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French Cancan et le spectateur mobile
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L’objectif de cet article est d’inscrire French Cancan (Jean Renoir, 1955) dans le cadre d’une réflexion consacrée au regard des spectateurs. Ce texte, qui a pour double objet le mouvement et le regard, considère précisément que le mouvement du regard du personnage pivot de ce film (Danglard-Gabin) sert le rythme d’une comédie musicale plutôt caractérisée par une apparente impassibilité de la caméra. Hymne à la peinture impressionniste, French Cancan n’en constituerait pas moins selon l’auteur un bel hommage au Cinématographe, par l’attention qu’il porte aux mouvements dans l’image.
Title: French Cancan et le spectateur mobile
Description:
L’objectif de cet article est d’inscrire French Cancan (Jean Renoir, 1955) dans le cadre d’une réflexion consacrée au regard des spectateurs.
Ce texte, qui a pour double objet le mouvement et le regard, considère précisément que le mouvement du regard du personnage pivot de ce film (Danglard-Gabin) sert le rythme d’une comédie musicale plutôt caractérisée par une apparente impassibilité de la caméra.
Hymne à la peinture impressionniste, French Cancan n’en constituerait pas moins selon l’auteur un bel hommage au Cinématographe, par l’attention qu’il porte aux mouvements dans l’image.
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