The link between cinema and literature, even starting from different bases, is evident in the authors of the French avant-gardes of the early twentieth century, through poetic techniques that herald the mechanisms not only perceptive but also instrumental of the Seventh Art. These authors, lacking a true cinematographic background, tried to invent a literary form - with prevalence of images and symbols on words - in some way adequate to the cinema. They conceive their films as parallel redactions of free and autonomous literary structures that cannot be ascribed between the novel or the drama.
Inism surpasses what has so far characterized the old avant-garde: the revolt plan: not a revolution, but the overcoming of every tradition, of every attitude towards poetic material. The letter becomes in Inismo, the beginning of an "infinitesimal" process. It is therefore the passage "from the verse to the word, from the word to the letter, from the letter to the phoneme" which establishes the basis for the recognition of the universal language and the overcoming of traditional isms.
The intellectual figure of André Suarès stands as an exemplary representative of a generation that lived a good part of the second half of the nineteenth century and the first half of the twentieth century, due to the concerns of life and literary interests, aimed at understanding political and religious problems, aesthetic and moral of their time.
During his stay abroad, D'Annunzio gave a French voice to some of his works, in an alternative controversy to the predominance of Germanic, Russian and Scandinavian culture.
After closing the cycle of novels, Gracq has opened a new chapter of
literary production, based mainly on fragmentary notes or writings. From that moment on the new model of writing, that is the text or very short,
was used almost exclusively to describe physical and literary places.
Diaries and chronicles that today I can be side by side - each with its own
perspective and narrative cut - to the photographs of Henri Cartier-
The argumentative structure of "Autour des sept collines" replaces the
historiographical science with the values and illusions of surrealist poetry.
In this work, it prevails, rather it literally "dominates" the description to
the negative, the comparison that diminishes, which repeatedly
denigrates. What Gracq says about the Romans is one of those points in
the book that perplex. Not so much because of the negativity of
judgment, which is debatable of which one can always discuss, but
because of its trivial argumentative inconsistency, which seems more
than anything else to appeal to a burden of commonplaces. This aspect
of "Autour des septs collines" contrasts with the elegance of style.