Cinematically reimagining the introspection of Bonjour Tristesse’s female protagonist, ‘Cécile’

This practice-based research cinematically reimagines the character of Cécile from Françoise Sagan’s 1954 novel Bonjour Tristesse. Written in first person by 18-year-old Sagan, Cécile’s characterisation is significant in its ostensibly authentic depiction of a teenage girl. This rare (and shocking at the time) glimpse of introspection seems to substantially reduce in later iterations of Cécile, particularly Otto Preminger’s 1958 cinematic adaptation, where other voices (on and off screen) appear to replace her perspective. Through close reading and archival research, nine adaptations of the novel are analysed, highlighting the problems and differences within them, such as how the victimisation of Cécile (absent in Sagan’s original, but revealed as a moral influence through the Production Code) became a dominant interpretation. The thesis uncovers interconnections, and how different mediums (film, literature, theatre and graphic novels) materially construct Cécile. This analysis led to cinematic experimentation around communicating thoughts, feelings and sensations in a primarily visual and sonic medium in order to construct my own version of Cécile, addressing what I considered to be missing elements from the other adaptations. The final iteration resulted in reimagining Preminger’s footage. The research challenges traditional adaptation models and presents approaches that defy the hierarchical dominance of visual elements in cinema. Methods such as text on screen, the emphasis of Cécile’s introspection as an aesthetic, swapping a written script for an existing film scene, layering macro shots, and highlighting the use of breath are remarkable departures from conventional techniques, offering new ways of understanding Cécile. Ultimately, my films and the analyses contribute to the understanding of Cécile’s introspection, as portrayed in the book, offering novel ways to explore cinematic voice, the role of haptic embodiment and temporal states. Through these cinematic experiments, the research challenges assumptions and stereotypes surrounding female characters and desires, paving the way for more nuanced and contemporary adaptations in the future.