"Golden Butterfly", film by Abdelhamid Bouchnaq: The utopia of a magical place (IV)
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Loading... - Noah Hunter
- 05 Apr 2022
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“Papillon d'or” is a magical world where the acting of the actors is pertinently doubled by filmic places determined on their part as revealing actors of a certain significant capacity. These places are essentially depicted as non-places in order to transmit their psychic impact to the spectator, and it is the emotional agility of the latter that will be profoundly tested to detect the psychic content of these places. Determined as an imaginary signifier, these actor places reveal their semiotic propensity and reinforce the impression of reality. The film delivers us within a childish dream, asking us to better verify the psychic nature of the human being that we are. Between reality and magic, there is a utopian place regenerating a stolen childhood and missed happiness.
The second part of the film depicts a utopian world intertwined between reality and magic, arousing sensation and understanding. In this world, the author of the film seems to succeed in drawing up the right profile of an active spectator whose imaging amplitude is cleverly prolific. This world is knowingly interpreted by Jean Mitry as what:
“Arouse ecstasy, become ecstasy. The individual experiences again; He recongnizes. And in a new knowledge which is more perfect than immediate knowledge since it is the synthesis, included in a fleeting moment, of all prior knowledge relating to the object represented. It is a more total, purer awareness”.
There, it is a utopian world equaling a new awareness of reality. This world is arranged like a spectacle capable of invoking a reality that is both different and similar, a reality resulting from a world which, without being totally different from ours, is presented as an imaginary addition, perfectly probable. This magical world is considered in the image of this imaginary conjunction which is the best capable of elaborating this sort of momentary escape, Clément Rosset deploys it as such:
“The most beneficial escape is not so much to escape reality as to move comfortably in a parallel and, so to speak, twin reality. There is no better distraction in the world than to stay there, only and imperceptibly changing time and place. One never leaves the world so well as when one remains there in thought, exchanging the imagination of the real for that of a real which is in every way comparable to it.
Admittedly, the film is a utopian escape, not only by arousing the spectator's imagination but certainly because it provides itself entirely as an “imaginary signifier”. This formula that we borrow from Christian Metz will be more detectable to us in what "Papillon d'or" releases as imaginary potentialities of characters and places, as signifiers functioning in the territory of the imaginary. The context of magic realism in the film will allow us to consider these signifiers according to what we have just seen previously as a preliminary semiological apprehension with what that supposes of psychoanalytical semiotization.
Such an attempt at semiotization makes us feel the need to refer again to Christian Metz when he considers that:
"The interpretation of each film, in its singularity, is constituted by definition in a kind of mixed place where the specific codes (more or less specific to the cinema and to it alone) and the non-specific codes (more or less common to diverse “languages” and to a state of culture) come to meet and tie together”. Read More…
