{"id":1858,"date":"2021-03-15T10:29:02","date_gmt":"2021-03-15T09:29:02","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=1858"},"modified":"2021-03-15T10:29:02","modified_gmt":"2021-03-15T09:29:02","slug":"caroline-zeau-le-cinema-direct-un-art-de-la-mise-en-scene","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/caroline-zeau-le-cinema-direct-un-art-de-la-mise-en-scene\/","title":{"rendered":"Caroline Z\u00e9au :\u00a0\u00ab\u00a0Le Cin\u00e9ma direct. Un art de la mise en sc\u00e8ne\u00a0\u00bb"},"content":{"rendered":"

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Caroline Z\u00e9au est ma\u00eetresse de conf\u00e9rences et responsable du Master pro DEMC \u00e0 l’UFR LAC. Ses recherches au sein du CERILAC portent sur les \u00e9tudes cin\u00e9matographiques.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb1_3″][et_pb_image admin_label=\u00a0\u00bbImage couverture\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ src=\u00a0\u00bbhttps:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-content\/uploads\/sites\/7\/2021\/03\/Cine\u0301ma-Ze\u0301au.jpeg\u00a0\u00bb z_index_tablet=\u00a0\u00bb500″ module_id=\u00a0\u00bbimage-page\u00a0\u00bb \/][et_pb_text admin_label=\u00a0\u00bbCopyright\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bblegende\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″]<\/p>\n

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\u00a9 L’\u00c2ge de l’homme<\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb2_3″][et_pb_text admin_label=\u00a0\u00bbPr\u00e9sentation\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbcontenu\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″ custom_margin=\u00a0\u00bb-15px|||\u00a0\u00bb]<\/p>\n

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Qu\u2019est-ce que\u00a0le cin\u00e9ma\u00a0direct\u00a0? Une\u00a0forme\u00a0? Un\u00a0style\u00a0? Une sous-cat\u00e9gorie du cin\u00e9ma\u00a0<\/span><\/span><\/span>documentaire caract\u00e9ris\u00e9e par l\u2019absence de mise en sc\u00e8ne ? Une utopie cin\u00e9matographique <\/span>depuis longtemps d\u00e9pass\u00e9e\u00a0? \u00c0 l\u2019heure o\u00f9 le cin\u00e9ma synchrone et l\u00e9ger, aujourd\u2019hui\u00a0<\/span><\/span>num\u00e9rique, est devenu un langage commun accessible \u00e0 tous, que reste-t-il de ce moment <\/span>o\u00f9 les documentaristes aspiraient \u00e0 faire des films aussi improvis\u00e9s et perm\u00e9ables que la <\/span>vie elle-m\u00eame ?\u00a0Alors que chacun peut filmer avec son t\u00e9l\u00e9phone ses enfants ou l\u2019\u00e9picier du <\/span><\/span>coin, que nous apprend cette volont\u00e9 de porter \u00e0 l\u2019\u00e9cran le destin de l\u2019homme ordinaire? Et <\/span>\u00e0 l\u2019heure de la \u00ab post-v\u00e9rit\u00e9 \u00bb, que retient-on de cette conviction de pouvoir dire vrai ?<\/span>Si le terme \u00ab cin\u00e9ma direct\u00a0\u00bb embarrasse, tout comme le\u00a0mot \u00ab documentaire\u00a0\u00bb, c\u2019est parce\u00a0<\/span><\/span><\/span>que l\u2019un comme l\u2019autre posent le probl\u00e8me \u00e9pineux de la mise en sc\u00e8ne du r\u00e9el ou de son <\/span>hypoth\u00e9tique absence. Le constat de ce d\u00e9ni r\u00e9current nous conduit \u00e0 envisager le cin\u00e9ma <\/span>direct d\u2019abord comme un\u00a0retour \u00e0 la trompeuse\u00a0simplicit\u00e9 de \u00ab l\u2019esth\u00e9tique de la vue \u00bb (Tom<\/span><\/span>Gunning) et aux enjeux d\u2019une dramaturgie du regard, puis comme le prolongement du<\/span>\u00ab\u00a0documentaire dialectique\u00a0\u00bb th\u00e9oris\u00e9 par John Grierson dans les ann\u00e9es 1930. Dans les\u00a0<\/span><\/span><\/span>ann\u00e9es 1960, les cin\u00e9astes et les ethnologues qui font et pensent le cin\u00e9ma direct r\u00e9pondent <\/span>aux questionnements de l\u2019\u00e9poque (le destin de l\u2019id\u00e9e communiste, la d\u00e9colonisation, <\/span>l\u2019\u00e9mergence de l\u2019id\u00e9e de d\u00e9mocratie participative au pro\ue000t des minorit\u00e9s) par un art de la <\/span>mise en sc\u00e8ne fond\u00e9 sur la participation et le feed-back. Gr\u00e2ce \u00e0 l\u2019\u00e9closion de la parole fil<\/span>m\u00e9e et par le biais de dispositifs r\u00e9flexifs, leurs films interrogent le potentiel politique et <\/span>\u00e9pist\u00e9mologique du cin\u00e9ma. Chacun d\u00e9sormais peut revendiquer le droit d\u2019\u00eatre film\u00e9 (Walter<\/span>Benjamin), de se mettre en sc\u00e8ne et de questionner la v\u00e9rit\u00e9 des images. Ce faisant le <\/span>cin\u00e9ma direct, au moyen d\u2019une dialectique qui lui est propre (le flux et la structure, le direct <\/span>et le diff\u00e9r\u00e9, la pr\u00e9sentation et la repr\u00e9sentation) est devenu un espace pr\u00e9-politique : la mise <\/span>en sc\u00e8ne s\u2019y con\u00e7oit comme le moyen de penser la place et la participation de<\/span> l\u2019homme du\u00a0<\/em><\/span>commun<\/span><\/em> (filmeurs, film\u00e9s, spectateurs) dans cet espace que le film d\u00e9coupe dans le r\u00e9el.<\/span>C\u2019est en cela que le cin\u00e9ma direct constitue une matrice, plus pertinente que jamais, pour le <\/span>cin\u00e9ma documentaire contemporain<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n

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