Folds, Cracks, splits of the Subject. Otto e mezzo or the discovery of an authenticity of cinema
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“Asa Nisi Masa” is a word or a sentence that the clairvoyant Maya says to her assistant Maurice, who uses this meaningless word-sentence to wander between the tables so that each person who hears it can immerse himself in his thoughts. The itinerancy of this meaningless phrase-word is precisely what is carried in itinerancy between the characters present in the scene. “Asa Nisi Masa” is therefore only a voice. But to whom or to what is this phrase addressed? Is this formula a magic formula? Or is it a password, that is to say, a word that allows passage from one place to another? This formula is what marks the passage, the qualitative crossing from one place to another by the simple vibration of voice in space.
But what is this space? This space is precisely the film Otto e mezzo by Fellini, which takes up this address without the recipient of the voice moving within the space itself. This address without addressee is what the voice produces both as the itinerancy of its presence in the movie space, and what is spread in every pore of the flesh both of the characters, but also of the spectators, because it is precisely this cinematographic reflection - we could say like crumpled paper - that the folds and folds of this surface inscribe itself in the depths of intimacy, singularity and relationship to the world. A relationship to the world, not so much equivocal - if not rather polyvocal - which deals with the connections between two worlds; that of affects as a vehicle of thought and reason and that of the unconscious.
In conclusion, we will see how this liberated voice emancipates the cinema itself, within the tension between letter and cinema, the result of which is marked by a weakening - or another orientation - of the narrative. To this end, we shall indicate two different cases: Otto e mezzo of course, but also DERKAOUI Mostafa’s film About some meaningless events.
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