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                <text>&lt;em&gt;Incendies&amp;nbsp;&lt;/em&gt;(2010), la scene d'ouverture</text>
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                <text>&lt;a href="https://www.youtube.com/results?search_query=incendies+intro"&gt;Youtube&lt;/a&gt;</text>
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                <text>&lt;p&gt;Dans la scène d’ouverture du film Incendies de Denis Villeneuve, on voit d’abord une longue pause, un silence qui règne dans un paysage des canyons, des collines de rocher et un seul palmier qui se balance dans la brise, la seule chose qui constitue un mouvement. On reçoit l’illusion de la paix. Ensuite, on entend une voix bas chante qui augmente graduellement. En même temps, la caméra commence à se déplacer, et on se rend compte qu’on regardait le paysage à travers la fenêtre d’un bâtiment abandonné. Dans ce bâtiment, on voit des soldats rasent la tête des petits enfants minces et recouverts de crasse, des coupures et des ecchymoses. Comme la voix chante en demandant, « toi et quelle armée ? », on voit le recrutement forcé d’enfants qui ne peuvent pas être plus de dix ans.&lt;/p&gt;&#13;
&lt;p&gt;L’acte de raser la tête dans cette scène évoque le processus de « désidentification » chez le migrant. Le processus de « désidentification » est d’évider, de dépouiller l’identité de quelqu’un. De cette manière, les orphelins dans cette scène sont dépouillés de leurs identités. L’acte représente le mécanisme de guerre qui dépouille une personne de leur sentiment de soi et le remplace par l’idéologie, par la violence et par la foi aveugle. On voit ces enfants dans un procédé d’endoctrinement militaire, ce qui les rend les « hommes frontières », soumises à une espace de désidentification et forcés à une vie entre deux états. Dans leur état comme « hommes frontières », ils deviennent des réceptacles vides pour la cause qui les piège.&lt;/p&gt;&#13;
&lt;p&gt;Pour le migrant qui a vit deux vies, l’un du pays natal et l’autre du pays d’accueil, il devient impossible d’oublier complètement l’un ou l’autre. Le processus de désidentification, de dépouiller l’identité de l’homme frontière crée une vacuité qui languit le pays natal, même si la réalité du pays natal ne correspond à la création fictive du pays natal dans l’imaginaire de l’homme frontière. Puisque l’homme frontière se sent fortement le manque d’appartenance au pays d’accueil, il existe au sein du migrant un creux pour une appartenance mythique. Cette appartenance mythique est recrée dans Incendies à travers la vie du personnage du migrant dans le film, Nawal Marwan. Chaque côté de sa vie, le côté du Canada et le côté du Liban, la cherche. Jeanne et Simon Marwan cherchent son passé au Liban pendant que Nihad de Mai cherche son avenir. Les deux côtés cherchent une sorte d’appartenance mythique parce qu’ils ressentent un vide, une manque de leur mère. Le spectateur se rend compte que cette scène d’ouverture représente l’endoctrinement militaire de Nihad, le début d’une vie qui lui est imposée.&lt;/p&gt;&#13;
&lt;p&gt;« Viens là, » la voix mélancolique chante dans la scène. Dans un écho de la chanson, le regard final du petit enfant, Nihad de Mai, nous parle. Son regard vers le spectateur nous dit « viens là… viens là, et voyez ce que je deviendrai ». Ce regard funeste vers le spectateur nous insuffle un sentiment de la culpabilité du sort de cet enfant. Son regard qui dit « c’est vous qui êtes la raison pour tout cela… votre ignorance, votre indifférence, votre foi aveugle, ça c’est la cause ». On peut voir la colère dans son visage, une rage qui naît de son impuissance face à son destin. Cette rage se rapproche de celle de Mohamed Bouazizi dans Par le feu, ce qui crée au sein de Mohamed le désir de se détruire comme un acte de refuser l’impuissance face à sa fatalité. Avant son auto-immolation devant ceux qui a lui brutalisé, il dit : « Si j’avais une arme, je viderais tout le chargeur sur ces salauds. Je n’ai pas d’arme, mais j’ai encore mon corps, ma vie, ma foutue vie, c’est ça mon arme… » (Jelloun 45). De même, à la fin du film Incendies, quand Wallat Chamseddine explique que Nihad, « il est devenu un fou de guerre, » on comprend que le sentiment de l’impuissance a crée la colère inépuisable. Chamseddine continue à dire que « il voulait être martyre pour que sa mère voir son portrait partout dans les murs du pays. » On voit que la manque d’une mère a crée un vide interminable au sein de Nihad, qui languit un pays maternelle, l’appartenance mythique.&lt;/p&gt;</text>
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                <text>&lt;em&gt;Les vrais Clavicules du Roy Salomon par Armadel.&amp;nbsp;&lt;/em&gt;Page 47-48. Magical Figures and Opening to Book IV.&amp;nbsp;</text>
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