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                <title xml:lang="fr">Incandescence du traumatisme dans Tetro de Francis Ford Coppola</title>
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                <term xml:lang="en">Tetro</term>
                <term xml:lang="en">Film studies</term>
                <term xml:lang="en">Flashback</term>
                <term xml:lang="en">trauma fiction</term>
                <term xml:lang="en">Trauma</term>
                <term xml:lang="en">Francis Ford Coppola</term>
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                <term xml:lang="fr">Tetro</term>
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              <p>In this article I provide an in-depth analysis of Francis Ford Coppola’s Tetro (2009), relying on narratological and psychoanalytical tools in connection with recent critical developments in trauma theory. My analysis focuses on the film’s deceitful and fluctuating narrative organization and some related technical and directorial choices, such as the shifting, elusive materiality of the film’s images. In Tetro, a film which relies on strategies of haunting and encrypted family secrets, Coppola opts for incandescence as his main visual metaphor to shed light on the ghosts of the past.</p>
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              <p>Cet article propose une lecture analytique du long métrage Tetro (2009) de Francis Ford Coppola à la lumière des théories narratives et psychanalytiques connexes aux trauma studies. Nous y analysons le fonctionnement traumatique du récit filmique à travers un certain nombre de choix filmiques et techniques, en insistant notamment sur la problématique de la matérialité de l’image, aussi fluctuante dans le film que le matériau mémoriel qui hante les protagonistes. Dans son film, Coppola met en exergue la capacité du cinéma à faire lumière sur le trauma au moyen de l’incandescence, métaphore centrale d’un film soucieux d’éclairer les fantômes du passé.</p>
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