Saga (1968)

Overview: "While film always seems to aim for humanism and anthropomorphism, I endeavoured in my film to represent only a language with three­ dimensional letters." Saga is an extension of the plurality of the means of experimentation used by Jean-François Bory to capture the dynamic inside the text, directly related to the spatialisation of letters theorised by Pierre Garnier. lts corresponding object­ book masterfully resumes the cinematographic dimension in the progression of the writing and uses a visual narration.

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