The Flesh Made Word
Bodily Inscription and Religion in Celine et Julie Vont en Bateau
Bibliographic Data
| ID | 20249353 |
|---|---|
| Authors | Mcneil Taylor (0000-0001-6122-4604, University of Cambridge, corresponding author) |
| Year | 2018 |
| Volume | 7 |
| Issue | 4 |
| Pages | 114 |
| Publication date | 2018-11-09 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Humanities (JOURNAL) |
| Journal identifiers | ISSN: 2076-0787 • E-ISSN: 2076-0787 |
| Publisher | MDPI AG (PUBLISHER • IT) |
| DOI | 10.3390/h7040114 |
| OpenAlex | W2899716997 |
| Language | EN |
| References cited | 4 |
In Celine et Julie Vont en Bateau Jacques Rivette works through his discomfort with the theological function of the author, a discomfort stemming from the material effects of authorship on the bodies of his actors. Examples of bodily incision and bruising proliferate throughout the film, part of a process of violent characterization imposed by an authoring demiurge. The film explores several methods of escape from this process, starting with exotic travel and fairy tales, but culminates around repeated allusions to the crucifixion of Christ. The film advances a heretical Christology by positing God as a sadistic author and the wounded body of Christ as the paradigmatic example of being inscribed as a character against one’s will. As this characterization obviously engenders being inscribed in a narrative as well, the structure of the film probes at the notion of both Christianity and narrative cinema as means of escape
Art · Christology · Inscribed figure · Literature · Movie theater · Narrative · Theology · French Literature and Criticism · Historical Studies and Socio-cultural Analysis · Philosophy · Vietnamese History and Culture Studies
| Highly cited | No |
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