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.
Read Online or Download Le cinéma de science-fiction PDF
Best film books
In 1897, Archibald Constable & corporation released a unique via the unheralded Bram Stoker. That novel, Dracula, has long gone directly to turn into maybe the main influential novel of all time. To commemorate the centennial of that fab novel, Carol Margaret Davison has introduced jointly this number of essays through a number of the world's best students. The essays learn Stoker's unique novel and rejoice its legacy in pop culture. the continued presence of Dracula and vampire fiction and flicks offers facts that, as Davison writes, Dracula is "alive and sucking. "
"Dracula is a Gothic mandala, an enormous layout during which a number of reflections of the weather of the style are configured in dependent units of symmetries. it's also a kind of lens, bringing concentration and compression to varied Gothic motifs, together with not just vampirism yet insanity, the evening, spoiled innocence, sickness in nature, sacrilege, cannibalism, necrophilia, psychic projection, the succubus, the incubus, the spoil, and the tomb. amassing up and unifying all that got here earlier than it, and casting its nice shadow over all that got here and keeps to come back after, its impact on twentieth-century Gothic fiction and movie is exclusive and impossible to resist. "
-from the Preface by way of Patrick McGrath
From Amazon: "For Nick James, the pleasures and virtues of this movie are combined and complicated. Its exact compositions and minimalist kind are entangled with a specific form of extravagant bombast. The complexities upload to the curiosity of this formidable movie. " Nick James is the editor of Sight and Sound journal.
Interesting, attractive and provocative . .. This finely researched learn is a must-read for movie students, movie fanatics and someone attracted to the religious dimensions of pop culture and renowned leisure. Barbara Creed, Professor of display experiences, Head of the college of tradition and communique, college of MelbourneA hugely unique paintings of scholarship .
This publication explores the ways that the British reliable movie used to be utilized in Malaya/Malaysia, Singapore and Hong Kong from 1945 to the Nineteen Seventies. Aitken uncovers how the British reliable movie, and British legit info organizations, tailored to the epochal contexts of the chilly warfare and finish of empire. as well as an intensive advent, which touches on a few serious matters relating to the post-war British reputable movie, the e-book presents an account of ways the culture of film-making linked to the British documentary movie stream unfold into the area in the course of the post-war interval, and the way that culture was once contested by way of a ‘Colonial place of work’ culture of film-making.
- A Companion to Martin Scorsese (Wiley-Blackwell Companions to Film Directors)
- Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn
- Cinema and Nation
- Brando: The Biography
- The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects
Extra info for Le cinéma de science-fiction
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.