Ludovic Bource

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LUDOVIC BOURCE BIO Ludovic Bource is an Academy Award-winning composer. His 2011 score for The Artist, recorded with award-winning Brussels Philharmonic, elevated Bource to international fame and earned him numerous accolades, including an Academy Award, a Golden Globe Award, a Grammy Award, and a BAFTA Award. He is also known for his Emmy-nominated score for HBO’s Larry David-directed film, Clear History. Bource began his career composing music for commercials, but later moved on to short films, such as En attendant (2000), Spartacus (2003), and Sirene Song (2005). After working on the Michel Hazanavicius film Mes amis, Bource has become a long-time collaborator with the director. He has since scored such Hazanavicius films as OSS 117: Cairo, Nest of Spies (2006), its sequel OSS 117: Lost in Rio (2009), and most recently the black-and-white silent film The Artist (2011). He was invited to join the Academy of Motion Picture Arts and Sciences in June 2012 and was also named a Chevalier des Arts et Lettres by the French Government. Ludovic Bource has toured all over the world, performing The Artist live in concert with some of the most prestigious orchestras in Paris, Sydney, London, and Rotterdam. Most recently, Ludovic scored Les Naufragés, a French comedy released in February 2016. AWARDS & NOMINATIONS ACADEMY AWARD 2012 THE ARTIST Best Original Score GOLDEN GLOBE AWARD 2012 THE ARTIST Best Original Score BAFTA AWARD 2012 THE ARTIST Best Original Score GRAMMY AWARD 2013 THE ARTIST Best Score EMMY AWARD NOMINATION 2014 CLEAR HISTORY Original Dramatic Score FILMS LES NAUFRAGÉS Alice Girard, Edouard Weil, prods. Canal+ David Charhon, dir. CLEAR HISTORY Larry David, Monica Levinson HBO Films Greg Mottola, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 LUDOVIC BOURCE ON THE OTHER SIDE OF THE Eric & Nicolas Altmayer, prods. TRACKS David Charhon, dir. Mandarin Films THE ARTIST Thomas Langmann, prod. The Weinstein Company Michel Hazanavicius, dir. OSS: 117: LOST IN RIO Eric & Nicolas Altmayer , prods. Mandarin Films Michel Hazanavicius, dir. HERE TO STAY Olivier Bourgeois, Dileep Singh Rathore, Ki Productions prod. Pierre Barougier, Olivier Bourgeois, dirs. OSS 117: CAIRO, NEST OF SPIES Maniel Alduy, Eric & Nicolas Altmayer, Gaumont prod. Michel Hazanavicius, dir. ERIC KÉ RAMZY Virginie Lovisone, dir. MES AMIS Dominique Farrugia, Olivier Granier, prods. StudioCanal Michel Hazanavicius, dir. SHORT FILMS JAYA (short) Paul Aton, Philippe Tullio, prods. Elie Productions Philippe Tullio, dir. SIRENE SONG (short) Fanny Jean-Noël, dir. PM Pub SPARTACUS (short) Jean des Forêts, prod. Les Films du Requin Virginie Lovisone, dir. C.D.D. (short) Olivier Loustau, dir. Rougemarine EN ATTENDANT (short) Sébastien Labadie Franck Landron, prods. Laba Productions Serge Hazanavicius, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 2 .

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5.3 Post-Cinematic Atavism
5.3 Post-Cinematic Atavism BY RICHARD GRUSIN In June 2002, for a plenary lecture in Montreal at the biennial Domitor conference on early cinema, I took the occasion of the much-hyped digital screening of Star Wars: Episode II–Attack of the Clones (George Lucas, 2002) to argue that in entering the 21st century we found ourselves in the “late age of early cinema,” the more than century-long historical coupling of cinema with the sociotechnical apparatus of publicly projected celluloid film (“Remediation”). Two years later, in a lecture at a conference in Exeter on Multimedia Histories, I developed this argument in terms of what I called a “cinema of interactions,” arguing that cinema in the age of digital remediation could no longer be identified with its theatrical projection but must be understood in terms of its distribution across a network of other digitally-mediated formats like DVDs, websites, games, and so forth—an early call for something like what now goes under the name of “platform studies” (“DVDs”). In his recent book on “post-cinematic affect” Steven Shaviro has picked up on this argument in elaborating his own extremely powerful reading of the emergence of a post-cinematic aesthetic (70). I want to return the favor here to take up what I would characterize as a kind of “post-cinematic atavism” that has been emerging in the early 21st century as a counterpart to the aesthetic of post-cinematic affectivity that Shaviro so persuasively details. Sometimes considered under the name of “slow cinema” or “the new silent cinema” (or, as | 1 5.3 Post-Cinematic Atavism Selmin Kara puts it, “primordigital cinema”), post-cinematic atavism is not limited to art- house or independent films.
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