[en] The role and limits of editing in animation film are reconsidered here. It is no longer a matter of perceiving this practice as “simply” assembling shots, associating random elements, linking diverse pieces and creating a monstrous body, but rather, it is presently regarded as a continual process of managing transitions, shifting between images, transforming inanimate objects, transmuting immobile elements and transfiguring inert beings. Thus, the animation film’s purpose is less phantasmal, to be a giver of life, as it is phantasmagoric, to be an animator of death. [fr] Le rôle et les limites du montage dans le cinéma d’animation sont ici reconsidérés. Il ne s’agit plus de l’entendre comme un « simple » travail d’assemblage de plans, d’associations d’éléments épars, de collage de morceaux divers, de constitution d’un grand corps monstrueux, mais bien de l’étudier comme un processus permanent de gestion de passages, de modulations d’une image à l’autre, de transformations d’éléments inanimés, de transmutations de figures fixes, de métamorphoses de corps inertes. En ce sens, le projet du cinéma d’animation n’est pas autant celui, fantasmatique, du don de vie que celui, fantasmagorique, d’animation de la mort.
Disciplines :
Performing arts
Author, co-author :
Tomasovic, Dick ; Université de Liège - ULiège > Département des Arts et Sciences de la communication > Théories et pratiques du spectacle (vivant ou enregistré)
Language :
French
Title :
Le cinéma d’animation et ses thanatomorphoses (fragments sur le monstre, la charogne, le montage et l’animation)
Publication date :
September 2002
Journal title :
Cinémas: Revue d'Etudes Cinématographiques
ISSN :
1181-6945
eISSN :
1705-6500
Publisher :
Cinémas - Université de Montréal, Montréal, Canada
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