%0 Journal Article
%T Les coulisses du sublime Behind the scenes of the sublimeMovie stunts, machinery, special effects
%A Emmanuel Grimaud
%J Ateliers d'Anthropologie
%D 2011
%I LESC (Laboratoire d'ethnologie et de sociologie comparative, CNRS-Universit¨¦ Paris X)
%R 10.4000/ateliers.8830
%X Toute cascade de cin¨¦ma peut ¨ºtre per ue comme une configuration exp¨¦rimentale posant au spectateur un probl¨¨me d¡¯attribution. Le cin¨¦ma livre en effet depuis ses origines une course fr¨¦n¨¦tique pour rendre visuellement plausibles des actions physiquement impossibles en camouflant leurs conditions de r¨¦alisation. Qui est ¨¤ l¡¯origine de quoi ? Y a-t-il proc¨¦d¨¦ et lequel ? L¡¯acteur ¨¦tait-il soutenu par des machines ou par des cables ? A-t-il effectu¨¦ la cascade lui-m¨ºme ? etc. Or l¡¯acte impossible que le plateau pr¨¦tend r¨¦aliser n¡¯est jamais simplement attribuable ¨¤ l¡¯acteur, aux techniciens ou ¨¤ la cam¨¦ra. Il n¡¯est jamais non plus compl¨¨tement r¨¦ductible ¨¤ du trucage. ¨¤ la fois de l¡¯ordre de la performance physique (mais pas uniquement), un brin machinique, en grande partie collective (ou distribu¨¦e), l¡¯effet de virtuosit¨¦ au cin¨¦ma reste par ailleurs toujours inachev¨¦ sans la perception d¡¯un spectateur pour donner ¨¤ la cascade sa continuit¨¦ finale. En examinant comment les cascades se font, camouflent et confondent le spectateur sur leurs sources et leur processus, cet article explore les enjeux de cette virtuosit¨¦ hybride et compliqu¨¦e qui arrache de fa on optique l¡¯acte ¨¤ ses conditions mat¨¦rielles d¡¯ex¨¦cution. Cinema is engaged from its origins in a frantic race to make physically impossible actions visually plausible by camouflaging their conditions of application. Who is at the origin of what? Is there a method and which one? Was the actor supported by machines or by cables? Did he perform the stunt himself? etc. But the impossible act which the set contends to achieve is never simply due to the actor, the technicians or the camera. It is also never completely reducible to special effects. Both physical performance (but not only), a strand machinic and largely collective (or distributed), the effect of virtuosity in movies is also still incomplete without the perception of an audience who gives a final continuity to the stunt. By examining how stunts are done, camouflaged and how they confuse the viewer on their sources and processes, this article explores the challenges of this hybrid and complicated virtuosity that takes the optically act away from its material conditions of performance.
%K stunt
%K movie
%K set
%K machinery
%K special effects
%K ethnography
%K attribution
%K cascade
%K cin¨¦ma
%K machineries de plateau
%K effets sp¨¦ciaux
%K ethnographie
%K attribution
%U http://ateliers.revues.org/8830