By Éric Dufour
Quand le cinéma de science-fiction est-il né ? Quelles sont les formes qu’il a prises avant de s‘imposer comme un style à half entière ? Que peut-on y lire et que nous apprend-il du regard que nous portons sur le monde qui nous entoure ?
De ses débuts comme style dans l’Amérique des années 1950 jusqu’à aujourd’hui, toutes les facettes de ce cinéma sont ici décrites et analysées selon des angles résolument novateurs. Grâce à de très nombreux exemples, nous découvrons remark, de los angeles peur atomique des années de Guerre froide à l’émergence, trente ans plus tard, du cyberpunk, les motion pictures de science-fiction nous éclairent sur les évolutions technologiques et esthétiques de leur époque.
Dans un moment temps, l’ouvrage suggest une typologie des figures visuelles et narratives, depuis l’imagerie du voyage dans l’espace ou celle de l’extraterrestre jusqu’à l. a. critique sociale et politique, et montre combien ce style cinématographique, qui est création d’un monde, est fondé sur los angeles désorientation de l’homme face à ses propres repères.
Éric DUFOUR est professeur à l’Université de Grenoble. Il est spécialiste d’esthétique et a écrit plusieurs ouvrages sur los angeles musique et sur le cinéma.
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Extra info for Le cinéma de science-fiction
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4 Ibid. 5 I acknowledge my debt to Laurent Creton for his insights on these matters. com/ greenlighting-movies-tentpole-era-numbers-game, accessed April 28, 2014. 7 A. O. com/2013/12/01/magazine/the-big-picture-strikes-back. _r=0, accessed April 28, 2014. 8 I would like to thank Michel Marie for drawing attention to this input from French production companies. 9 See, in particular, Jean-Michel Frodon, L’ Âge moderne du cinéma français: de la Nouvelle Vague à nos jours (Paris: Flammarion, 1995), René Prédal, Le Cinéma français des années 1990: une génération de transition (Paris: Armand Colin, 2008); René Prédal, Le Cinéma français depuis 2000: un renouvellement incessant (Paris: Armand Colin, 2008); and Tim Palmer, Brutal Intimacy: Analyzing Contemporary French Cinema (Middletown, CT: Wesleyan University Press, 2011).
Also focusing on the heritage film, Gwénaëlle Le Gras in Chapter 14 demonstrates how the French passion for history and the country’s cultural legacy has enabled stars to exploit the heritage film, because of its association of spectacle with identity, as a means of flourishing in a highly competitive industry. Political Cinema and the Legacy of France’s Postcolonial Past Many of the concerns addressed by political cinema arise from the consequences of French colonialism, both in the former colonies and also the former métropole, France itself.
These new experiences do not take place in a cinematic dispositif in the proper and usual sense of the word, which, although it presents variants in terms of different periods and countries, has nevertheless remained essentially stable. In spite of contemporary transformations, cinema remains marked by the unique power of taking place in an elsewhere, with an invitation offered to the spectator to adopt another type of gaze. Beyond the typical technical attributes relating to the image, sound, and comfort, a theater is characterized by the ritual of the screening session as an interlude in time and space, within which receptiveness is a given, a special kind of attention being devoted to the film.