| Summary: | Jean-Marie Straub and Danièle Huillet argue that the cinematic image and sound spring from a sober and clarifying, as well as essentially dialectal and inevitable, relationship. In their representation on screen, the clear-cut disjunction between a ‘quoted’ word and the place in which it is evoked appears to be equally dialectical, thus allowing for an authentic preservation of the original nature of the different works being adapted. This form of re-use of a verbal text is in complete contrast to the techniques habitually employed by the cinema industry to adapt literature through its deformation and absorption, and is here discussed by way of the essential 1976 film Fortini / Cani.
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