Marguerite Duras has unique position in both literature and cinema. She not only forms the main author group of Nouveau Roman but also places herself strongly as a modernism film director. Through experiments about literature and cinema, voice and image, her films stand on a different point which differs from narrative structure and method of expression of traditional films. Among her films, especially India Song is acme of this film experiment and shows voice-over narration, overlapping and extension of space through mirror, and the dislocation of synchronization of image and voice. India Song shows invisible narrator(s) and the definition of time and space. The definition of time and space was already shown in Alain Resnais-directed Hiroshima mon amour(1959) whose scenario was written by herself. One more similar point is that the narration is the main element leading the film. In that point, Duras' films are highly affected by Alain Resnais' influence. However, this relationship is not one-sided from director Resnais to writer Duras. India Song clearly shows difference from Resnais' film style and this film achieves different method and effect from those of Hiroshima mon amour. One noteworthy difference would be invisible narrator(s). Through the recomposition of its memory and experience, its existence blurs the borderline of past and present, memory and reality. India Song's space has coexistence of actuality and reflection, reality and memory. This 'spacial coexistence' is visualized through the use of mirror. There is a immense mirror on one side of the wall of the parlor, the film's main space. This mirror extends the space and at the same time separates it, makes the surface and depth coexist in one plane.
1. 시작하며
2. 마르그리트 뒤라스의 세계
3. 〈인디아 송〉 작품분석
4. 나오며
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