{"id":3412,"date":"2023-01-03T10:40:22","date_gmt":"2023-01-03T09:40:22","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=3412"},"modified":"2023-01-12T13:41:40","modified_gmt":"2023-01-12T12:41:40","slug":"gaspard-delon-blade-runner-2049-denis-villeneuve-replique-et-renaissance","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/gaspard-delon-blade-runner-2049-denis-villeneuve-replique-et-renaissance\/","title":{"rendered":"Gaspard Delon \u00ab\u00a0Blade Runner 2049, Denis Villeneuve. R\u00e9plique et renaissance\u00a0\u00bb"},"content":{"rendered":"

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Gaspard Delon est ma\u00eetre de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques \u00e0 l’UFR LAC. Au sein du CERILAC, il centre ses recherches sur les interactions \u00e9conomiques, industrielles, esth\u00e9tiques et id\u00e9ologiques \u00e0 l\u2019\u0153uvre dans le blockbuster hollywoodien contemporain.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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DR<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Aure\u0301ole\u0301 par un accueil critique et institutionnel souvent enthousiaste,\u00a0Blade Runner 2049\u00a0<\/em>de Denis Villeneuve (2017) fait l\u2019objet ici d\u2019un premier ouvrage universitaire en langue franc\u0327aise. Le film s\u2019impose non seulement comme une suite, rigoureuse et inspire\u0301e, de l\u2019\u0153uvre de Ridley Scott (1982), mais aussi comme une me\u0301ditation sur la distance nous se\u0301parant de cette re\u0301fe\u0301rence majeure du XXe\u00a0sie\u0300cle, et par la\u0300 comme un aboutissement cine\u0301matographique a\u0300 part entie\u0300re.\u00a0<\/p>\n

Les contributions rassemble\u0301es analysent\u00a0Blade Runner 2049\u00a0<\/em>au prisme de me\u0301thodes et de regards comple\u0301mentaires. Positionnement dans l\u2019histoire des genres et du cine\u0301ma, impe\u0301ratifs e\u0301conomiques et industriels, confection technique et cre\u0301ation collective, singularite\u0301s esthe\u0301tiques, expe\u0301rimentations sonores et musicales, centralit\u00e9 des acteurs et des actrices, implications gender\u00a0<\/em>et socio-culturelles, diversite\u0301 des re\u0301ceptions sont autant d\u2019enjeux permettant d\u2019appre\u0301hender le film dans sa richesse, ses contradictions et sa complexite\u0301. Cette pluralite\u0301 permet d\u2019en e\u0301valuer l\u2019originalite\u0301 face aux tendances actuelles de la production audiovisuelle : trucages nume\u0301riques,\u00a0sound design<\/em>, strate\u0301gies de star et d\u2019auteur, franchises et transm\u00e9dialit\u00e9, reconfigurations de la SF, fe\u0301minisation des re\u0301cits et persistances masculines, re\u0301flexivite\u0301 nostalgique et recherche de convergences g\u00e9n\u00e9rationnelles.\u00a0<\/p>\n

Avec les contributions de :\u00a0Diane Arnaud, Pierre Berthomieu, Charles-Antoine Courcoux, Gaspard Delon, R\u00e9jane Hamus-Vall\u00e9e et Caroline Renouard, C. E. Harris, Chlo\u00e9 Huvet, Mathias Kusnierz, Quentin Mazel, Tatian Monassa, Pierre-Olivier Toulza<\/strong>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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