Voir ce qui est devenu invisible. Lecture d’Il y a trop d’images et de Tout ce que tu possèdes de Bernard Émond
Keywords:
Émond, film, Québec, héritageAbstract
Dans le cadre de cet article, l’auteure s’attache aux différentes métaphorisations du regard qui traversent le recueil d’essais Il y a trop d’images afin de réfléchir à certains des paradoxes – avoués ou non – qui sous-tendent la pensée du cinéaste Bernard Émond. L’analyse porte également sur le film Tout ce que tu possèdes (2012), lequel est centré sur la question de la transmission des héritages et des valeurs tant culturelles que matérielles. Le cinéaste conjugue une critique impitoyable du monde contemporain à une forme d’engagement dans la cité et il tente, sans toujours y parvenir, de juger son propre temps sans succomber à l’aveuglement.
La transmission des legs et des valeurs y est ainsi indissociable d’une réflexion éthique sur la construction de l’identité et de la mémoire collectives au Québec.
See What Has Become Invisible. An Analysis of Il y a trop d’images and Tout ce que tu possèdes by Bernard Émond
The analysis includes the collection of essays Il y a trop d’images and the film Tout ce que tu possèdes (2012) by the filmmaker Bernard Émond which focuses on intergenerational relations as well as the transmission of heritage and cultural and material values. The filmmaker combines a relentless critique of the contemporary world in a form of commitment and is trying, not always successfully, to judge his own time without succumbing to blindness. The transmission of legacy and values is thus inseparable from ethical reflection on the construction of identity and collective memory in Quebec.
Vedere ciò che è diventato invisibile. Analisi di Il y a trop d’images e di Tout ce que tu possèdesdi Bernard Émond
L’analisi si concentra sulla raccolta di saggi Il y a trop d’images e sul film Tout ce que tu possèdes (2012) del regista Bernard Émond, che trattano delle relazioni intergenerazionali e della trasmissione del patrimonio e dei valori sia culturali che materiali. Il regista coniuga una critica impietosa del mondo attuale con una forma di impegno sociale e tenta, senza riuscirci completamente, di giudicare il presente in modo imparziale. La trasmissione del patrimonio e dei valori risulta quindi inseparabile dalla riflessione etica sulla costruzione dell’identità e della memoria collettiva in Québec.
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