Avant le cinéma: L'oeil et l'image by Daniel Banda, José Moure

By Daniel Banda, José Moure

Le rêve de transporter, de projeter et d’animer les photos est peut-être immémorial et l’histoire de ceux qui ont voulu faire vivre ce rêve est déjà longue quand, en 1895, les frères Lumière projettent l. a. vie, prise sur le vif, sur l’écran du cinématographe. Cette anthologie rassemble quelque cent textes qui nous invitent à parcourir une histoire culturelle de l. a. imaginative and prescient, de ses moyens et dispositifs, de l’idée que nous nous faisons du seen, des attentes, des croyances et de l’imaginaire qui s’y rattachent, afin de mieux comprendre nos propres façons de voir et de vivre avec les images.

De Platon à Jules Verne, avant le cinéma, sans le cinéma, se croisent les préoccupations philosophiques, artistiques et littéraires autant que sociales, scientifiques et suggestions. Autour des jeux de l’ombre et de los angeles lumière, de los angeles chambre noire, des lanternes magiques, de los angeles fantasmagorie, des panoramas, de l. a. photographie, des machines optiques et des photographs en mouvement, dialoguent, parmi bien d’autres, Vinci, Kepler et Sterne, Kircher, Inés de los angeles Cruz et Leibniz, Robertson, Balzac et Strindberg, et encore Kleist, Wordsworth et Hawthorne, Lichtenberg, Hoffmann, Hugo, Marx et Zola, Arago, Poe, Delacroix et Nadar, Plateau, Baudelaire, Marey et Edison, Villiers de l’Isle-Adam, H. G. Wells et Charles Cros…

Daniel Banda, professeur agrégé, enseigne l. a. philosophie au Lycée Victor Hugo à Paris et l’esthétique à l’université de Paris I Panthéon- Sorbonne. José Moure, ancien élève de l’École normale supérieure, est professeur en études cinématographiques à l’université de Paris I Panthéon- Sorbonne. Ensemble, ils ont publié "Le Cinéma : naissance d’un artwork: 1895-1920" et "Le Cinéma : l’art d’une civilisation: 1920-1960".

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Avant le cinéma: L'oeil et l'image

Le rêve de transporter, de projeter et d’animer les photos est peut-être immémorial et l’histoire de ceux qui ont voulu faire vivre ce rêve est déjà longue quand, en 1895, les frères Lumière projettent los angeles vie, prise sur le vif, sur l’écran du cinématographe.

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Later, the value of the documentary film as a form of social and political critique, ideology, and propaganda was quickly recognised, particularly so during World War I. During the war, all the participating countries embarked upon major programmes of propaganda production involving the use of the documentary film. The documentary moved out of the province of entertainment and private sponsorship and into the service of the state. Initially, government services were antipathetic and suspicious about this new medium that xxxv INTRODUCTION potential was not lost on early film theorists, who soon began to see documentary film as the principal means through which a genuine form of film art could be created, against the background of the accelerating domination of the medium by the mass-produced Hollywood feature film.

Act of God is composed of 13 interviews with victims of lightning who are asked to describe in detail their experiences and the circumstances that preceded and followed the accident. Searching for a manifestation of God in the discovery of the presence of coherence even in the most absolutely indeterminate event, Greenaway is particularly interested in finding out whether and how intensely the victims believed that their accident had a religious meaning and saw it as a divine punishment. Finding that they did not, Greenaway suggests how these extraordinary instances have happened to ordinary people, who failed to interpret them as exceptional events, and tries to offer through the editing a sort of metaphorical interpretation of the stories told.

But, perhaps more importantly, it is plural insofar as it combines fiction and nonfiction aesthetics, thus collapsing distinctions between dramatic artifice and documentary verisimilitude, between narrative construct and unmediated reality. The Adolescents is differentiated from the above mentioned and other omnibus films—besides its reliance on nonscripted action—is its overriding 10 focus on youth. Although certainly not the first episode film to tap into the existential uncertainties and emotional problems faced by teenagers (Michelangelo Antonioni mined this rich thematic material as early as 1953, when he made I vinti / The Vanquished, a three-episode study of the moral bankruptcy and dehumanized behavior of Europe’s postwar youth), The Adolescents provides a timely reminder of the generational and cultural schisms of the 1960s.

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