{"id":658,"date":"2026-01-27T14:37:00","date_gmt":"2026-01-27T13:37:00","guid":{"rendered":"https:\/\/filmparimage.com\/?page_id=658"},"modified":"2026-02-13T15:11:39","modified_gmt":"2026-02-13T14:11:39","slug":"cinescriptographe-des-legionnaires","status":"publish","type":"page","link":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-des-legionnaires\/","title":{"rendered":"Cin\u00e9scriptographe des L\u00e9gionnaires"},"content":{"rendered":"\n

Cin\u00e9scriptographe \u2014 L\u00e9gionnaires<\/strong><\/h2>\n\n\n\n

D\u00e9but d\u2019\u00e9t\u00e9 2008 \u2013 fin septembre 2009<\/em><\/p>\n\n\n\n

Aper\u00e7us cin\u00e9scriptographiques (phrases sources)<\/strong><\/h4>\n\n\n\n
\n

\u2014 \u00ab Je suis parfois d\u00e9sarm\u00e9 dans mes fils de larmes. Je trinque \u00e0 la v\u00f4tre\u2026 (\u00e0 la Fischer !) \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Mis en \u0153uvre par envoi \u00e9lectronique lors de l\u2019\u00e9mission Champagne !<\/em>, consacr\u00e9e \u00e0 Jacques Higelin, sur France Inter, d\u00e9but \u00e9t\u00e9 2008.<\/p>\n\n\n\n

\n

\u2014 \u00ab <\/strong>J\u2019sais pas chanter\u2026, mon l\u00e9gionnaire !\u2026 et sur son front\u2026 de la lumi\u00e8re\u2026 \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Mis en \u0153uvre \u00e0 voix haute, en d\u00e9but d\u2019apr\u00e8s-midi du vendredi 25 septembre 2009, reprise d\u2019une chanson d\u2019\u00c9dith Piaf.<\/p>\n\n\n\n

\n

\u2014 \u00ab L\u00e0, le grand peuplier a \u00e9t\u00e9 foudroy\u00e9. Le noyer, \u00e0 c\u00f4t\u00e9, on l\u2019a abattu sans savoir pourquoi. Je l\u2019aimais bien, le noyer. Tiens, il y a un lapin. Il va peut-\u00eatre finir par me voir ? Le lapin d\u00e9tale brusquement, plonge dans le foss\u00e9 et heurte la cl\u00f4ture. Peut-\u00eatre est-il aveugle ? \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Mis en \u0153uvre \u00e0 voix haute, en fin d\u2019apr\u00e8s-midi du 25 septembre 2009, sur un lieu de l\u2019enfance, dans une rue d\u00e9crivant une forme en S.<\/p>\n\n\n\n

\u00c9v\u00e8nement ult\u00e9rieur (M\u00e9moire r\u00e9v\u00e9latrice)<\/strong><\/h4>\n\n\n\n

Quatre soldats fran\u00e7ais sont tu\u00e9s en Afghanistan dans la nuit du 26 au 27 septembre 2009 :
\u2014 l\u2019un est foudroy\u00e9,
\u2014 un autre se noie,
\u2014 un troisi\u00e8me meurt en tentant de porter secours,
\u2014 un dernier est retrouv\u00e9 dans le foss\u00e9 au volant de son v\u00e9hicule.<\/p>\n\n\n\n

Le bilan porte alors \u00e0 35 le nombre de soldats fran\u00e7ais morts en Afghanistan depuis 2001.<\/p>\n\n\n\n

Sur une carte de l\u2019Afghanistan, les lieux de ces d\u00e9c\u00e8s dessinent une forme en Z, en sym\u00e9trie verticale avec la rue en S parcourue lors des aper\u00e7us.<\/p>\n\n\n\n

Lecture cin\u00e9scriptographique (a posteriori)<\/strong><\/h4>\n\n\n\n

Ce cin\u00e9scriptographe articule des \u00e9nonc\u00e9s apparemment h\u00e9t\u00e9rog\u00e8nes \u2014 une adresse radiophonique, une reprise chant\u00e9e, une d\u00e9ambulation verbale dans un paysage familier \u2014 autour d\u2019un m\u00eame champ de perception : celui de corps expos\u00e9s, atteints, ou brusquement mis en mouvement.<\/p>\n\n\n\n

Les aper\u00e7us ne nomment aucun \u00e9v\u00e9nement.
Ils d\u00e9crivent des \u00e9tats :
\u2014 \u00eatre \u00ab d\u00e9sarm\u00e9 \u00bb,
\u2014 un front travers\u00e9 par la lumi\u00e8re,
\u2014 un arbre foudroy\u00e9,
\u2014 un autre abattu sans raison apparente,
\u2014 un animal qui fuit, chute et heurte un obstacle,
\u2014 la possibilit\u00e9 de l\u2019aveuglement.<\/p>\n\n\n\n

Ces \u00e9l\u00e9ments s\u2019organisent sans intention narrative.
Ils se pr\u00e9sentent comme une suite de constats, formul\u00e9s \u00e0 voix haute, dans des contextes distincts, mais reli\u00e9s par une m\u00eame tonalit\u00e9 de vuln\u00e9rabilit\u00e9 et de rupture.<\/p>\n\n\n\n

L\u2019\u00e9v\u00e9nement ult\u00e9rieur n\u2019est pas annonc\u00e9.
Il vient r\u00e9activer les aper\u00e7us a posteriori : les modalit\u00e9s de mort des quatre soldats (foudroy\u00e9, noy\u00e9, tomb\u00e9 dans un foss\u00e9) font \u00e9cho, point par point, aux formes d\u00e9j\u00e0 pr\u00e9sentes dans le paysage d\u00e9crit.<\/p>\n\n\n\n

La correspondance ne se situe ni dans le symbole ni dans la causalit\u00e9, mais dans la structure des atteintes et leur mise en forme.<\/p>\n\n\n\n

Cette mise en forme se prolonge spatialement : la rue en S parcourue lors des aper\u00e7us trouve une r\u00e9sonance cartographique dans la disposition en Z des lieux des d\u00e9c\u00e8s, en sym\u00e9trie verticale.
La coh\u00e9rence du cin\u00e9scriptographe se construit ainsi par superposition de formes \u2014 verbales, corporelles, g\u00e9ographiques \u2014 rendues lisibles seulement apr\u00e8s coup.<\/p>\n\n\n\n

Note<\/strong><\/h5>\n\n\n\n

Ce cin\u00e9scriptographe ne pr\u00e9tend ni expliquer ni pr\u00e9voir un \u00e9v\u00e9nement.
Il ne repose sur aucune intention proph\u00e9tique ou d\u00e9monstrative.<\/p>\n\n\n\n

Il proc\u00e8de d\u2019un principe de constat diff\u00e9r\u00e9 : des paroles, gestes ou descriptions formul\u00e9s avant un \u00e9v\u00e9nement acqui\u00e8rent une lisibilit\u00e9 nouvelle lorsqu\u2019ils entrent en r\u00e9sonance formelle avec des faits ult\u00e9rieurs.<\/p>\n\n\n\n

Les liens \u00e9tablis ne rel\u00e8vent ni de l\u2019analogie symbolique ni de l\u2019interpr\u00e9tation psychologique.
Ils se situent dans la r\u00e9p\u00e9tition de configurations : types d\u2019atteinte, modalit\u00e9s de chute, trac\u00e9s spatiaux.<\/p>\n\n\n\n

Les \u00e9l\u00e9ments contextuels, explicatifs ou personnels ont \u00e9t\u00e9 volontairement limit\u00e9s, afin de pr\u00e9server une lecture ouverte, dans laquelle le lecteur demeure libre de reconna\u00eetre \u2014 ou non \u2014 la correspondance.<\/p>\n\n\n\n

Le cin\u00e9scriptographe n\u2019impose aucun sens.
Il laisse appara\u00eetre une forme.<\/p>\n\n\n\n

\u2190 Revenir<\/a>\u2009\u00b7\u2009\u21ba Sommaire<\/a>\u2009\u00b7\u2009\u2192 Continuer<\/a><\/p>\n\n\n\n

\n\n\n\n

Cinescriptograph \u2014 Legionnaires<\/strong><\/h3>\n\n\n\n

Early summer 2008 \u2013 late September 2009<\/em><\/p>\n\n\n\n

Cinescriptographic glimpses (source phrases)<\/strong><\/h4>\n\n\n\n
\n

\u2014 \u201cI am sometimes disarmed in my threads of tears. I drink to yours\u2026 (\u00e0 la Fischer!)\u201d<\/p>\n<\/blockquote>\n\n\n\n

Implemented via electronic message during the radio program Champagne!<\/em>, dedicated to Jacques Higelin, on France Inter, early summer 2008.<\/p>\n\n\n\n

\n

\u2014 \u201cI don\u2019t know how to sing\u2026, my legionnaire!\u2026 and on his forehead\u2026 light\u2026\u201d<\/p>\n<\/blockquote>\n\n\n\n

Uttered aloud in the early afternoon of Friday, September 25, 2009; reprise of a song by \u00c9dith Piaf.<\/p>\n\n\n\n

\n

\u2014 \u201cThere, the tall poplar was struck by lightning. The walnut tree next to it was cut down, for no one knows why. I liked that walnut tree. Look, there\u2019s a rabbit. Maybe it\u2019ll finally see me? The rabbit suddenly bolts, dives into the ditch, and hits the fence. Maybe it\u2019s blind?\u201d<\/p>\n<\/blockquote>\n\n\n\n

Uttered aloud in the late afternoon of September 25, 2009, at a childhood location, along a street describing an S-shape.<\/p>\n\n\n\n

Subsequent event (Revelatory memory)<\/strong><\/h4>\n\n\n\n

Four French soldiers are killed in Afghanistan during the night of September 26\u201327, 2009:
\u2014 one is struck by lightning,
\u2014 another drowns,
\u2014 a third dies while attempting to rescue him,
\u2014 a fourth is found in a ditch at the wheel of his vehicle.<\/p>\n\n\n\n

This brings the total number of French soldiers killed in Afghanistan since 2001 to 35.
On a map of Afghanistan, the locations of these deaths form a Z-shape,
in vertical symmetry with the S-shaped street traversed during the earlier glimpses.<\/p>\n\n\n\n

Cinescriptographic reading (a posteriori)<\/strong><\/h4>\n\n\n\n

This cinescriptograph brings together apparently heterogeneous utterances\u2014a radio address, a sung reprise, a spoken walk through a familiar landscape\u2014around a shared perceptual field: that of bodies exposed, struck, or suddenly set into motion.<\/p>\n\n\n\n

The glimpses do not name any event.
They describe states:
\u2014 being \u201cdisarmed,\u201d
\u2014 a forehead crossed by light,
\u2014 a tree struck by lightning,
\u2014 another cut down for no apparent reason,
\u2014 an animal that flees, falls, and collides with an obstacle,
\u2014 the possibility of blindness.<\/p>\n\n\n\n

These elements are organized without narrative intent.
They appear as a sequence of observations, spoken aloud, in distinct contexts, yet linked by the same tonal register of vulnerability and rupture.<\/p>\n\n\n\n

The subsequent event is not announced.
It reactivates the earlier glimpses a posteriori: the modalities of death of the four soldiers (struck by lightning, drowned, fallen into a ditch) echo, point by point, the forms already present in the described landscape.<\/p>\n\n\n\n

The correspondence lies neither in symbolism nor in causality, but in the structure of impacts and their formal configuration.<\/p>\n\n\n\n

This configuration extends spatially: the S-shaped street traversed during the glimpses finds a cartographic resonance in the Z-shaped arrangement of the death sites, in vertical symmetry.
The coherence of the cinescriptograph is thus constructed through the superimposition of forms\u2014verbal, bodily, geographical\u2014made legible only after the fact.<\/p>\n\n\n\n

Note<\/strong><\/h5>\n\n\n\n

This cinescriptograph does not aim to explain or to predict an event.
It is based on no prophetic or demonstrative intention.<\/p>\n\n\n\n

It proceeds from a principle of deferred observation: words, gestures, or descriptions formulated prior to an event acquire a new legibility when they enter into formal resonance with later facts.<\/p>\n\n\n\n

The connections established do not belong to symbolic analogy or psychological interpretation.
They reside in the repetition of configurations: types of impact, modes of fall, spatial tracings.<\/p>\n\n\n\n

Contextual, explanatory, or personal elements have been deliberately limited,
in order to preserve an open reading, in which the reader remains free to recognize\u2014or not\u2014the correspondence.<\/p>\n\n\n\n

The cinescriptograph imposes no meaning.
It allows a form to appear.<\/p>\n\n\n\n

\u2190 Back<\/a> \u00b7 \u21ba Contents<\/a> \u00b7 \u2192 Continue<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Cin\u00e9scriptographe \u2014 L\u00e9gionnaires D\u00e9but d\u2019\u00e9t\u00e9 2008 \u2013 fin septembre 2009 Aper\u00e7us cin\u00e9scriptographiques (phrases sources) \u2014 \u00ab Je suis parfois d\u00e9sarm\u00e9 dans mes fils de larmes. Je trinque \u00e0 la v\u00f4tre\u2026 (\u00e0 la Fischer !) \u00bb Mis en \u0153uvre par envoi \u00e9lectronique lors de l\u2019\u00e9mission Champagne !, consacr\u00e9e \u00e0 Jacques Higelin, sur France Inter, d\u00e9but \u00e9t\u00e9 2008. \u2014…<\/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-658","page","type-page","status-publish","hentry"],"yoast_head":"\nCin\u00e9scriptographe des L\u00e9gionnaires - Film par Image<\/title>\n<meta name=\"description\" content=\"Cin\u00e9scriptographe des l\u00e9gionnaires : inscription du d\u00e9c\u00e8s de quatre militaires en Afghanistan dans un dispositif d\u2019apercevoir et de r\u00e9sonance.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-des-legionnaires\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cin\u00e9scriptographe des L\u00e9gionnaires - 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