ABSTRACT
Marcel Proust himself may have considered that the early cinematograph with which he was familiar had little to teach in terms of the modernist aesthetic and vision he pursued in his writing cinema quickly explored questions of representation akin to his own. The topicality of the Proustian legacy to cinema, however, reappeared with a particular acuity as the twentieth century drew to an end. To offer an idea of the extent of Proust's legacy, of the direct or implicit effect of his ideas and writings on cinema, one would need to mention a much more extensive number of films and directors. Cinema's own privileged relation to time, its unique function and ability with regards to the operation of remembering and engaging with the past and with the present, lays the basis for a convergence that explains the integration of Proust's legacy in recent film works.
