Le film polyphonique et son spectateur

Abstract

This text proposes a new theory of audiovisual enunciation that is based on the idea that the spectator creates expressive instances depending on the intention that he/she infers from the images and sounds.
Since it does not possess the deictics of the language; the mergence of discourse in cinematography depends; as much on the audiovisual context; on the spectators sensibility to the language of cinematography. This article identifies the instances of multiple enunciations that the spectator can reconstruct by utilizing the analysis of the 1900 movie; which lasts barely 50 minutes. The image is interpreted in relation to the polyphonic enunciation whose model is due; in large part; to the linguist Oswald Ducrot. The different “masks” in the enunciation are distinguished: the supposed producer; the implicit narrator; and the author as such; who in the end; orients the construction of the enunciation that is carried out by the spectator. This construction also depends on the historical context; the general knowledge; and the extent of ostentation of the intentions of what is visible.