EN
The author deals with the dialectic of material presence and absence in the many representations of reality in Jean Renoir's La grande illusion (1937), in which the subject, through is substantiveness accentuated by long shots with depth of field, at the same time indicates the absence of something or someone else. The author argues that the dialectic of material presence and absence disturbs and undermines the stability of categories of gender and national identity. Similarly the category of film realism is destabilized.