ABSTRACT
Poussières (1954) is the only one of Georges Franju’s documentaries for which the screenplay was essentially written before shooting. The title of the present text, with its slogan form, becomes even stronger than it already is if taken literally. Writing before shooting, not in order to create a script but to prefigure cinematic images, sometimes by resting on the power of poetic evocation, while at other times relying on the power of scientific description using verbal language. Cinematic images, once composed, will refer back to verbal language, which, by means of this description, will designate what Franju wanted to see and what he wanted the spectator to see.
