For the new generation of writers from the end of the 1970’s, cinema has become a real cultural referent, on a par with literature or painting. This generation is the first to proclaim her love for films : movies, cinematographic images and mythologies are familiar to those writers. Contemporary works thus demonstrate, in very different ways, the major role now played by cinema in literature, which creates a real intersemiotic poetics. The narratives can contain thematic references or allusions to the cinema and its generic codes; but cinema may also function as a formal scheme in the novel’s system of representation.Contemporary literature views cinema as a repertoire of patterns the writer can borrow to feed the narrative dynamic. By referring to this repertoire, the writer can also create shortcuts in the fabric of the narrative. Every story is made of existing patterns from the "already told", which has to be revived, diverted or subverted at will.But cinematographic references also crystallize several of French literature’s obsessions. First, they raise the problem of figuration and figurability, and the problem of the seizure of reality by the text; they also reveal a concern about the proliferation of fictions in our environment and they examine the role played by stereotypes. They finally reveal the presence of a subject who tries to define himself through an intimate and a collective film library, a subject in search of the memories which constitute his personal identity, a subject marked by a melancholic and a spectral relation to the world. The problem of identity that appears in contemporary literature therefore manifests itself in a “literary cinephilia”.

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   |texte=   Cinematographic images and imagineries in french contemporary narrative (from to the end  of the 1970’s to today)
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