Le cinéma de science-fiction by Éric Dufour

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 los angeles 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 l. a. musique et sur le cinéma.

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It’s a densely packed, dramatic style with incredible attention to detail: not just cinematography but styling, production design, all of it. Some agencies brand him as a rock video guy, but that’s off the mark. “In fact,” he adds, “Fincher is one of the two guys who stand out as this industry’s top creative talents, along with Joe Pytka. They’re the most versatile directors in the business, and both can be an incredible pain in the ass to work with. But style-wise, they’re total opposites. Joe is more human, a little warmer, with more of an emotional quality that’s authentic without being sappy.

It’s just . . I don’t get any sleep any more. At a certain point, I just start waking up. I wake up at two, three, four, on the hour. Q: Thinking of things you could have done differently? john h. richardson / 1992 9 Fincher: Why didn’t I do this, why didn’t I do that, how do I fucking leave the country without you knowing. Q: I can’t imagine what it’s like, having spent a year of your life. . Fincher: Two years, my friend, two years. Initially, Weaver was skeptical. “All I heard about him was, he’s very attractive, and all the women he works with fall in love with him,” she says.

But we didn’t want Blade Runner. We had to make sure that he wasn’t going to take us to a cold and dark place. But then, out of nowhere, Fincher said to us, ‘Remember The Wizard of Oz? ’ My colleague and I looked at each other. ” Indeed it was. Ever since he first exploded on the commercials scene in the mid-eighties, Fincher has defied any kind of easy categorization. Those who have worked with Propaganda Films’ superstar director— who, by the way, doesn’t give interviews—say he is, by turns, cynical and idealistic, gregarious and enigmatic, technology-obsessed yet humanistic; an intimidating enfant terrible and a witty work-obsessed pro experienced far beyond his years.

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