Le cinéma d'animation (2e édition) by Sébastien Denis

By Sébastien Denis

Cet ouvrage fait le element sur les options, les thématiques et les différents champs couverts depuis plus d’un siècle par le cinéma d’animation (anime japonaise, motion pictures en « 3D » faisant désormais partie des succès majeurs au field workplace, motion pictures d’auteur à castle investissement esthétique…). 

Il s’efforce d’unifier des issues de vue divergents afin de rendre clair l’extraordinaire potentiel de l’animation, estompé par le fait que publicité, propagande, effets spéciaux, cinéma expérimental, fiction traditionnelle, arts plastiques ou appliqués sont le plus souvent traités séparément dans les analyses. 

Un potentiel à l. a. fois narratif, plastique et philosophique, puisque l’imaginaire des cinéastes ne connaît pour ainsi dire aucune frontière ; un potentiel économique également, au risque de los angeles standardisation et de los angeles banalisation de l’imaginaire animé. D’Émile Cohl à Hayao Miyazaki en passant par Norman McLaren et Walt Disney, ce sont autant d’univers différents qui s’ouvrent au spectateur et à l’historien du cinéma. 

Sébastien DENIS est maître de conférences à l’Université de Provence.

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Extra resources for Le cinéma d'animation (2e édition)

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There are, however, other features in the film that are less obvious for a biopic of a classical composer. The most notable is probably an extra-­cinematic one: the background of the auteur, the director/writer/producer of the film, Timo Koivusalo. He started his public career as an entertainer, a popular songwriter, a television show host and a lowbrow comedian whose childlike character Pekko Aikamiespoika (Pekko the Bachelor) starred both in a television sitcom and a series of five films (1993–7).

Within one long crane shot the camera pulls out of the window and starts descending, until it shows the tower from a low angle against the sky, once again implying that Jean’s music is more than just ordinary compositions, that is has an almost divine quality. To sum up, together with certain cinematic devices like flashbacks and montage sequences, these intertextual relations provide Sibelius – the first impression of which is unusually fragmented – with a certain form: relying on the historical capital of the audience and the visual imagery and music supposedly familiar from different sources not only ties the scenes together, but also foreshadows the upcoming events.

Compared with the period from the 1960s until the early 1990s, a much larger proportion of Finnish films have been period films of some kind. This change has been widely noted, and critics have explained this turn to the past in different ways. Most often it has been seen as a ­counter-reaction to large issues like globalisation, Finland joining the European Union in 1995, the collapse of Soviet Union in 1991, millennium anxieties and so on (see Hietala 2003 and Nestingen 2003). All of these phenomena, it is argued, have increased the need to turn back to the issues of national past, national and local identities, and longing for some kind of nostalgic contemplation.

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