television enunciation to the examination of specific figures such as Marguerite Duras and Nanni Moretti. These contributions reflect on how the cinematic medium negotiates the boundaries between personal expression and the experience of the spectator.