Cinéma et théories de la réception

Études et panorama critique
Christophe GELLY,David ROCHE
Collection
Littératures
Editeur
Presses universitaires Blaise-Pascal
Date de publication
16 juillet 2012
Résumé
Broadly speaking, reception studies—in which defining audiences and readers has always been a moot point—have mainly focused on the way reception is determined either by the structure of a work of art, or by the historical and cultural context of reception, or by the individual characteristics of the readers or spectators. The present study tries to take stock of the current research on the topic, and to open new vistas on reception, and on the way it evolves and determines our relationship to art. The essays herein gathered deal with cinema mostly, but also with literature, and endeavor to combine critical outlooks which have often been deemed incompatible, whether they are related to a textual approach (bent on analyzing the formal aspects of a work), to the special r ... Lire la suite
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Actuellement Indisponible
Crédit 20120601
Date de première publication du titre 16 juillet 2012
ISBN 9782845165236
EAN-13 9782845165236
Référence 114115-37
Nombre de pages de contenu principal 290
Format 14 x 22 x 1.5 cm
Poids 440 g

Christophe Gelly— and David Roche  Introduction

Melvyn Stokes—  Audiences in Cinema History

Jean-Pierre Esquenazi — L'Interprétation du film

Emmanuel Plasseraud — De l'Esperanto visuel au texte film : Remarques sur l'évolution de la notion de spectateur dans la théorie française du cinema

Camille Gendrault — Proposer à l'appropriation un changement d'horizon : retour sur la bande-annonce de L'Année dernière à Marienbad (Alain Resnais, 1961)

Hélène Laurichesse — L'Adaptation d'un best-seller au cinéma : La saga Twilight

Michael Bourgatte — Le Suédage comme modalité de mise en circulation du cinéma

Gilles Menegaldo — Where the Spectator Stands: Projection and Reception in the Cinema of Woody Allen (Play it Again, Sam, Stardust Memories and The Purple Rose of Cairo)

Isabelle Schmitt-Pitiot — "Too Much Double Indemnity": Manhattan Murder Mystery (Woody Allen, 1993) or the spectators' multiple lives

Christophe Chambost — Reality Bites Back: Adjusting Reception and Suspending Disbelief in John Carpenter's In the Mouth of Madness (1994)

Shannon Wells-Lassagne — Filming Theory in Patricia Rozema's Mansfield Park (1999)

Jean-Benoît Gabriel — Un nouveau dispositif pour le lecteur/spectateur : comparaison de D'autres vies que la mienne d'Emmanuel Carrère (2009) et L'Apprenti de Samuel Collardey (2008)

Fabien Gris — Littérature contemporaine française et cinéma : une réception mélancolique (Blonde, Deville, Ernaux, Viel)

Clara Mallier — A Matter of Time: The Cinematographic Quality of Narration in Hemingway's The Sun Also Rises
 

 

Broadly speaking, reception studies—in which defining audiences and readers has always been a moot point—have mainly focused on the way reception is determined either by the structure of a work of art, or by the historical and cultural context of reception, or by the individual characteristics of the readers or spectators. The present study tries to take stock of the current research on the topic, and to open new vistas on reception, and on the way it evolves and determines our relationship to art. The essays herein gathered deal with cinema mostly, but also with literature, and endeavor to combine critical outlooks which have often been deemed incompatible, whether they are related to a textual approach (bent on analyzing the formal aspects of a work), to the special relation we entertain as spectators with a film, to the analysis and evolution of critical discourse, or to the relation and mutual influence of both mediums. Each contribution seeks to open the way for a comparison and combination of critical methods that are otherwise usually separated.

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