Les films d’animation numérique et la répétition du cinéma
This paper explores the ways in which the theories and production of digital media can entail certain assumptions about the history of cinema. Particularly important is an exploration of two very different ways of conceptualizing and actualizing the repetition of cinema in digital animation. On the...
محفوظ في:
| الحاوية / القاعدة: | URI:https://journals.openedition.org/transtexts, |
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| المؤلف الرئيسي: | |
| التنسيق: | Article ou chapitre numérique |
| اللغة: | Français |
| منشور في: |
Transtext(e)s Transcultures
2009
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| الوصول للمادة أونلاين: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| الملخص: | This paper explores the ways in which the theories and production of digital media can entail certain assumptions about the history of cinema. Particularly important is an exploration of two very different ways of conceptualizing and actualizing the repetition of cinema in digital animation. On the one hand, in Lev Manovich’s Language of New Media and in Sakaguchi Hironobu’s 2001 digitally animated film Final Fantasy : The Spirits Within, one finds a form of ‘fatal repetition,’ which insists on mediatic closure and systemization and reinforces a teleological approach to history. On the other hand, in recent theories of early cinema and in Rintarô’s 2001 animated film Metropolis, one sees a form of ‘serial repetition,’ in which repetition of cinema results in the production of incommensurable temporalities that defy resolution or completion while promising redemption. Between these two tendencies new possibilities arise for thinking between cinema and digital animation. |
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