Visions of Light Lohanne Larue

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Visions of Light Lohanne Larue Document generated on 09/27/2021 1:14 p.m. Séquences La revue de cinéma Visions of Light lohanne Larue Les directeurs photo Number 167, November–December 1993 URI: https://id.erudit.org/iderudit/50010ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Larue, l. (1993). Review of [Visions of Light]. Séquences, (167), 20–20. Tous droits réservés © La revue Séquences Inc., 1993 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ grandement influencer un cinéaste dans la façon qu'il ou qu'elle a de tourner un film. Une partie VISIONS OF LIGHT de l'examen final exige que l'étudiant dessine une toile de mémoire et nous explique comment elle a Todd McCarthy a coréalisé, avec Arnold contraire leur style personnel tout en analysant influencé son travail.»141 Pour Todd McCarthy, le Classman et Stuart Samuels, un documentaire celui des autres. Ils apportent d'ailleurs une réalisateur de Visions of Light (voir l'encadré), la captivant sur les directeurs photo qui ont fait attention toute particulière au travail des artistes seule différence existant entre les meilleurs chefs évoluer le cinéma américain de sa conception à qui les ont influencés. Au bout du compte, opérateurs américains et les autres, concerne la nos jours. Pour tous les cinéphiles sérieux, Visions of Light résume à lui seul l'histoire du culture visuelle. «Les Européens possèdent une Visions of Light représente une source rare cinéma américain par le biais de sa connaissance plus large de la peinture et de d'informations. Les Gordon Willis, Haskell photographie. Il est particulièrement l'architecture. Ils ont étudié différents types de Wexler, Michael Chapman, Vittorio Storaro, rafraîchissant de voir le nom des directeurs lumière». Par ailleurs, Stephen Goldblatt avoue Conrad Hall et Sven Nykvist sont interviewés photo, et non celui des réalisateurs, figurer sur que son expérience européenne lui permet de par des connaisseurs qui les incitent à dépasser la légende des nombreux extraits de films discuter avec les réalisateurs et d'interpréter leurs l'anecdotique pour s'exprimer en profondeur sur présentés. Par exemple, on oublie trop souvent désirs dans un essai visuel. «Ce n'est pas toujours leur profession et la nature de leur art. Le que le génie visuel de Citizen Kane revient un processus conscient. autant à Gregg Vous ne parlez pas Toland qu'à seulement d'équipement ou Orson Welles. d'efficacité [avec le metteur Visions of Light en scène] mais d'intention et rectifie ainsi de message».151 Cette quelques formation dans le domaine injustices visuel est sans doute à la impardonnables. base du succès de deux Seule ombre au jeunes directeurs photo tableau: comme le américains, Ernest Dickerson film a été tourné (Do the Right Thing) qui sur vidéo puis possède un diplôme en transféré sur 35 architecture et Ed Lachman mm, on remarque (Desperately Seeking Susan une perte de et Mississippi Masala) qui génération dans la s'adonne à la peinture. Dans qualité visuelle cette discipline, Lachman a des extraits de très vite appris à apprécier films. Un les possibilités de la couleur problème Citizen Kane et à l'utiliser pour définir ou atténuer les formes. malheureux qui Lorsque les Américains reçoivent une éducation résultat n'apparaît jamais trop technique, mais devrait cependant disparaître lors de la diffusion adéquate, ils peuvent donc rivaliser avec leurs évite très largement les pièges de l'information de ce documentaire sur nos chaînes de collègues étrangers. divertissante, ou info/tainement, telle que la télévision culturelles. Espérons d'ailleurs que Reste que les différences culturelles affectent distille les Entertainement Tonight de ce monde, Visions of Light sera traduit en français. grandement la façon de filmer. Au Japon, en à renfort d'entrevues vides de sens. Très Italie, en France, en Suède ou en Inde, les chefs candides, les intervenants démystifient au lohanne Larue opérateurs, d'après le critique Armond White, «laissent entrer un peu plus la lumière du soleil, opérateur à capter les performances. Si un apparition, la vidéo effectue une percée dans les un peu plus de réalisme. Leur sens de la vision est directeur photo ose même penser à la foyers, les vidéo-clips envahissent les chaînes et mieux servi par leur imagination que par une chorégraphie de la caméra, il outrepasse ses l'omniprésence de la publicité banalise les belles lentille anamorphique. Les directeurs photo fonctions. Les chefs opérateurs italiens apprennent images. Le réalisateur anglais Karl Reisz explique internationaux restent fidèles à une tradition très tôt que la caméra fait partie du langage visuel ainsi les conséquences néfastes de ce nivelage picturale qui traduit, plutôt qu'elle n'évite, un que développe le metteur en scène».171 À la esthétique: «Tant de belles images ont été à ce style accentué. Les, directeurs photo de lumière de ces différentes observations, on point vulgarisées par le film publicitaire qu'on ne Hollywood camouflent toute manipulation et tout comprend mieux pourquoi les cinéastes littéraires peut plus s'en servir. Il faut revenir à une photo artifice, préférant donner l'impression d'une ne sauraient se passer des directeurs photo plus directe et plus simple. Sinon, le public lit (sic) vision parfaite, alors qu'il s'agit là d'une fausseté étrangers. D'ailleurs, leurs qualités éclatent au vos couleurs en les associant au savon ou au technologique».,6> Bien sûr, il existe des grand jour durant les années 80. shampoing.»181 Reisz conclut en suggérant que exceptions, mais Vittorio Storaro arrive à des cela pourrait favoriser le retour d'une photo plus conclusions semblables lorsqu'il compare la LES ANNÉES 80 sentie que physique, chimique ou technique. On fonction des mouvements de caméra en Italie et obtiendrait ainsi une cinématographie taillée sur aux États-Unis. «Dans un film hollywoodien Au début de la dernière décennie, le monde mesure pour les directeurs photo étrangers, s'il moyen, l'accent est mis sur le jeu des acteurs et la de la télécommunication connaît de profonds faut en croire Jean Lépine qui affirme que «les structure du récit, réduisant ainsi le rôle du chef bouleversements. La télé par câble fait son Européens sont plus émotifs que rationnels» et 20 Séquences .
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