Dudley Andrew sera l'invité de la section de cinéma du 25 au 28 mai 2016.
A cette occasion seront organisés une conférence, un séminaire des doctorants ainsi qu'un cours-bloc.
Programme :
- Mercredi 25 mai à 18h (Unithèque, salle 4215) :
Conférence de Dudley Andrew dans le cadre de groupe Dispositif intitulée "Reflections on Projections in 3D".
- Jeudi 26 mai à 15h :
Dudley Andrew sera l'invité du séminaire des doctorants pour une discussion ouverte consacrée à ses sujets de recherche, plus précisément le "trans-national" et la notion de world cinema.
- Vendredi 27 et samedi 28 mai (9h15-12h / 13h-17h, salle 4021, Anthropole) :
Dudley Andrew donnera un cours-bloc intitulé: "Le cinéma monde, comment approcher l'autre?"
Biography :
Dudley Andrew is Professor of Film and Comparative Literature at Yale. Biographer of André Bazin, he extends Bazin’s thought in What Cinema Is! (2011) in the edited volume, Opening Bazin (2012), and in his translation of a new collection, André Bazin’ New Media. Working in aesthetics, hermeneutics and cultural history, he published Film in the Aura of Art in 1984, then turned to French film with Mists of Regret (1995) and Popular Front Paris. He co-edited The Companion to Francois Truffaut (2013). For these publications, he was named Officier de l’ordre des arts et des lettres by the French Ministry of Culture.
Abstract :
3D allows us to recognize a shift away from a mechanical notion of cinema to one based on fluid dynamics. This shift has been apparent in the use of the Steadicam and in image layering for several decades, 3D makes this literally “apparent,” With Merleau-Ponty and Malraux in view, I reconsider 3D in relation to the picture plane on the one hand and to effects of layering that Bazin discussed in his essays on deep-focus (Welles) and on superimposition. These become pertinent for certain 21st c. films. Take “The Life of Pi.” Its new-age religiosity depends on a renunciation of the priority of one plane (the screen). It immerses the spectator in a voluminous spectacle that swallows its character in deep night and deeper day. In key moments, the screen loses the substance even of a pane of glass (in the window or mirror analogies). If the surface of the sea is a kind of screen where light is normally focused, Ang Lee shatters it in disorienting shots taken from below and above the ocean, rendering the raft and lifeboat as floating specks. Such shots produce “Pi”’s moments of sublimity, since they register him not framed in a drama but lost in an englobing cosmos.
