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This article takes up the task of reading Zack Snyder's Sucker Punch (2011) against the grain of those critics who saw in it only a film consumed by contradictions and a shallow script. Beginning with an analysis of diegetic transport, the author highlights the reasons he has developed an against-the-grain interpretation of the narrative based on Pierre Bayard's (1998) analysis of Agatha Christie's The Murder of Roger Ackroyd. With the assistance of Michel Henry's phenomenology, the author updates the necessarily subjective and deceptive nature of filmic narration, inviting us to see a twist in the structure of the film's story: that the existence of the heroine (Babydoll) is illusory in favour of a secondary character (Sweet Pea), in a personality doubling process enacted to distance a traumatic experience. This makes Sucker Punch a work that explores deeply the potentialities of the imagination and offers a kind of negative reflection of the issues at play in cinema in the present era, as digital effects grow without precedent.
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Studies of Monénembo's work rarely take into account his fourth novel, Un attiéké pour Elgass, which seems to occupy a special place in his output. It presents a hybrid form where the popular and the “literate” meet. Without openly claiming to be a detective story, the novel draws on several of its components to construct a double investigation, one of which seeks to elucidate the circumstances surrounding Elgass's death, while the other departs from the genre's canon by inscribing in the text a socio-political questioning of the failings of African independence. An intertextual analysis reveals that the novel refers specifically to Agatha Christie's celebrated classic, The Murder of Roger Ackroyd, from which it borrows several devices and motifs, only to redistribute them, adapting them to the African context and placing them at the service of a less playful discourse. On the one hand, the function of the rigged narrative thwarts the reader's expectations and highlights the disruption of the social order when the use of “well-arranged lies” becomes widespread; on the other, the staging of the power of the collective word (rumor) suggests that language still has resources to counter this slide into chaos.