New Mode of Cinema

How Digital Technologies are Changing Aesthetics and Style

Auteurs-es

  • Kristen Daly Auteur-e

Mots-clés :

cinéma numérique, cinéma, esthétiques, mise-en-scène, auteur, montage, composition, long-take

Résumé

Cet article examine comment les modes de production spécifiques au cinéma numérique – tant sur le plan technique qu’au niveau des procédures – diffèrent des modes de production qui ont recours à la pellicule. Ainsi, on remarque comment ce nouvel esthétisme lié aux technologies numériques vient changer la donne en ce qui a trait à la mise en scène et au langage cinématographique, tel qu’ils ont été définis par le passé. Plusieurs cinéastes novateurs ont exploré les possibilités de ce nouvel esthétisme, se libérant des contraintes imposées par le tournage sur pellicule, qui délimita longtemps un mode de production spécifique. Cet article approche également l’idée de la caméra (virtuelle) comme un outil informatique qui permet une plus grande collaboration avec le cinéaste. De ce fait, la caméra deviendrait plus que la caméra-stylo tel qu’évoqué par Alexandre Astruc, mais également la caméra-ordinateur – camera-computer. L’indexicalité et la coupe franche propres aux techniques filmiques deviennent, avec le cinéma numérique, des options parmi d’autres. Ainsi, de nouvelles formes esthétiques visuelles émergent, non plus basées sur les formes filmiques traditionnelles, mais également sur de plus récentes, comme le jeu vidéo et les interfaces informatiques.

Biographie de l'auteur-e

  • Kristen Daly

    Kristen Daly received her doctorate in Communications from Columbia University in New York where her research focused on technology, new media and cinema. She is currently working for Ciné Institute, a film education program in Haiti, and writing a chapter for forthcoming book Transitioned Media: A Turning Point Into the Digital Realm. Her writings have appeared in Explorations in Media Ecology, Transformations Journal, and Peace Review.

Références

Argy, Stephanie. "The Evolving Process of Taking Dv to Film." American Cinematographer May 2005: 94-97.

Astruc, Alexandre. "The Birth of a New Avant-Garde: La Camera Stylo." The New Wave. Ed. Peter Graham. Garden City: Doubleday & Company, 1948. 17-23.

Bankston, Douglas. "Household Post." American Cinematographer May 2005: 94- 96.

Bazin, Andre. "The Evolution of the Language of Cinema." What Is Cinema? Berkeley, Calif.: University of California Press, 1971. 23-40.

______. "The Ontology of the Photographic Image." What Is Cinema? Ed. Hugh Gray. Berkeley: University of California Press, 1971. 9-16.

Belton, John. "Digital Cinema: A False Revolution." October 100 (2002): 99-114.

Buruma, Ian. "Mr. Vengeance." The New York Times Magazine April 9, 2006: 34-39.

Corliss, Richard. "Can This Man Save the Movies? (Again?)." Time March 20, 2006: 66-72.

Corrigan, Timothy. A Cinema without Walls : Movies and Culture after Vietnam. New Brunswick: Rutgers University Press, 1991.

Couchot, Edmond. "Image Puissance Image." Revue d'Esthetique 7 (1984): 123-33.

Cubitt, Sean. The Cinema Effect. Cambridge, Mass.: MIT Press, 2004.

Dargis, Manohla. "The Latest Dispatches in the Video Revolution." The New York Times July 27, 2005, sec. Arts/Cultural Desk: E1.

Deleuze, Gilles. Cinema 2 the Time-Image. 1985. Trans. Hugh Tomlinson and Robert Galeta. Minneapolis: University of Minnesota Press, 1989.

Dickinson, Kay. "Pop, Speed and The "Mtv Aesthetic" In Recent Teen Films." Scope.12 (2001).

Doane, Mary Ann. "The Indexical and the Concept of Medium Specificity." differences 18.1 (2007): 128-52.

______. "Indexicality: Trace and Sign: Introduction." differences 18.1 (2007): 1-6.

Dussere, Erik. "Out of the Past, into the Supermarket: Consuming Film Noir." Film Quarterly 60.1 (2006): 16-27.

Fear, David. "In the Money: The Always Surprising Danny Boyle Cashes in His Chips to Direct Millions, an Intelligent Kid's Flick." MovieMaker 2005: 84-86.

Felperin, Leslie. "The Boss of It All." Review. Variety September 25, 2006, sec. VInternational.

Galloway, Alex. Keynote Address. Critical Themes in Media Studies, 7th Annual Conference. New School University, New York, NY. 21 April 2007.

Greer, Darroch. "No Cut = Director's Cut." Millimeter 65 (2003).

Gunning, Tom. "Fritz Lang Calling: The Telephone and Circuits of Modernity." Allegories of Communication : Intermedial Concerns from Cinema to the Digital. Eds. John Fullerton and Jan Olsson. Rome, Italy: J. Libbey Pub., 2004. 19-39.

Honeycutt, Kirk. "Director Altman Made Chaos Flow." The Hollywood Reporter November 22, 2006.

Jaafar, Ali. "Helmer Takes Shoot to War." Variety November 6-12, 2006, sec. Film: 9.

Jardin, Xeni. "Thinking Outside the Box Office." Wired December 2005.

Kittler, Friedrich A. Discourse Networks 1800/1900. Stanford, Calif.: Stanford University Press, 1990.

______. Gramophone, Film, Typewriter. Writing Science. Stanford, Calif.: Stanford University Press, 1999.

La Franco, Robert. "Trouble in Toontown: Director Richard Linklater Has a Mind-Blowing Vision for a New Keanu Reeves Movie, a Scanner Darkly. Making It a Reality -- That's Another Story." Wired March 2006: 128-32.

Manovich, Lev. "Cinema as Cultural Interface." , 1997. 21 February 2009.

______. "Digital Cinema and the History of a Moving Image." <http://www.manovich.net/vis242_winter_2006/Digital%20Cinema.rtf>. 1996; revised 1999. 10 January 2007.

______. The Language of New Media. Cambridge, Mass.: MIT Press, 2001.

______. "Softcinema: Ambient Narrative." www.softcinema.net, 2005. Website, video, art. 19 November 2005.

Martin, Adrian. "The Age of Digital." The Age December 11, 2002, Wednesday ed., sec. The Culture: 7.

Matthews, Peter. "The Innovators 1950-1960: Divining the Real." Sight & Sound (1999).

McLuhan, Marshall. Understanding Media : The Extensions of Man. 1st MIT Press ed. Cambridge, Mass.: MIT Press, 1994.

Minor, Kyle. "Coloring inside the Lines: Digital Animation Comes of Age." the independent September 2004: 47-49.

Morgen, Brett. Sundance Film Festival Panel. Times They Did A-Change. Prospector Square Theater. Park City, UT. 22 January 2007.

Munt, Alex. "Digital Kiarostami and the Open Screenplay." Scan: Journal of Media Arts Culture (2006).

Nesselson, Lisa. "Renaissance." Variety April 3-9, 2006, sec. Film Reviews: 66- 67.

O'Hehir, Andrew. "War as A ‘Bad Acid Trip’." Salon December 26, 2008.

Oppenheimer, Jean. "Deadly Dealings in Africa." American Cinematographer 86.10 (2005): 22-26.

Peters, Marc. "Review: Magic Bullet Editors." DIGITAL director August 27, 2005.

Prince, Stephen. "The Emergence of Filmic Artifacts:Cinema and Cinematograhy in the Digital Era." Film Quarterly 57.3 (2004): 24-33.

Rodowick, D. N. The Virtual Life of Film. Cambridge: Harvard University Press, 2007.

Rombes, Nicholas. "Avant-Garde Realism." ctheory.net January 19, 2005.

Shaw, Jeffrey, and Peter Weibel. Future Cinema : The Cinematic Imaginary after Film. Electronic Culture. Cambridge, Mass. London: MIT, 2003.

Taubin, Amy. "The Class." filmcomment 45.1 (2009): 66-67.

Taubin, Amy. Panel Talk. Jonas Mekas Exhibit: The Beatuy of Friends Being Together. P.S. 1, Queens, NY. 10 March 2007.

Téléchargements

Publié

06/04/2025