Entre l’immersion dans l’image cinématographique et l’immersion totale
The cinema organizes around its technical constraints, relative to the recording and to the architecture of projection rooms, a narrative writing capable of producing simultaneousely an effect of both reality and fiction, an effect which puts the spectator in a state of suspension and abolition of a...
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| Format: | Article |
| Language: | fra |
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Laboratoire Interdisciplinaire Récits Cultures Et Sociétés
2010-12-01
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| Series: | Cahiers de Narratologie |
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| Online Access: | http://journals.openedition.org/narratologie/6184 |
| Summary: | The cinema organizes around its technical constraints, relative to the recording and to the architecture of projection rooms, a narrative writing capable of producing simultaneousely an effect of both reality and fiction, an effect which puts the spectator in a state of suspension and abolition of all spatiotemporal constraints. But at the same time the cinematic genre has exhausted itself since its beginnings and until its apogee, between 1895 and the end of the 70s, evolving towards a "naturalization" of the space of acquisition and viewing of the video-cinematic work. The projections splitscreen and multiscreen, and the script writing consecutive to these techniques, present, since the end of the 90s, an intermediate stage of this evolution, which will move in the near future, with various declinations and applications of the 3D, by following an anthropological tendency, towards the complete or partial immersion in the image, offering new possibilities of spectatorial interaction. Are we preparing then a new narrative technique? |
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| ISSN: | 0993-8516 1765-307X |