Gone Girl (David Fincher, 2014) : Médias, mensonges et manipulation
Fincher’s film appears as a violent attack on a media system which raises accusations against a man whose wife tries to get him indicted for her murder, but the more general tenor of the film lies in an examination of our relation to images and the unstable meanings they are attributed in a hyper-me...
Sparad:
| Huvudupphovsman: | |
|---|---|
| Materialtyp: | Article ou chapitre numérique |
| Språk: | Français |
| Publicerad: |
2017
|
| Ämnen: | |
| Länkar: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
cairn-RFEA_150_0073 |
|---|---|
| record_format |
cairn |
| spelling |
cairn-RFEA_150_0073RFEARevue française d’études américaines https://shs.cairn.info/revue-francaise-d-etudes-americaines-2017-1-page-73?lang=fr https://doi.org/10.3917/rfea.150.0073 Gone Girl (David Fincher, 2014) : Médias, mensonges et manipulation Gelly, Christophe2017 études filmiquesmanipulationmédiasrenversement de l’intriguefre Revue française d’études américaines | 150 | 1 | 2017-07-01 | p. 73-85 | 0397-7870 RFEA_15096 Fincher’s film appears as a violent attack on a media system which raises accusations against a man whose wife tries to get him indicted for her murder, but the more general tenor of the film lies in an examination of our relation to images and the unstable meanings they are attributed in a hyper-media society. Through his staging of the illegibility of images, Fincher calls upon his spectators to take critical distance with representations. To that effect, he draws on a set of references which include both the filmic tradition and the status of images as “proofs” in the media and audiovisual discourses.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| topic |
études filmiques manipulation médias renversement de l’intrigue |
| spellingShingle |
études filmiques manipulation médias renversement de l’intrigue Gelly, Christophe Gone Girl (David Fincher, 2014) : Médias, mensonges et manipulation |
| topic_facet |
études filmiques manipulation médias renversement de l’intrigue |
| description |
Fincher’s film appears as a violent attack on a media system which raises accusations against a man whose wife tries to get him indicted for her murder, but the more general tenor of the film lies in an examination of our relation to images and the unstable meanings they are attributed in a hyper-media society. Through his staging of the illegibility of images, Fincher calls upon his spectators to take critical distance with representations. To that effect, he draws on a set of references which include both the filmic tradition and the status of images as “proofs” in the media and audiovisual discourses. |
| author |
Gelly, Christophe |
| author_facet |
Gelly, Christophe |
| author_sort |
Gelly, Christophe |
| title |
Gone Girl (David Fincher, 2014) : Médias, mensonges et manipulation |
| title_short |
Gone Girl (David Fincher, 2014) : Médias, mensonges et manipulation |
| title_full |
Gone Girl (David Fincher, 2014) : Médias, mensonges et manipulation |
| title_fullStr |
Gone Girl (David Fincher, 2014) : Médias, mensonges et manipulation |
| title_full_unstemmed |
Gone Girl (David Fincher, 2014) : Médias, mensonges et manipulation |
| title_sort |
gone girl (david fincher, 2014) : médias, mensonges et manipulation |
| publishDate |
2017 |
| container_title |
|
| container_issue |
|
| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-francaise-d-etudes-americaines-2017-1-page-73?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rfea.150.0073 |
| _version_ |
1877246551261184000 |