Kinetexte: du texte mouvant du scénario à l'écriture des scénaristes-cinéastes

The screenplay is a text in transit. Evolving between two forms, it is most of the times written to be lost once the movie is finished, after a long process of rewriting and anticipating the filmic texture. From these observations, the present dissertation aims to highlight the potentiality of screenwriting right from its in-between position, from its particular interzones. Taking into account this multiplicity, this research explores the different perspectives surrounding the subject through a trans-disciplinary approach. Starting from an analysis of the different relations between writing and audiovisual within literature and cinema, the work focuses on retracing a genealogy of the screenplay, or more precisely, the origin of a hegemonic discourse which had been defining what screenwriting should be, based on fixed notions of standard cinema. In opposition to this prescriptive tradition which prevents a wider understanding of the screenplay, it is possible to consider, based on different theoretical contributions such as Pasolini’s theory, Barthe’s concepts of text and scriptor, or Derrida’s idea of spectrality, the screenplay text as a complex process in which the filmic and written forms merge into a potentialized and dynamic textuality. Thus, the creation of the kinetexte concept intends to assemble those many movements, traces and temporalities which operate within screenwriting, while the analysis of the chosen screenwriters-directors’ screenplays helps us demonstrate an expanded use of writing, far beyond the conventional guidelines of « adequate » screenwriting. Clearly, screenwriting exceeds a state of subordination in relation to the film and reveals a zone of great aesthetic experimentation. This dissertation eventually points out that the construction of an expanded idea of screenplay clashes, ethical and politically, against a specific conception of screenplay which is, as a matter of fact, the product of a historical process and of a hegemonic idea of cinema itself.