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LE CINEMA, CENT ANS DE JEUNESSE 2018-2019 LA SITUATION RESSOURCES Quelques morceaux choisis de ces ouvrages figurent dans le dossier de documentation. A Bergala, La situation au cinéma : situations, personnages et place du spectateur (juin 2018) : le point sur le sujet de l’année (French and english version). J Aumont (dir) A Bergala, M Marie, M Vernet, Esthétique du film, (Armand Colin cinéma, 2008,3 e ed) chap 5 Le film et son spectateur pp 390-430) 3 e partie : La situation (texte joint). Aristote, Poétique (384-322 av. J.-C) Gilles Deleuze L’image mouvement, Cinéma 1 coll « critique » Les éditions de minuit Paris, 1983 (pp 220-242) chap 9 : l’image action : la grande forme ; chap 10 L’image action: la petite forme. (extraits joints) A Bergala, Mais où je suis ? , collection Atelier Cinémas, Acte sud Junior/ La Cinémathèque française, 2007 Pour les plus jeunes : un exemple de situation : la situation où quelqu’un arrive dans un endroit inconnu

384-322 av. J.-C€¦ · If they are filmed in a car, my relationship to the characters depends on the choice made by the film maker to only film one of them and leave the other one

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Page 1: 384-322 av. J.-C€¦ · If they are filmed in a car, my relationship to the characters depends on the choice made by the film maker to only film one of them and leave the other one

LE CINEMA, CENT ANS DE JEUNESSE 2018-2019

LA SITUATION

RESSOURCES

Quelques morceaux choisis de ces ouvrages figurent dans le dossier de documentation.

� A Bergala, La situation au cinéma : situations, personnages et place du spectateur (juin 2018) : le point sur le sujet de l’année (French and english version).

� J Aumont (dir) A Bergala, M Marie, M Vernet, Esthétique du film, (Armand Colin cinéma, 2008,3 e ed) chap 5 Le film et son spectateur pp 390-430) 3 e partie : La situation (texte joint).

� Aristote, Poétique (384-322 av. J.-C)

� Gilles Deleuze L’image mouvement, Cinéma 1 coll « critique » Les éditions de minuit Paris, 1983 (pp 220-242) chap 9 : l’image action : la grande forme ; chap 10 L’image action: la petite forme. (extraits joints)

� A Bergala, Mais où je suis ? , collection Atelier Cinémas, Acte sud Junior/ La Cinémathèque

française, 2007 Pour les plus jeunes : un exemple de situation : la situation où quelqu’un arrive dans un endroit inconnu

Page 2: 384-322 av. J.-C€¦ · If they are filmed in a car, my relationship to the characters depends on the choice made by the film maker to only film one of them and leave the other one

Cinéma, cent ans de jeunesse 2018-2019

La situation au cinéma Situations, personnages et place du spectateur. Qu’est-ce qu’une situation, dans un film ? C’est la relation entre les personnages qui se met en place à chaque nouvelle scène. Le film avance en passant de scène en scène, de situation en situation. Tous les films sont faits de situations qui évoluent. Les personnages qui sont pris dans ces situations successives évoluent avec elles. Ils passent d’un état à un autre en traversant ces situations. Ils changent, parfois même se métamorphosent ou basculent à l’occasion de certains moments décisifs. (Je pense au moment où Ethan (John Wayne), à la fin de La Prisonnière du désert de John Ford, oublie sa haine raciste et meurtrière, lorsqu’il tient sa nièce dans ses bras). Les personnages ne sont pas forcément conscients de leur propre évolution et des transformations qu’ils subissent en passant d’une situation à une autre. Ils n’en contrôlent pas tout car ils traversent des situations qui leur sont parfois imposées, inconnues ou énigmatiques. Il est des situations sur lesquelles ils agissent, d’autres où ils ne peuvent que réagir, comme dans les films où les personnages explorent ou traversent des contrées inconnues. Les situations dépendent autant de l’espace où elles ont lieu que du scénario. Filmer une situation c’est installer des relations entre les personnages dans un espace concret et précis : le même rapport entre deux personnages, voire le même dialogue, ne produisent pas les mêmes affects s’ils sont filmés côte à côte dans une voiture, ou séparés par une volée d’escalier, ou chacun dans son décor au téléphone. S’ils sont filmés dans une voiture, mon rapport aux personnages dépend du choix que fait le cinéaste de filmer seulement l’un des deux et de laisser l’autre hors champ. Kiarostami a beaucoup utilisé cette situation qui est devenue matricielle dans ses films. En tant que spectateur, je suis présent dans le film à travers les personnages, je les suis de situation en situation, j’évolue avec eux, je me reconnais dans leurs affects, je partage leurs émotions. Mais selon la façon dont la situation est filmée (les axes, les tailles de plans, le montage) mon identification à tel ou tel personnage varie, évolue. Dans la situation agresseur/agressé, par exemple, le cinéaste peut faire en sorte que je m’identifie plutôt à l’un ou à l’autre : dans M. le maudit de Fritz Lang, au moment où M. est traqué par la police dans l’immeuble encerclé, je peux m’identifier à un tueur d’enfants parce que c’est lui qui est en danger, et qu’il a peu de chances de s’en sortir. Mon identification dépend aussi beaucoup du choix des acteurs et de leur jeu. Mes propres émotions de spectateur dépendent de qui incarne les affects des personnages. Je trouve ma place dans le film en traversant avec les personnages les espaces et les situations successives qu’ils rencontrent, mais cette place se modifie sans cesse, et mon rapport aux personnages évolue lui aussi d’une scène à l’autre, selon la façon dont la situation évolue.

Alain Bergala, juin 2018

Page 3: 384-322 av. J.-C€¦ · If they are filmed in a car, my relationship to the characters depends on the choice made by the film maker to only film one of them and leave the other one

Cinéma, cent ans de jeunesse 2018-2019

Situation and cinema Situations, characters and spectator’s place What is a situation in a film? It’s the relationship between the characters that is set up in each new scene. The film progresses from a scene to another, from a situation to another. Every film is made up of evolving situations. The characters that are taken in these successive situations evolve with them. They go from one state to another going through these situations. They change, and even sometimes metamorphose or shift as part of some decisive moments. (I’m thinking about the moment when Ethan (John Wayne), at the end of The Searchers by John Ford, forgets about his racist and lethal hate, when he holds his niece in his arms). The characters are not necessarily aware of their own evolutions or of these transformations they undergo when going from one situation to another. They don’t control all of it because they go through situations which are sometimes forced onto them, unknown or enigmatic. There are situations upon which they can take action, others when they can only react, like in films where the characters explore or travel through unknown lands. The situations depend just as much on the space in which they take place as on the scenario. Filming a situation means setting up relationships between the characters in a specific and precise space: the same relation between two characters, or even the same dialogue, will not trigger the same emotions if they are filmed side by side in a car, or separated by stairs, or each of them in their own setting over the phone. If they are filmed in a car, my relationship to the characters depends on the choice made by the film maker to only film one of them and leave the other one out of the off camera. Kiarostami have used this situation many times which has become a matrix in his films. As a spectator, I am present in the film through the characters, I follow them from a situation to another, I evolve with them, I can relate to their emotions, I share their emotions. But depending on the way the situation if filmed (the axes, the size of the shots, the editing) my identification to such and such character varies, evolves. In the situation attacker/attacked, for example, the film maker can ensure I identify myself rather with one or the other: in M by Fritz Lang, the moment when M is chased by the police in the cordoned off building, I can identify myself with a child murderer because he is the one who is in danger, and that he only has very little chances to get out of it. My identification also depends a lot on the choice of actors and their acting. My own emotions as a spectator depend on who embodies the characters’ emotions. I find my place in the film by going through the spaces and successive situations alongside the characters, but this place constantly gets modified, and my relationship to the characters evolves also from one scene to another, depending on the way the situation evolves.

Alain Bergala, June 2018

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