Abstracts
Abstract
This essay uses The Fifth Element as a case study for an analysis of how cinema experiments with automobiles, while working through different theoretical approaches to the automobile, those of Marcuse, Baudrillard and Virilio, which pose crucial questions about production, consumption, representation, simulation and perception. Ultimately, however, rather than treat cinema as representation or simulation, this essay provides a close reading of the film in terms of a composition of forces that sets up material orientations. Building on Isabelle Stengers, it shows how the car is not a thing or a sign for cinema, but a force of the outside, a proposition that remains autonomous yet answerable within the field of cinematic composition of forces. Transformations in cinema make this shift in emphasis necessary : assessing the politics of cinema must begin to take into account that the technical non-humans have increasingly come to function as cosmopolitical propositions for cinema.
Résumé
À l’aide du film The Fifth Element (Luc Besson, 1997) et des approches théoriques de Marcuse, Baudrillard et Virilio, lesquelles posent des questions cruciales sur la production, la consommation, la simulation et la perception, cet article analyse les expérimentations relatives à l’automobile au cinéma. Il ne s’agit pas ici d’envisager le cinéma comme représentation ou simulation, mais plutôt d’offrir une lecture attentive du film envisagé comme « composition de forces », mettant en place des orientations matérielles. À partir des travaux d’Isabelle Stengers, cet article montre que la voiture ne constitue pas une chose ou un signe pour le cinéma, mais une force venue de l’extérieur, un principe qui, bien qu’il soit autonome, peut être appréhendé dans les limites d’une composition de forces cinématographique. Les transformations qui affectent le cinéma ont fait de ce changement une nécessité : établir une politique du cinéma exige désormais de prendre en compte que le non-humain technique agit de plus en plus comme principe cosmopolitique pour le cinéma.
Appendices
Appendices
Bibliographie
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