n French Studies in Southern Africa - Nocturne sur scène : discontinuité et modernité dans d'Imunga Ivanga

Volume 2009, Issue 39
  • ISSN : 0259-0247



is seen as an aesthetics of the night. The night as mise en abyme, which dialectises itself by processes of discontinuity affecting both the thematics and the narrative, the sound and the visual, allows us to read, beyond the "big syntagmatics of the story" (Metz 1984), yet another story, chanted with sounds, symbols, graphic elements, focalisations, etc. Classic African cinematographic writing, which come about in realism and in satisfaction of "the horizon of expectation", has seen a profound alteration through the initiation of an "aesthetic distance": the intransitive gesture constitutes the most cutting feature of modernity (Barthes 1984). This Shadow also represents the "nocturnal" in any radical artistic experience. The reflexive gesture gives way to an ironic visuality where the cinematographic signifier comes to consider itself as its own subject.

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