Archetypal gures in Marguerite Durass India Song: a Jungian perspective

Renate Gnther
Abstract
This article seeks to extend recent applications of C.G. Jungs theories to Hollywood cinema through a study of archetypal images in Marguerite Durass lm India Song (1974). Drawing on Jungs theory of contrasexual archetypes, the article explores the different representations of the female and the male protagonists of India Song. It examines the triple image of Anne-Marie Stretter as mother, goddess and femme fatale, arguing that while this construction of the feminine corresponds to Durass personal obsessions, the director was nevertheless able to maintain a critical distance from them by both dramatizing and subverting the archetypes she projected on to the lm. The article then demonstrates how, by contrast with the hyperfemininity of Anne-Marie Stretter, the Vice-Consul is represented as a more integrated gure, capable of combining the psychological functions of animus and anima. In terms of the lms narrative, it is suggested that the patriarchal repression of the female animus is the source of Anne-Marie Stretters fragmentation and suicide at the end of India Song. Spectators new to the cinema of Marguerite Duras tend to react with a mixture of fascination and bewilderment to her lm India Song (1974), because of its strange, anti-realist quality. Among Durassian critics, however, it is generally accepted that the destruction of realist models is one of the key features of both her ctional and her cinematographic style and that her protagonists are not represented as individual characters, but that, emptied of their specic identities, they become projections of obsessively recurring archetypal gures. Mireille Calle-Gruber, for instance, has suggested that it is precisely this disembodiment of the character in Duras and its attendant archetypal aura which contributes to the hypnotic fascination exerted by her work on readers and spectators alike (Calle-Gruber 1992: 16, 31). Both the defamiliarized images of the protagonists in India Song and the numerous anti-realist techniques deployed in the construction of the lms discourse enhance its archetypal resonance. One such device is the pervasive presence of sequences lmed in a mirror which, according to Duras herself, makes the spectator doubt the real presence of the actors on screen as plausible characters (Duras and Porte 1977: 73). The mirror in India Song also doubles and even multiplies the gures on screen, thus divesting them of their individual identity and, as Dominique Noguez has pointed out, conrming their status as representations of archetypal fantasies, the stuff of myth and legend (Noguez 1978: 42). However, the most effective denaturalizing device used by Duras is the technique of desynchronization and the voix off. The startling disparity between the actors voices off screen, reciting the script of India Song, and their mute physical presence on
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For a detailed exposition of the theory of archetypes, see Jung 1978.

screen disrupts any possible identication between the actors and the protagonists they represent, thus highlighting the fact that the characters in India Song are projections of universal gures rather than particular individuals. Given the archetypal structures of Durass lm, this article explores India Song by applying a recently developed model of lm analysis which draws on the work of the psychologist Carl Jung. Jung conceived of archetypes as archaic patterns inherent in the collective human psyche and which may be expressed through recurring gures and motifs in mythology, literature and, in a more contemporary context, the cinema.1 The application of Jungian concepts to lm studies is particularly pertinent, considering that cinema is the medium par excellence for the projection of both the personal and the collective unconscious onto screen images. As Christopher Hauke and Ian Alister have put it: In an era dominated by materialism, where our unconscious processes, our images and our dreams are still only poorly attended to, cinema offers both a means and a space to witness the psyche - almost literally in projection (Hauke and Alister 2001: 2). Furthermore, spectatorship as a shared event reconnects cinema audiences with the collective unconscious, all the more so in the case of India Song, whose primordial sounds and images transcend the boundaries of individual experience. With this context in mind, it is my intention in this article to study archetypes in India Song, with particular emphasis on the lms central female gure, Anne-Marie Stretter (Delphine Seyrig), as a complex projection of female archetypes and on the representation of the male protagonist, the Vice-Consul (Michael Lonsdale), in relation to the Jungian theory of contrasexual archetypes. India Song occupies centre stage in the work of Duras, as it represents the culmination of a cycle of texts and lms that begins with the 1964 novel Le Ravissement de Lol V Stein and that is constructed around the constant repetition, with slight variations, of characters, places and narratives. The compulsive recycling of this core material suggests that, over a ten-year period, Durass work became a site for the projection of her own archetypal fantasies, revolving around the gure of Anne-Marie Stretter. The latter rst appears as a femme fatale in Le Ravissement de Lol V Stein where she becomes the embodiment of the mad passion that leads Michael Richardson to abandon his ance Lola Valrie Stein at the ball at S. Thala and to follow the object of his desire to Calcutta, the setting of India Song. As Duras repeatedly conrmed, this mythical female gure was inspired by her childhood experience in Vietnam, where she became fascinated by an anonymous woman who was married to a colonial administrator and who had two daughters, the same age as Marguerite. For the young Duras, this mysterious woman became the maternal and feminine archetype that temporarily lled the void left by her own violent and emotionally unavailable mother and who was displaced on to the screen nearly fty years later as Anne-Marie Stretter in India Song: What is played out as drama there is my fascination, the love I bear her (...). My fascination persists, I cant seem to extricate myself from it, its a real love story (Duras and Porte 1983: 55-56). As is implicit in these comments, the gure of Anne-Marie Stretter, apart from representing the maternal archetype, also
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carries a certain erotic charge which permeates her screen appearance in India Song. It is worth noting that, for Jungian lm critics, the female protagonists in lms directed by men may be seen as incarnations of the directors unconscious anima gure, that is as projections of his own psyche (Beebe 2001: 212). This interpretation is based on Jungs theory of contrasexual archetypes, according to which the anima represents the feminine in men, while the animus is seen as the masculine in women. Jung suggests that both aspects are present in both sexes, but that the contrasexual side tends to be repressed, and thus unconscious (Jung 1986: 94). It is important to point out here that, due to the cultural and historical context of his work, Jungs conceptual framework inevitably became enmeshed in the patriarchal construction of gender which relies on the oppositional perception of what constitutes masculine and feminine attributes. Following the feminist deconstruction of this dichotomous framework, contemporary post-Jungians have reconceptualized anima and animus as psychological functions that are potentially available to everyone, but which have become associated, in the dominant culture, with femininity and masculinity respectively. Andrew Samuels, for example, has dened these functions as alternative modes of perception and behaviour which pertain to all humans, regardless of their biological sex (Samuels 1999: 212). This postJungian revision of the animus/anima theory is clearly applicable to my reading of India Song, since we are dealing here with a woman director whose projection of a charismatic, eroticized female gure disrupts the oppositional paradigm that polarizes animus and anima, masculine and feminine, desire and identication. As John Beebe has suggested, the most powerful archetype in lm, for both men and women, is precisely the female anima gure (Beebe 2001: 208). Indeed, Delphine Seyrig in her role as Anne-Marie Stretter embodies Beebes very denition of the anima in lm, as an actress chosen for her presence and unusual radiance, rather than for her naturalistic acting skills (Beebe 2001: 210). In India Song, Duras further confounds the dominant models of gender and sexuality through her strong identicatory empathy with the lms principal male gure, the Vice-Consul of Lahore, from whose point of view we see Anne-Marie Stretter, or objects associated with her, and with whose desire Duras thus implicitly aligns both herself and the male or female spectator. However, although Anne-Marie Stretter was a vital source of inspiration and creativity for Duras throughout the period from 1964 to 1974, her heroine may also have embodied a certain destructive element, as Duras found herself engulfed by the compulsiveness of her own projections. As she said in Marguerite Duras Montral: I couldnt get out of it. I was passionately in love with this woman, I started the same book, the same lm over and over again, and I said to myself: Shes got to die. Thats it. Because she touched me so deeply (Duras 1981: 33). Durass ambivalence towards Anne-Marie Stretter is congruent with Jungs view of the bipolar nature of the unconscious fantasies surrounding the anima gure, particularly in its maternal aspect, since the emotional charge of such fantasies may appear both seductive and destructive (Jung 1986: 110). Ultimately, it would seem that for Duras the only means of
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liberating herself from her obsession was to sacrice her own ctional creation by murdering Anne-Marie Stretter, who drowns herself at the end of India Song. The sacricial nature of Anne-Marie Stretters death is suggested in one of the opening sequences of the lm where the camera dwells on a long shot of a photograph, a candle and roses on top of a piano which functions as a symbolic shrine to Durass heroine and, by extension, to the female and maternal archetype that she represents throughout the India Song cycle. As Duras herself commented: The lm was shot, the lm became possible, because the story of that woman had been arrested by death (...). So it was also the altar of pain - of my pain. The source of the lm lay there (Duras 1980: 46). The broader symbolic implications of this altar and its visual components may be understood in terms of their archetypal signicance, considering their religious connotations beyond the specic historical context of India Song. In Greek mythology, as Jung has shown, the altar was the place of sacrice and also the receptacle of consecrated rites, in relation to the composite anima gure of the mother and the goddess (Jung 1986: 163). This representation of Anne-Marie Stretter as the primordial mother is particularly powerful in the long close-up shot of Delphine Seyrigs breast which evokes the nurturing, life-giving force of the maternal archetype. However, as Christiane Blot-Labarrre has pointed out, the female protagonist of India Song also embodies the ambiguity inherent in the anima gure, combining the idealized mother/goddess with the deadly femme fatale (Blot-Labarrre 1992: 145). The image of Anne-Marie Stretter does, indeed, incorporate the three essential aspects of the anima, described by Jung as goodness, passion and darkness (Jung 1986: 110), and which are reected in the contrasting patterns of light and darkness that punctuate the lms visual track. Thus, the passion and fascination she arouses both in her screen lovers and in the spectator are allied with the potentially harmful aspect of her sexual power, particularly in relation to the Vice-Consul, as she rejects his advances and reacts to his scream of desire in a seemingly cold and indifferent manner. It is signicant in this respect that the images of Anne-Marie Stretter dancing with the Vice-Consul are markedly darker than the shots in previous dancing sequences, as if to emphasize the destructive side of the anima. Similarly, the sequences showing the Vice-Consul touching AnneMarie Stretters bicycle in the park are all lmed in semi-darkness, conrming a point made by Kate Ince who refers to the suffering and deathly desire emanating principally from Anne-Marie Stretter (Ince 2000: 124). The darker side of Durass screen icon is evoked, moreover, through various objects, such as the red hair and the low-cut red or black dress which are classic screen emblems of the femme fatale. Yet the fact that these metonymic part objects function as recognizable cultural symbols, representing the different aspects of the feminine archetype, suggests that Anne-Marie Stretter is, to a large extent, a fantasized anima projection, a constellation of images of Woman created by others. As Luke Hockley has argued, lmic anima images should be understood as projections of the collective unconscious which have little to do with actual bodily
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women (Hockley 2001: 189). Indeed, a close reading of the lm, both at the level of the image and of the text, reveals the ambiguous dual image of AnneMarie Stretter as the site of Durass simultaneous mise-en-scne and subversion of female archetypes in India Song. The image of the femme fatale, in particular, is shown to be a fantasy, for, despite the presence in the lm of certain familiar emblems of this gure, Anne-Marie Stretter herself does not display the characteristics generally associated with the projection of the negative anima. Contrary to the myth of the sexually aggressive woman described by Janey Place in relation to lm noir, Anne-Marie Stretters self-effacing, understated elegance suggests the opposite of the phallic, violent femme fatale (Place 1998: 48). This dual image of Anne-Marie Stretter can be traced throughout the lm, as the projection of female archetypes is frequently undercut by images or words spoken off-screen which challenge such projections. Duras herself pointed to this ambiguity, wondering whether the Vice-Consul is speaking to Anne-Marie Stretter, whether its the person of Anne-Marie Stretter or an emblem or even an emblematic extension of Anne-Marie Stretter (Duras and Porte 1983: 56). A scene in the early sections of the lm crystallizes this dichotomous representation, as we see Delphine Seyrig in her role as Anne-Marie Stretter, standing by the piano and looking at a photograph of the dead protagonist. What this scene suggests is that the actress is not identical with her character, any more than Anne-Marie Stretter is her projected screen image, although that image progressively takes over and destroys her identity. By representing her central female gure both as archetypal woman and as an individual woman, Duras suggests that Anne-Marie Stretters alienation, and ultimately her death, are a direct consequence of her loss of subjectivity and self-determination which Jung termed the animus.2 Representing passion and desire for others, she remains dissociated from her own desire to the point of emotional numbness, condensed in the metaphorical leprosy of the heart to which the off-screen voices repeatedly allude. For, unlike the Vice-Consul, Anne-Marie Stretter no longer cries or screams. An extreme manifestation of feminine receptivity, she becomes a screen for collective anima fantasies, a hollow form (Duras and Porte 1977: 74), whose slow articial movements in the lm evoke the statue of a goddess, turned to stone by the gaze of others. As Mireille Calle-Gruber has put it, Anne-Marie Stretter hardly exists, except perhaps in the gaze, the discourse and the stories of others (Calle-Gruber 1992: 30). Surrounded by men and dened solely in relation to them, she is exiled from herself, as well as estranged from other women. Indeed, what is striking about India Song, by comparison with other lms by Duras, such as Dtruire dit-elle/Destroy, She Said (1969) and Nathalie Granger (1972), is its lack of female characters. Although the invisible beggarwoman, whose laughter and screams we hear on the lms soundtrack, is implicitly associated with AnneMarie Stretter through their shared suffering, the theme of female friendship, central to both the previous lms, is absent from India Song. Unlike the Vice-Consul who openly expresses his anger, pain and desire, Anne-Marie Stretters existence is reduced to her feminine persona, as she
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For an extensive discussion of the animus gure in Hollywood lm, see Dougherty 2001.

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wears her articial smile like a mask. As one of the guests at the reception remarks: Beyond reproach. Nothing shows. In this respect, Durass lm seems to conrm Mary Doughertys analysis of female gures in Hollywood movies from the 1950s until 2000, in which womens subjective sense of self is split off and repressed (Dougherty 2001: 199). However, unlike the lms discussed by Dougherty, India Song creates a critical distance from such images, because the off-screen voices, like a Greek chorus, point to their destructiveness, exemplied here by Anne-Marie Stretters increasing depersonalization, culminating in her suicide. The lm implies that her loss of identity stems directly from her over-identication with the anima gure, allied with her dissociation from the maternal. In this respect, there is a certain ambiguity surrounding the name Anna-Maria Guardi which, it is suggested, represents both Anne-Marie Stretters maiden name and her mothers name. For as she tells the young attach with whom she dances during the reception: My father was French. My mother was from Venice. Id kept her name. This fusion of names and generations might suggest a blurring of identities between mother and daughter before the latters marriage, followed by her estrangement from her mother after that marriage. It seems, therefore, that even in death she remains alienated from the mother, whose name has been effaced from her grave which now bears only her husbands name, Stretter. As Jung observed in his discussion of archetypes in Greek mythology, a positive relationship between mother and daughter, exemplied in the Demeter/Kore cult, is a vital aspect of the female psyche and its loss in modern Western cultures has had a detrimental effect on women (Jung 1986: 149). Thus, whilst the female protagonist of India Song functions as the archetypal mother for others, whether for Duras herself or for the lms male characters, she remains disconnected from the positive maternal aspect within herself, as is evident from her self-destructive impulses. In this respect, the association in India Song between the maternal and music as a source of female creativity is equally signicant, since the loss of both directly contributes to Anne-Marie Stretters psychological disintegration. An accomplished pianist in her youth, she stopped giving concerts after her exile from her birthplace, Venice, and, by extension, from her mother, as the voices remark: After Venice she no longer gave any concerts? No, never again. Unable to develop her creativity, she shares the experience of other bourgeois women whose enforced passivity, according to Duras, creates suicidal tendencies (Duras 1981: 75). The construction of Anne-Marie Stretter as a one-dimensional anima gure contrasts sharply with Durass representation of the Vice-Consul which includes aspects of both the animus and the anima. The Vice-Consul may be seen as an indeterminate gure in terms of the dominant gender models, as he combines the various characteristics conventionally perceived as masculine and feminine. This ambiguity is already implicit in his rst appearance in the lm, as a long tracking shot follows him walking by the river, capturing his reection in the water. The archetypal feminine connotations of water as well as of the colour white, which he wears virtually throughout the entire lm, underscore the gender-ambiguous quality of this virginal man from Lahore.
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On the one hand, the voices repeatedly allude to an incident, rst mentioned in Durass novel Le Vice-consul (1965), where the eponymous hero shot at the lepers in the Shalimar gardens in Lahore and then at his own image in the mirror. This violent gesture, an expression of the Vice-Consuls anger and revolt against the injustices of colonial India, is allied with a sense of tenderness and vulnerability, for instance in the striking close-up shot where he looks at Anne-Marie Stretter with tears running down his face. The most startling, and to some viewers disturbing, example of the male protagonists emotionality is the 25-minute sequence during which the Vice-Consul expresses his love for Anne-Marie Stretter in a violent scream that combines vulnerability, rage and desire. As Duras has pointed out, this overt display of male emotion represents such a blatant transgression of gender norms, that no male director would have dared lm this particular sequence (Duras and Faucher 1981: 50). Indeed, the Vice-Consuls very presence in the lm questions the patriarchal construct of the masculine persona, with its emphasis on rationality and control, as his outer personality is shattered when he shoots at his mirror image and when he screams his love for the heroine of India Song. As Jung has remarked, the man who fails to present a awless persona is seen as different from other people, not quite reliable (Jung 1986: 82). This is certainly true in relation to the Vice-Consul, who is excluded from his own colonial milieu for refusing to keep up appearances. However, whereas for Jung the animus and the anima represented unconscious aspects of the psyche, the Vice-Consul seems to experience and express his anima consciously. Indeed, his relationship with Anne-Marie Stretter questions the opposition between consciousness and the unconscious, since his overt identication with his female counterpart during the reception scene suggests that the anima, initially projected on to the woman, has now developed into a fully conscious aspect of his own psyche. This conscious acceptance of the anima is suggested by the Vice-Consuls remarks to Anne-Marie Stretter during the dancing sequence: You are within me. Ill take you with me. Animus and anima, masculine and feminine, then, are so closely integrated in Durass male protagonist that the distinction between them virtually disappears. In this respect, the Vice-Consul resembles the protagonists in lms by Pedro Almodvar whose psychological hermaphroditism, according to James Wylie, results in a third state of being, neither masculine, nor feminine (Wylie 2001: 230). This third state of being differs from the classic image of the androgyne which remains caught up in the oppositional gender paradigm of patriarchal cultures. In this sense, Durass image of the Vice-Consul is congruent with the post-Jungian call for what Samuels has described as a restriction in the use of oppositional theory, specically in relation to gender (Samuels 1999: 216). In India Song, then, representations of animus and anima reveal a striking dissonance between the lms male and female protagonist. Seen as mad and hence marginalized by his bourgeois colonial milieu, the Vice-Consul nevertheless conveys a certain balance and completeness which is lacking in the wholly anima-identied gure of Anne-Marie Stretter. Her lack of positive
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The original German term das Selbst is conventionally translated into English by using the capitalized spelling the Self , to avoid confusion with the self which does not have any specically Jungian connotations.

animus qualities mirrors the disempowerment, passivity and masochism of other female gures in the work of Duras, from Anne Desbaresdes in the novel Moderato cantabile (1958), adapted to the cinema by Peter Brook in 1960, to Elisabeth Alione in Durass rst lm Dtruire dit-elle. Far from reinforcing this depersonalizing construction of women as the bearers of anima projections, Duras clearly rejects it by dramatizing its disastrous effects on her women characters. Indirectly, then, she conrms Jungs view that the integration of the psychological functions represented by the images of animus and anima is an essential aspect of individuation and hence equally important for both men and women. However, Duras questions not only the one-sided hyperfemininity of the glamorous screen icon but also a certain kind of male cross-gender identication which, in India Song, is seen to contribute to the destruction and death of the lms heroine. Duras herself has commented on the negative impact of the Vice-Consuls femininity during the reception scene which she described as the pursuit of Anne-Marie Stretter, her hunting down by death, by the bearer of that feminine element, the Vice-Consul of Lahore (Duras 1980: 45). For whereas the Vice-Consul recognizes aspects of himself in AnneMarie Stretter, with whom he closely identies, this reective relationship is not reciprocal, since the woman has no mirror in which to recognize and hence afrm herself. Furthermore, while she represents the image of the mother/goddess for the Vice-Consul, who reconnects with his own mother through her, she herself is unable to do the same, precisely because she is the carrier of his projection. Disconnected from her own self, Anne-Marie Stretter lacks both a positive female identity and the sense of empowerment associated with the animus archetype. As Blot-Labarrre has pointed out, nothing can now happen to her except her death (Blot-Labarrre 1992: 164). Counteracting the anguish of loss and separation which permeates Durass entire work, is an equally strong desire for that sense of unity and completeness which Jung called the Self.3 In India Song the lms structure and its recurring motifs can be read as symbols of the Self. It is interesting to note here that these symbols all have certain feminine connotations, as if to compensate for the psychic disintegration of the lms central female gure. Thus, the circle as a symbolic representation of the Self appears in the circular structure of India Song which begins and ends with the beggarwomans story, as the closing shot of the map traces her imaginary return to her birthplace, Savannakhet in Laos. This circularity is directly linked, moreover, to the lms maternal theme, since the journey to Savannakhet also implies a return to the beggarwomans mother who chased her 17-year-old pregnant daughter from her home. The feminine symbolism of India Song is also underscored by the all-pervasive presence of music, given the latters maternal connotations in the lm and its more general function as a metaphor for harmony and balance which contrasts with Anne-Marie Stretters psychic fragmentation. Finally, the archetype of the Self is implicit in the typically Durassian image of the sea, whose boundless expanse evokes the experience of wholeness to which Duras herself alluded when she said that looking at the sea is looking at everything (Duras and Porte 1977: 86). The recurring
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motif of the sea in the work of Duras invariably represents a symbol of the mother, not least because of the homonymic relationship in French between la mer and la mre. This complex symbolism plays an important part in the lms closing sequences, as the off-screen voices talk about the suicide of Anne-Marie Stretter, who has drowned herself in the sea near Calcutta. Given the association of the sea with the archetypal mother, the womans suicide may be seen as a regressive act of fusion with the maternal, a metaphorical return to the womb and hence to that state of indifferentiation that Freud called the oceanic feeling. Indeed, regression is typically dened in negative terms in Freudian theory where it is linked to compulsive repetition and to the death drive. From a Jungian perspective, however, as Samuels has pointed out, we may postulate a more constructive understanding of regression as an attempt to connect with the Self and to the form of oneness that it represents (Samuels 1999: 99). The act of drowning, then, might be read symbolically as the womans attempt to gain access to her own Self and hence to the sense of psychological unity thwarted by the colonial society of 1930s India which, in India Song, represses womens intellectual and creative expression. For Jung, moreover, regression can also be seen as a symbolic death which constitutes a preparation for psychological rebirth and hence announces a new stage of creative development (Samuels 1999: 99). Although this does not apply to the gure of Anne-Marie Stretter, who reappears merely as an echo on the soundtrack of Son nom de Venise dans Calcutta dsert (Duras,1976), the regressive trajectory of India Song does seem to prepare the ground for Durass subsequent work in lm and, in particular, for the creation of female protagonists who are neither the product of anima projections nor trapped in a self-destructive feminine persona. The gure of Brnice, evoked in Csare (Duras, 1979), dees both national allegiances and the Roman senate to follow her desire, while the eponymous heroine of the Aurlia Steiner trilogy (Duras, 1979) creates her subjectivity through writing, and the elderly woman in Le Camion/The Lorry (Duras, 1977) denounces the authoritarianism of the French Communist Party. All the female gures which appear in Durass cinema after the India Song cycle convey a sense of female individuation and self-afrmation that is lacking in the feminine archetypes projected through Anne-Marie Stretter. Durass lms of the late 1970s, then, suggest that the symbolic matricide which concludes India Song was ultimately a necessary gesture which enabled Duras to escape from her fascination with the maternal archetype and to begin working with different characters and narratives in a cycle of death and rebirth.

References
Beebe, J. (2001), The anima in lm, Jung and Film (eds. C. Hauke and I. Alister), London: Brunner-Routledge, pp. 208-25. Blot-Labarrre, C. (1992), Marguerite Duras, Paris, Seuil. Calle-Gruber, M. (1992), LAmour fou, femme fatale: Marguerite Duras, Le Nouveau roman en question: nouveau roman et archtypes (I) (ed. R.-M. Allemand), Paris: Minard, pp. 13-61.

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Dougherty, M. (2001), Love-life: using lms in the interpretation of gender within analysis, Jung and Film (eds. C. Hauke and I. Alister), London: Brunner-Routledge, pp. 194-207. Duras, M. (1980), Notes on India Song, Camera Obscura, 6, pp. 42-49. ____(1981), Rencontre du 10 avril 1981, Marguerite Duras Montral, (eds S. Lamy and A. Roy), Montral: Editions Spirale, pp. 29-41. Duras, M. and Faucher, F. (1981), Interview du 11 avril 1981, Marguerite Duras Montral (eds. S. Lamy and A. Roy), Montral: Editions Spirale, pp. 43-53. Duras, M. and Porte, M. (1977), Les Lieux de Marguerite Duras, Paris: Minuit. ____(1983), The Places of Marguerite Duras, Enclitic 7: 2, pp. 55-62. Hauke, C. and Alister, I. (2001), Introduction, Jung and Film (eds. C. Hauke and I. Alister), London: Brunner-Routledge, pp. 1-13. Hockley, L. (2001), Film noir: archetypes or stereotypes?, Jung and Film (eds. C. Hauke and I. Alister), London: Brunner-Routledge, pp. 177-93. Ince, K. (2000), Imaginary White Female: Myth, Race and Colour in Durass LAmant de la Chine du Nord, Revisioning Duras: Film, Race, Sex (ed. J.S. Williams), Liverpool: Liverpool University Press, pp. 113-26. Jung, C.G. (1978), The Archetypes and the Collective Unconscious, Collected Works, Vol. 9 (eds. H. Read, M. Fordham and G. Adler; trans. R.F.C. Hull), London: Routledge. ____(1986), Aspects of the Feminine (trans. R.F.C. Hull), London: Routledge. Noguez, D. (1978), Les India Songs de Marguerite Duras, Cahiers du Vingtime Sicle, 9, pp. 31-48. Place, J. (1998), Women in Film Noir, Women in Film Noir (ed. E.A. Kaplan), London: BFI Publishing, pp. 47-69. Samuels, A. (1999), Jung and the Post-Jungians, London: Routledge. Wylie, J. (2001), Gay sensibility, the Hermaphrodite and Pedro Almodvars Films, Jung and Film (eds. C. Hauke and I. Alister), London: Brunner-Routledge, pp. 22642.

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