Le « cinématographe » de Robert Bresson vise à atteindre la vérité du réel d’une façon différente du « cinéma », considéré comme le théâtre photographié. Le cinéma de Robert Bresson, qui est également le résultat de l’application de sa théorie, est constamment dans la négativité de l’image représentative. Le montage bressonien décompose le raccord classique et fragmente l’espace narratif. Dans ce contexte, l’objet dans le cinéma de Bresson, sans appuyer sur le rôle narratif et le sens symbolique, contribue à décomposer la cohérence et la continuité du récit filmique. Comparable à la nature morte hollandaise au XVIIème siècle, la singularité de l’objet dans les films de Bresson, est sa présence non narrative. L’objet matériel et concret s’oriente généralement vers les deux aspects : d’une part, l’objet en gros plan se déconnecte de l’acte et de l’évènement et fait les imaginer dans le hors-champ. La déconnection entre l’objet présenté et l’évènement imaginaire entraîne la problématique de la discontinuité. D’autre part, l’objet, par la composition avec le corps morcelé, produit l’acte et l’évènement qui restitue le récit d’une façon fragmentaire. Cette façon de déconnecter et de fragmenter l’évènement, c’est la manière, pour l’objet, de présenter le réel. Notre étude abordera comment l’objet matériel et non narratif figure l’apparition du réel. / The « cinématographe » of Robert Bresson, has the aim to reach the truth of the reality in a different way than the one commonly used in the « cinéma », considered as being the photographed theater. The cinema of Robert Bresson, which is also the result of the application of his theory, is constantly in the negativity of the represented image. The bressoniens montage breaks into parts the classic match and splits up the narrative space. In this context, the object in the cinema of Bresson, without pressing on the narrative role and the symbolic meaning, contributes to split up the coherence and the continuity of the cinematic narrative. Compared to the Dutch still life in the XVIIth century, the peculiarity of the object in the films of Bresson, is his non narrative presence. The material and concrete object turns generally towards both aspects : on one hand, the object disconnects from the act and from the event, and the disconnection involves in the question of discontinuity. On the other hand, by the composition with a part of the body, the object produces the act and the event which create the narrative in a fragmentary way. This discontinuity and the fragment is the way, for the object, of presenting the reality. Our study will devoted to approach how the material and not narrative object contribute to the appearance of the reality.

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Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.