Abstract: It can be said that well before 1931, the year that marked a turning point in his view of the new art, Giraudoux anticipated a “writing” of the visual that would come to find its expression in film. The diary of a soldier’s banal and repetitive daily life already seems to skillfully imitate the movements of a caméra-stylo. From slow-motion effects to impressionist notations, from snapshots to the breakdown of images, the symbolic magic of Giraudoux’s word performs its spell.
