This interview investigates the making of Pascal Poissonnier’s (1973) film Walking Back to Happiness (2010) in which the cineast recounts how he uncovered a long-held family secret concerning the identity of the natural father of his father. The dialogue focusses, on the following aspects: 1. The effect of the camera on speech; 2. Fatherhood and the Name-of-the-Father; 3. The influence of the cineast’s own analysis on the making of his film; 4. His family history; 5. His relationship with his father; 6. His film education; and 7. The influence of his theatre experience.
When Jaap van Hoewijk discovered in 1997 that his father had not died in a motor accident, as he and his sisters had been told 23 years before, but rather had committed suicide, he decided to make a documentary about this discovery. The interview revisits the fascinating story of Family Secret (2001) and focusses on some issues that remain unresolved in the film: 1) relations between van Hoewijk and his mother and other family members during and after the making of the film; 2) what had prompted his search for the truth; 3) his unconscious knowing of this truth, that is, before its discovery; 4) a second family secret related to the first one; 5) the process of reconstructing what happened; 6) the process of rewriting one’s own life history, and; 7) how his film was received.
In this paper Serge Tisseron’s analysis of the work of Georges Remi is revisited from a Lacanian point of view. Special attention is paid to the function of the signifier and to the function of narrative in the phenomenon of the transmission of the unsaid. Hergé’s questioning of the father is analysed both at the level of the narrative of Les aventures de Tintin (The Adventures of Tintin) and at the level of his biography. It is shown, moreover, that the link between these different narratives is to be found in the signifiers.