{"id":333,"date":"2026-01-07T19:06:58","date_gmt":"2026-01-07T18:06:58","guid":{"rendered":"https:\/\/filmparimage.com\/?page_id=333"},"modified":"2026-02-13T12:48:07","modified_gmt":"2026-02-13T11:48:07","slug":"cinescriptographe-de-soeur-emmanuelle","status":"publish","type":"page","link":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-soeur-emmanuelle\/","title":{"rendered":"Cin\u00e9scriptographe de S\u0153ur Emmanuelle"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Cin\u00e9scriptographe <strong>\u2014<\/strong> S\u0153ur Emmanuelle<\/h2>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Aper\u00e7us cin\u00e9scriptographiques (phrases-sources)<\/strong><\/h4>\n\n\n\n<p>Le vendredi 17 octobre 2008, j\u2019envoie par voie \u00e9lectronique cette phrase dans une \u00e9mission radiophonique nocturne de France Inter :<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2014 \u00ab Sur sa tombe, on pourra \u00e9crire sil anse. \u00bb<\/p>\n<\/blockquote>\n\n\n\n<p><strong>Amplification<\/strong> : le samedi 18 octobre 2008, en d\u00e9but d\u2019apr\u00e8s-midi, sur la m\u00eame antenne, dans l\u2019\u00e9mission <em>CO\u00b2 mon amour<\/em>, une phrase est prononc\u00e9e en ouverture :<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2014 \u00ab Ici, on a un silence assourdissant. \u00bb<\/p>\n<\/blockquote>\n\n\n\n<p>Le dimanche 19 octobre 2008 au soir, j\u2019appelle \u00e0 deux reprises le r\u00e9pondeur de l\u2019\u00e9mission <em>Parking de Nuit<\/em> de France Inter. L\u2019\u00e9mission n\u2019a pas lieu ce soir-l\u00e0. Je le sais. Je tombe sur le r\u00e9pondeur. Ces appels ont lieu pendant la diffusion d\u2019une autre \u00e9mission de France Inter, <em>Ascenseur pour le Jazz<\/em>. \u00c0 l\u2019antenne, une allusion est faite \u00e0 un t\u00e9l\u00e9phone qui sonne. Aucun message n\u2019est laiss\u00e9.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>\u00c9v\u00e8nement ult\u00e9rieur (m\u00e9moire r\u00e9v\u00e9latrice)<\/strong><\/h4>\n\n\n\n<p>Au petit matin du lundi 20 octobre 2008, S\u0153ur Emmanuelle d\u00e9c\u00e8de \u00e0 Callian, dans le Var, \u00e0 l\u2019\u00e2ge de 99 ans. N\u00e9e Madeleine Cinquin en 1908, elle fut religieuse, \u00e9ducatrice et figure engag\u00e9e aupr\u00e8s des plus pauvres, notamment dans les bidonvilles du Caire. Son action s\u2019est inscrite dans une pr\u00e9sence concr\u00e8te, active, tourn\u00e9e vers les enfants, l\u2019\u00e9ducation et la r\u00e9duction de la violence sociale.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Lecture cin\u00e9scriptographique (a posteriori)<\/strong><\/h4>\n\n\n\n<p>Relus apr\u00e8s le d\u00e9c\u00e8s de S\u0153ur Emmanuelle, ces aper\u00e7us s\u2019organisent autour d\u2019un m\u00eame r\u00e9gime du silence. Silence \u00e9crit (\u00ab sil anse \u00bb), silence t\u00e9l\u00e9phonique, silence entendu, silence final.<\/p>\n\n\n\n<p>La premi\u00e8re phrase \u2014 <em>sur sa tombe on pourra \u00e9crire sil anse<\/em> \u2014 propose une inscription minimale, phon\u00e9tique, o\u00f9 le mot <em>silence<\/em> se d\u00e9plie et se fragmente. La tombe n\u2019est pas encore l\u00e0, mais l\u2019espace de l\u2019inscription est d\u00e9j\u00e0 ouvert.<\/p>\n\n\n\n<p>Le lendemain, une autre \u00e9mission s\u2019ouvre sur la formule : <em>ici, on a un silence assourdissant<\/em>.<br>Le silence n\u2019est plus seulement \u00e9crit : il est dit, amplifi\u00e9, rendu audible par l\u2019oxymore. Ce qui, la veille, \u00e9tait projet\u00e9 comme inscription future devient une qualit\u00e9 pr\u00e9sente de l\u2019espace radiophonique.<\/p>\n\n\n\n<p>Le troisi\u00e8me temps introduit un geste sans parole. Appeler une \u00e9mission qui n\u2019a pas lieu, en conna\u00eetre l\u2019absence, tomber volontairement sur un r\u00e9pondeur, ne rien dire. L\u2019appel est effectu\u00e9 au moment pr\u00e9cis o\u00f9 une autre \u00e9mission est diffus\u00e9e, portant en son titre l\u2019id\u00e9e d\u2019\u00e9l\u00e9vation. L\u2019appel ne traverse pas par la voix. Il circule autrement. \u00c0 l\u2019antenne, une allusion est faite \u00e0 un t\u00e9l\u00e9phone qui sonne. Quelque chose est per\u00e7u.<\/p>\n\n\n\n<p>Dans cette s\u00e9quence, le silence n\u2019est ni vide ni absence. Il est successivement :<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>inscription possible,<\/li>\n\n\n\n<li>mati\u00e8re sonore,<\/li>\n\n\n\n<li>geste muet,<\/li>\n\n\n\n<li>signal reconnu.<\/li>\n<\/ul>\n\n\n\n<p>Le cin\u00e9scriptographe ne raconte pas un \u00e9v\u00e9nement. Il enregistre une configuration : celle d\u2019un passage o\u00f9 la parole se retire, o\u00f9 l\u2019appel ne demande pas de r\u00e9ponse, o\u00f9 le silence devient la forme m\u00eame de la pr\u00e9sence.<br>La disparition de S\u0153ur Emmanuelle vient donner \u00e0 cette suite d\u2019aper\u00e7us une r\u00e9sonance pr\u00e9cise : celle d\u2019une voix engag\u00e9e qui s\u2019\u00e9teint, laissant place \u00e0 un silence charg\u00e9 d\u2019action pass\u00e9e.<\/p>\n\n\n\n<p>Ce cin\u00e9scriptographe n\u2019annonce pas la mort. Il en accompagne la forme sensible.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Note<\/strong><\/h5>\n\n\n\n<p>Ce cin\u00e9scriptographe n\u2019\u00e9tablit aucune causalit\u00e9.<br>Il observe comment des gestes minimes \u2014 \u00e9crire, entendre, appeler sans parler \u2014 peuvent, apr\u00e8s coup, se disposer autour d\u2019un \u00e9v\u00e9nement, et devenir lisibles comme une seule et m\u00eame modulation du silence.<br>Il ne propose ni interpr\u00e9tation religieuse ni lecture politique.<br>Il observe la mani\u00e8re dont le silence, sous diff\u00e9rentes formes, peut devenir un lieu de m\u00e9moire.<\/p>\n\n\n\n<p class=\"has-text-align-center\"><a href=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-lazare-ponticelli\/\">\u2190 Revenir<\/a>\u2009\u00b7\u2009<a href=\"https:\/\/filmparimage.com\/index.php\/sommaire-cinescriptographes\/\">\u21ba Sommaire<\/a>\u2009\u00b7\u2009<a href=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-barack-obama\/\">\u2192 Continuer<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h3 class=\"wp-block-heading\">Cinescriptograph <strong>\u2014<\/strong> Sister Emmanuelle<\/h3>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Cinescriptographic glimpses (source phrases)<\/strong><\/h4>\n\n\n\n<p>On Friday, October 17, 2008, I electronically send this sentence to a late-night radio program on France Inter:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2014\u201cOn her grave, one could write sil anse.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p><strong>Amplification<\/strong> : on Saturday, October 18, 2008, early in the afternoon, on the same radio channel, in the program <em>CO\u00b2 mon amour<\/em>, a sentence is spoken at the opening:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\u2014\u201cHere, we have a deafening silence.\u201d<\/p>\n<\/blockquote>\n\n\n\n<p>On Sunday evening, October 19, 2008, I call the answering machine of the program <em>Parking de Nuit<\/em> on France Inter twice. The program does not air that evening. I know this. I reach the answering machine. These calls take place during the broadcast of another radio program on France Inter, <em>Ascenseur pour le Jazz<\/em>. On air, an allusion is made to a telephone ringing. No message is left.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Subsequent event (revealing memory)<\/strong><\/h4>\n\n\n\n<p>In the early morning of Monday, October 20, 2008, Sister Emmanuelle dies in Callian, in the Var region, at the age of 99. Born Madeleine Cinquin in 1908, she was a nun, educator, and a deeply engaged figure working with the poorest, particularly in the slums of Cairo. Her action took the form of a concrete, active presence, directed toward children, education, and the reduction of social violence.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Cinescriptographic reading (a posteriori)<\/strong><\/h4>\n\n\n\n<p>Read after the death of Sister Emmanuelle, these glimpses organize themselves around a shared regime of silence. Written silence (<em>sil anse<\/em>), telephone silence, heard silence, final silence.<\/p>\n\n\n\n<p>The first sentence \u2014 <em>on her grave one could write sil anse<\/em> \u2014 proposes a minimal, phonetic inscription, in which the word <em>silence<\/em> unfolds and fragments. The grave is not yet there, but the space of inscription is already open.<\/p>\n\n\n\n<p>The following day, another program opens with the phrase: <em>here, we have a deafening silence<\/em>. Silence is no longer only written: it is spoken, amplified, made audible through oxymoron. What the day before was projected as a future inscription becomes a present quality of the radio space.<\/p>\n\n\n\n<p>The third moment introduces a gesture without speech. Calling a program that does not air, knowing of its absence, deliberately reaching an answering machine, saying nothing. The call is made at the precise moment when another program is broadcast, whose title itself carries the idea of elevation. The call does not pass through the voice. It circulates otherwise. On air, an allusion is made to a telephone ringing. Something is perceived.<\/p>\n\n\n\n<p>In this sequence, silence is neither emptiness nor absence. It is, successively:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>a possible inscription,<\/li>\n\n\n\n<li>a sonic material,<\/li>\n\n\n\n<li>a mute gesture,<\/li>\n\n\n\n<li>a recognized signal.<\/li>\n<\/ul>\n\n\n\n<p>The cinescriptograph does not recount an event. It records a configuration: that of a passage where speech withdraws, where the call does not ask for an answer, where silence becomes the very form of presence.<\/p>\n\n\n\n<p>The disappearance of Sister Emmanuelle gives this series of glimpses a precise resonance: that of an engaged voice that falls silent, leaving behind a silence charged with past action.<br>This cinescriptograph does not announce death. It accompanies its sensitive form.<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Note<\/strong><\/h5>\n\n\n\n<p>This cinescriptograph establishes no causality.<br>It observes how minimal gestures \u2014 writing, hearing, calling without speaking \u2014 can, after the fact, arrange themselves around an event and become legible as a single modulation of silence.<br>It proposes neither a religious interpretation nor a political reading.<br>It observes how silence, in its various forms, can become a place of memory.<\/p>\n\n\n\n<p class=\"has-text-align-center\"><a href=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-lazare-ponticelli\/\">\u2190 Back<\/a> \u00b7 <a href=\"https:\/\/filmparimage.com\/index.php\/sommaire-cinescriptographes\/\">\u21ba Contents<\/a> \u00b7 <a href=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-de-barack-obama\/\">\u2192 Continue<\/a><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cin\u00e9scriptographe \u2014 S\u0153ur Emmanuelle Aper\u00e7us cin\u00e9scriptographiques (phrases-sources) Le vendredi 17 octobre 2008, j\u2019envoie par voie \u00e9lectronique cette phrase dans une \u00e9mission radiophonique nocturne de France Inter : \u2014 \u00ab Sur sa tombe, on pourra \u00e9crire sil anse. \u00bb Amplification : le samedi 18 octobre 2008, en d\u00e9but d\u2019apr\u00e8s-midi, sur la m\u00eame antenne, dans l\u2019\u00e9mission CO\u00b2&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"class_list":["post-333","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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