Screenwriting strategies in Marguerite Duras's script for Hiroshima, Mon Amour (1960)
The published scnario et dialogues (Duras 1960) (Figure 1) of the film Hiroshima, Mon Amour (1959) feature precise technical specifications of sound and image and more novelistic passages, all of which create an emotional resonance that has been left to the director to translate into images. This article explores Marguerite Duras's text as a particular example of how the written component of the screen idea (Macdonald 2004a) might function on the page and as part of a dialogue with the director. It also examines the way that the script's concern with problematizing and drawing attention to the process of representation makes it a palpable and controlling presence in the resulting film.
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Document Type: Research Article
Affiliations: University of Greenwich.
Publication date: 2010-01-01
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- The Journal of Screenwriting aims to explore the nature of writing for the moving image in the broadest sense, highlighting current academic thinking around scriptwriting whilst also reflecting on this with a truly international perspective and outlook. The journal will encourage the investigation of a broad range of possible methodologies and approaches to studying the scriptwriting form, in particular: the history of the form, contextual analysis, the process of writing for the moving image, the relationship of scriptwriting to the production process and how the form can be considered in terms of culture and society. The journal also aims to encourage research in the field of screenwriting, the linking of scriptwriting practice to academic theory, and to support and promote conferences and networking events on this subject.
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