Egoyan au miroir

Abstract

Atom Egoyan’s Artaud Double Bill (2007) foregrounds the parallel gazes of two female spectators in film theatres where Vivre sa vie (Godard, 1962) and The Adjuster (Egoyan, 1991) are shown. Through the mediation of text messages they send each other during the projection, but also through the quotation of those films and La Passion de Jeanne d’Arc (Dreyer, 1928), Egoyan’s short sets up a mise en abyme of the spectator’s gaze. It also offers a concrete definition of his practice as a postmodern filmmaker, in which the borrowing of an imprint promotes a cinema of the archive in the making that also erases itself in front of us.

Keywords

• Atom Egoyan
• reflexivity
• apparatus
• fetishism
• quotation