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Image Perception in the Realm of Media Manipulation the Misleading Use of Newspaper Images See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/306025595 Image Perception in the Realm of Media Manipulation The Misleading Use of Newspaper Images Article · January 2014 CITATIONS READS 0 9 1 author: Alina Petra Marinescu University of Bucharest, "Danubius" University of Galați 12 PUBLICATIONS 4 CITATIONS SEE PROFILE All content following this page was uploaded by Alina Petra Marinescu on 10 August 2016. The user has requested enhancement of the downloaded file. All in-text references underlined in blue are added to the original document and are linked to publications on ResearchGate, letting you access and read them immediately. Hyperion University, The Faculty of Arts, Bucharest Cinematographic Art & Documentation (CA&D) Journal of cinematographic studies, Nr. 9, New series. 2014 biannual publication Tracus Arte Publishing House Bucharest, 2014 ISSN:1844-2803 Hyperion University, Bucharest Cinematographic Art & Documentation Journal of cinematographic studies, nr. 9, New Series, 2014 ISSN: 1844-2803 Editorial Board Editor in Chief Professor DOINA RUŞTI Hyperion University, Bucharest Associate Editors Professor NICOLETTA ISAR Institute of Art History, Department of Arts & Cultural Studies, University of Copenhagen Denmark Professor EFSTRATIA OKTAPODA Sorbonne, Paris IV Professor ILEANA ORLICH Arizona State University LINDA MARIA BAROS, Ph.D. Sorbonne, Paris IV Redactors Lecturer IOAN CRISTESCU, Ph.D, Hyperion University, Bucharest Lecturer COSMIN PERŢA , Ph.D, Hyperion University, Bucharest Alina Petra MARINESCU-NENCIU, Ph. D.c, Bucharest University Professor RAMONA MIHĂILĂ, Ph.D. Dimitrie Cantemir University, Bucharest Associate Professor LIANA IONESCU, Ph.D., Hyperion University, Bucharest Associate Professor ELENA SAULEA, National University of Drama and Film, Bucharest, "I.L. Caragiale", Bucharest Managing Editor IOAN CRISTESCU Editorial Secretary MIHAELA CAZAN Advisory Editors Professor EUSEBIU ŞTEFĂNESCU, Hyperion University, Bucharest Associate Professor Vlad Leu, Hyperion University, Bucharest Associate Professor IOAN CĂRMĂZAN, Ph.D., Hyperion University, Bucharest, Film Director, vice- president of Filmmakers Union (UARF) MAIA MORGENSTERN, Hyperion University, The National Theatre, Bucharest Professor ION SPÂNULESCU, Hyperion University, Bucharest Cover: EMILIA PETRE Foto: GABI BOHOLT DPT&Pre-Press EMILIA PETRE SUMMARY I. Cinematographic Art Editorial Alexandru IORDACHESCU, M.A., Elefant Films, Geneva – Le cinéma est mort, vive le cinéma! Réalité, mort du cinéma d’auteur et transhumanisme / 5 Alina Petra MARINESCU-NENCIU, Ph. D. c, Bucharest University – Image Perception in the Realm of Media Manipulation. The Misleading Use of Newspaper Images / 8 Monica ILIE-PRICA, National School of Political Science and Public Administration – Film Noir and Femme Fatale. A Contemporary Perspective / 18 Beatrice MEDA, Ph.D c. National University of Theatre and Film "I.L.Caragiale", Bucharest – Exploring the Suspect Dimension of Realism in the Latest New Wave Romanian Cinema / 24 Daniela DIMA-RIAIN BA, International Make-Up Artist Trade Show, London – The Romanian New Wave / 34 Alexandru IORDACHESCU, M.A. Elefant Films, Geneva – Rêves éveillés, entropie et paradoxe de la reine rouge. Le pouvoir ambigu du cinéma. / 38 II. Cultural Studies: Inherited ideas Irina Airinei Vasile, Ph.D. National School of Political Studies and Public Administration, Bucharest, and Sorin BORDUŞANU,Vicepresident of the Assigning Names Committee of Bucharest – A cultural perspective: suggestion for a documentary film.The toponymic heritage of Bucharest -Streets bearing Jewish names / 43 Diana MEŢIU , Ph.D, Hyperion University, Bucharest – The Golden Ratio. From the oldest to the newest arts / 52 Florin TOADER – Postmodernism in the art of film (lecture notes) / 57 Cinematografic Art & Documentation, nr. 9 (13) /2014 Editorial Le cinéma est mort, vive le cinéma! Réalité, mort du cinéma d’auteur et transhumanisme Alexandru IORDACHESCU Elefant Films, Geneva Abstract : Whether among filmmakers or sales agents, the sentence: "our movies do not sell anymore" is a leitmotif during the "Berlinale 2014". As this phenomenon has grown over the past ten years regarding Arthouse movies, it is necessary to outline some assumptions. The one we will explore here is the following: it’s not the intrinsic quality of the films which is declining, but the technological dimension associated with them. Keywords: Berlinale, Arthouse movies, technology, transhumanism «Avenir» et «cinéma d’auteur» sont des Or, si nous analysons – au long de termes qu’on a de la peine à associer lors de l’histoire du cinéma –, ce qui a fait son succès, y cette édition 2014 de la Berlinale. compris celui des films d’auteur, ce ne sont Pourtant ce n’est pas en raison du jamais uniquement ces aspects là, mais une manque de qualité ou de pertinence des films conjonction entre des valeurs et une technologie, d’auteur, mais en raison d’un malentendu. la coïncidence de deux en quelque sorte. Quel est ce malentendu? Encore Revenons au point de départ, à cette aujourd’hui, lorsqu’on parle de cinéma d’auteur, suite d’images que tout le monde connaît, qui les mots qui viennent l’esprit sont: vision marque le début de l’expérience singulière et personnelle, valeur ajoutée cinématographique: un train qui entre dans une culturelle et artistique, réflexion sur le monde et gare, celle de La Ciotat. Ce sont des images sur nous-mêmes, etc… saccadées, en noir et blanc et sans son. 5 Cinematografic Art & Documentation, nr. 9 (13) /2014 Pourtant les spectateurs du premier rang Lorsque les néoréalistes italiens ont fait – dit-on –, se sont enfuis à la vue de cette image des films qui étaient à la fois des succès projetée qui se ruait sur eux… Quelle décharge artistiques et commerciaux, c’est principalement d’adrénaline ça a dû être pour eux, quelle à cause du fait que le cinéma, à cette époque, expérience profondément physiologique. était encore une technologie de pointe et le Qui s’enfuirait encore aujourd’hui à la vecteur d’un espoir de transformation dans la vue de ces mêmes images? Qui aurait ne serais- société : une société qui pensait encore que le ce qu’une légère accélération du rythme progrès, la science et la technologie pouvaient la cardiaque? Personne. libérer et révolutionner le monde. Que s’est-il passé entre la première Que le geste «libérateur» des projection de ces images de train et maintenant? néoréalistes, qui consistait à prendre la caméra à D’une part, la technologie cinema- la main et à sortir des studios pour filmer dans la tographique, proprement révolutionnaire lors de rue soit contemporain aux mouvements de mai son apparition, a beaucoup évolué. Elle a même 68, à la libération sexuelle, à l’exploration été dépassée, du point de vue de l’immersion du d’états altérés de conscience ou à l’avènement de « spectateur», par d’autres formes la cybernétique, est tout sauf une coïncidence : la audiovisuelles, tels que les jeux vidéo. technologie pouvait nous libérer, nous en étions D’autre part, et corollairement au les maitres et l’avenir semblait radieux. Les premier constat, le cinéma a perdu de sa cinéastes étaient, dans ce sens, des héros «magie», au sens propre comme figuré. Tout le prométhéens, les vecteurs / narrateurs de ces monde sait que le cinéma est une convention, mutations profondes dans la société. que le sang est du ketchup et que les effets sont Or, aujourd’hui nous commençons à modélisés à l’aide de programmes 3D. bien le comprendre, la technologie ne libère pas. Et c’est là que nous constatons que Elle transforme sans doute nos vies, mais ne les McLuhan avait raison: ce n’est pas le contenu améliore pas nécessairement au vu des questions intrinsèque des films ou des formes narratives fondamentales que l’être humain est en droit de des jeux qui ont perdu ou gagné, mais la se poser (et ne manque pas de le faire). technologie qui les véhicule. Ce qui gagne C’est ainsi que le cinéma, en ignorant sa invariablement c’est la forme susceptible de dimension technologique, peut travailler contre générer le plus d’excitation neurologique, une partie de lui-même. Lorsque James Cameron quelque soit sa nature ou son niveau intellectuel. filme Avatar à l’aide de caméras 3D et que les Supposons maintenant que les mêmes studios décident de le projeter en salles images du train qui rentrent dans la gare soient uniquement dans un format numérique, l’histoire projetées directement dans le nerf optique, voir du film a beau à raconter la victoire de sortes encodées dans le lobe frontal, en y rajoutant «d’indiens» sur les colonisateurs, dans les salles l’excitation des autres sens, la réaction de cinéma c’est le contraire qui se produit : le physiologique serait très élevée, comparable à taux de salles qui changent leur système de une expérience réelle. projection et adoptent le format digital passe de Or c’est précisément ce que les 20 % à 80 % en Europe, marquant la fin du film spectateurs ayant vu pour la première fois ces 35mm et l’avènement d’une forme de images, il y a plus d’un siècle, on ressenti: distribution qui va définitivement mettre hors jeu l’impression qu’une véritable locomotive leur les films «d’auteur», des films d’indiens en fonçait dessus. Et c’est également ce que quelque sorte. cinéastes et spectateurs ont cherché à recréer par Mais, même si ce cas est emblématique, ce n’est la suite dans les salles de cinéma: une pas le film ou le réalisateur qui est en cause. Car convention de réalité, l’immersion dans une l’évolution de la technologie se fait en quelque réalité «autre», dont l’illusion technologique sorte «malgré nous», malgré James Cameron et était suffisamment développée pour berner les même malgré les studios. A chaque échelon du sens. système cette évolution est perçue comme C’est là où, à mon avis, le cinéma «inéluctable», semblable à la nécessité d’adapta- d’auteur a un «train» de retard : en axant tout tion pour la survie.
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