ABSTRACT
This chapter studies the use of the enunciative device of the dialogue through the analysis of four works: Si j’avais quatre dromadaires (Chris Marker, 1967), Maso et Miso vont en bateau(Nadja Ringart, Carole Roussopoulos, Delphine Seyrig, Ioana Wieder, 1975), Papa comme maman (Anne-Marie Miéville, 1975), and Le Camion (Marguerite Duras, 1977). It shows how the dialogue draws a very relevant range of possibilities of audiovisual thinking. Marker generates reflection from the subjectivisation and mobilisation of the gaze on the photographic images, turning his characters into cinematic essayists. The works of the three female filmmakers develop feminist critical thinking through the analysis of reality, intersubjective and intergenerational practice, and identification, using humour, irony, and poeticity as subversive counter-narratives against patriarchy.
