0000000000923811
AUTHOR
David Roche
Introduction: Adapting Adaptation Studies to Comics Studies
International audience
"That's Real! That's What You Want!": Producing Fear in George A. Romero's Dawn of the Dead (1978) vs Zack Snyder's remake (2004)
International audience; This article examines traditional oppositions between terror and horror in Dawn of the Dead (1978) and its recent remake (2004), by focusing on one of the major changes made by the producers of the remake: the use of running zombies, which emphasizes the danger the creatures represent to the characters, and enables the film-makers to resort to the kind of cheap startle effects that abound in contemporary slasher and action movies. That the living dead of 1978 were slow-moving allowed for contemplation of their pathetic state and questioned the border between living and dead. The 1978 film underlined how incompatible the living dead were with such techniques that rely…
In silico modelling to predict the odor profile of red wines from their molecular composition using experts’ knowledge, fuzzy logic and optimization
International audience
Comment Hollywood figure l’intériorité dans les films « hollywoodiens » de David Lynch, Lost Highway (1997), Mulholland Dr. (2001) et Inland Empire (2006)
The article takes Zachary Baqué's study of Los Angeles in the films of David Lynch as a starting point to explore David Lynch's Hollywood movies. The author contends that the films offer more than a satirical representation of a corrupt, unhealthy system which threatens dreams and artistic creativity, or a parodic play on Hollywood genre and narrative conventions. Rather, Hollywood is a character, a presence, revealed as both horizontal and vertical, physical and abstract, evoking the city, the studio system, cinema and dreams, so that the satire, the visual motifs and clichés and the topography of Hollywood, and the references to Hollywood films, constitute a complex fabric of subjectivity…
« Introduction : Adapter les théories de l’adaptation à la bande dessinée »
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(De)constructing “America”: the Case of Emir Kusturica’s Arizona Dream (1993)
By means of an analysis of Kusturica’s only film about America, Arizona Dream, this article argues that while the United States offers a vision of a united society founded on diversity, it also represses, altering in the process both society and the landscape. National unity is consequently a dream – a dream the film suggests that has often been dreamed up by un-Americans. Filtered through Kusturica’s own perceptions of America – and his position on the Balkan War (1991-2001) – the film seems to suggest sadness at the loss of a multi-ethnic, multi-cultural perspective. Through its representations of geography and ethnic diversity, and its dense network of filmic citations, what Arizona Drea…
Disease and Anti-Naturalism in Raymond Carver's “Fat” and “A Small, Good Thing” and David Lynch's Blue Velvet
International audience; This paper does not explore possible references to Carver in Lynch's films, but offers a comparative study of their representations of disease. Based primarily on a play between metonymy and metaphor, this aesthetic of contamination contributes to a critical discourse on naturalist thought. The first form of “anti-naturalism” is the deconstruction of what calls Charles Taylor “disengaged reason.” The second form is the questioning of the very “idea of nature.” These artists adopt what Clément Rosset calls an “artificialist” standpoint, the subject and the body being shaped, as Michel Foucault and Judith Butler would have it, by normative discourses and techniques. Co…
Approaches to Film and Reception Theories
Les différentes approches de la question des réactions du " public ", aussi difficile soit-il de définir ce terme, conçoivent celles-ci comme étant déterminées, soit par la structure de l'œuvre, par le contexte historique et culturel dans lequel cette réception se déroule, ou par les caractéristiques individuelles de ce public, lecteur ou spectateur. Ce recueil propose de faire le point sur l'état de la recherche actuelle, et d'offrir de nouvelles perspectives dans l'étude de la réception, et de la manière dont elle évolue et conditionne notre rapport à l'art. Les travaux présentés ici se concentrent sur la littérature et surtout le cinéma, et visent à croiser des perspectives que la critiq…
Bande dessinée et Adaptation (Littérature, cinéma, TV)
International audience; L’adaptation est devenue une pratique majeure d’une création contemporaine qui ne se refuse plus aucun croisement sémiotique possible (remédiation, intermédialité, crossover, crossmédia, spin-off, etc.) que ce soit dans les arts narratifs ou visuels. Si ce phénomène n’est pas nouveau, force est de constater que la question de l’adaptation associée au 9e art n’a soulevé jusqu’alors que de trop rares réflexions.Ce volume collectif est, à ce titre, l’un des tout premiers à être consacré intégralement à ce sujet. Construit en deux parties, l’une traitant des adaptations littéraires en bandes dessinées, l’autre des adaptations cinématographiques de bandes dessinées, cet o…
: Metonymy, Identification and Subjecthood in Stanley Kubrick's Lolita (1962)
The author argues that, in order to bypass the Hays code, the eroticism in Kubrick's film is produced by metonymy, both verbal and non-verbal. Basing his study on the works of Christian Metz and Laura Mulvey, and more broadly on Lacanian psychoanalysis, the author analyzes how the film first constructs the character of Lolita as a “sexual object” subjected to the male gaze, then deconstructs its own construction by enabling Lolita to accede to the symbolic order, thus breaking out of the solipsistic imaginary the pedophile had confined her to. The film puts the spectator in the pervert's shoes by encouraging primary identification with the camera eye, secondary identification with Humbert H…
Tarantino's Round Flat Characters: A (Mainly) Verbal Study of Reservoir Dogs (1992).
International audience; This article revisits E.M. Forster's distinction between round and flat characters in order to study the balancing between genre characters and realistic characters Tarantino's first film effects. It starts by examining the relationship between the fictional director of the heist (Joe Cabot), the other characters and the real director in a scene where Tarantino's cameo as a minor character endows the fictional director with authority and consequently emphasizes the shared dimension of filmmaking. The author then argues that the characters' capacity to identify and articulate flatness and rotundity in themselves and each other makes them appear round as it implies tha…
Twin Peaks: Fire Walk With Me (1992) and David Lynch's Aesthetics of Frustration
This article focuses on Twin Peaks: Fire Walk With Me (David Lynch,1992), the prequel to the TV series produced by Mark Frost and David Lynch (1990-1991), which represents a turning point in Lynch's filmography. The author argues that the film's aesthetics frustrate viewer expectations, and especially the fan of the TV series, by addressing the issue of the film's relation to the TV series. Special attention is payed to the aesthetics of time passing and to the accumulation of unusual signs in the first part of the film, with reference to Deleuze and Michel Guiomar, and the way they lead the spectator, fan or neophyte, to expect something Fantastic to happen. The article then addresses the …