ror.org/036rp1748
Abstracts
Abstract
This article examines the actor’s performance of android characters in science fiction films. The author discusses how the cinematic android stresses conflicts between identity and expression, acting and performance, face and mask—conflicts that culminate in the recurring visual motif of the “unmasking” of the android to reveal its uncanny gaze. From A Clever Dummy (1917) to Blade Runner 2049 (2017), this article analyzes some of the narrative and aesthetic strategies that transform the human actor into an inhuman character, also pointing to early manifestations of the figure of the android in Western culture and to some of its recent developments through the use of videographic masks in the work of artists Otávio Donasci, Tony Oursler and Denis Marleau.
Résumé
Cet article examinera le jeu de l’acteur dans la construction de personnages androïdes dans des films de science-fiction. Nous verrons comment l’androïde cinématographique rend visibles des tensions importantes entre identité et expression, entre jeu et performance, et également entre visage et masque — tensions qui motivent le motif visuel récurrent du « démasquage » de l’androïde afin de révéler son inquiétant regard. De A Clever Dummy (1917) jusqu’à Blade Runner 2049 (2017), nous analyserons certaines stratégies narratives et esthétiques qui transforment l’acteur en personnage-machine, soulignant aussi ses possibles rapports avec les premières manifestations occidentales de la figure de l’androïde et avec son développement récent dans l’usage de masques vidéographiques par les artistes Otávio Donasci, Tony Oursler et Denis Marleau.
Appendices
Bibliography
- Asselin 2002: Olivier Asselin, “Le fantôme et l’automate : De la reproductibilité technique sur la scène,” Alternatives théâtrales 73-74 (2002), pp. 24-29.
- Aumont 1992: Jacques Aumont, Du visage au cinéma, Paris, Cahiers du cinéma, 1992.
- Auslander 1997: Philip Auslander, From Acting to Performance: Essays in Modernism and Postmodernism, London/New York, Routledge, 1997.
- Balázs 1948: Béla Balázs, Theory of the Film: Character and Growth of a New Art (1948), trans. Edith Bone, New York, Dover, (1952) 1970.
- Belting 2017: Hans Belting, Face and Mask: A Double History, Oxford/Princeton, Princeton University Press, 2017.
- Bredekamp 2015: Horst Bredekamp, Théorie de l’acte d’image, Paris, La Découverte, 2015.
- Brenez 1998: Nicole Brenez, De la figure en général et du corps en particulier, Brussels, DeBoeck Université, 1998.
- Courtine and Haroche 1988: Jean-Jacques Courtine and Claudine Haroche, Histoire du visage. Exprimer et taire ses émotions (xvie-début xixe siècle), Paris, Rivages, 1988.
- Deleuze and Guattari 1980: Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia (1980), trans. Brian Massumi, Minneapolis, University of Minnesota Press, 1987.
- Del Río 2008: Elena Del Río, Deleuze and the Cinemas of Performance: Powers of Affection, Edinburgh, Edinburgh University Press, 2008.
- Faber 2014: Monika Faber, “The Face under the Magnifying Glass,” in Mitra Abbaspour, Lee Ann Daffner and Maria Morris Hambourg (ed.), Object: Photo. Modern Photographs: The Thomas Walther Collection 1909–1949. An Online Project of The Museum of Modern Art, New York, The Museum of Modern Art, http://www.moma.org/interactives/objectphoto/assets/essays/Faber.pdf.
- Féral 2008: Josette Féral, “Por uma poética da performatividade: O teatro performativo,” Sala Preta 8 (2008), pp. 197-210, https://doi.org/10.11606/issn.2238-3867.v8i0p197-210.
- Freud 1919: Sigmund Freud, “The Uncanny” (1919), New Literary History 7:3 (1976), pp. 619-45.
- Gaudreault and Gunning 1989: André Gaudreault and Tom Gunning, “Early Cinema as a Challenge to Film History” (1989), in Wanda Strauven (ed.), The Cinema of Attractions Reloaded, Amsterdam, Amsterdam University Press, 2006, pp. 365-80.
- Gumbrecht 2004: Hans Ulrich Gumbrecht, Production of Presence: What Meaning Cannot Convey, Stanford, Stanford University Press, 2004.
- Haraway 1985: Donna Haraway, “A Cyborg Manifesto: Science, Technology and Socialist-Feminism in the Late Twentieth Century” (1985), in David Bell and Barbara Kennedy (ed.), The Cybercultures Reader, London/New York, Routledge, 2000, pp. 291-324.
- Isaacsson 2010: Marta Isaacsson, “Desdobramentos do ator e do personagem pela máscara videográfica,” Repertório Teatro & Dança 14 (2010), pp. 30-36, http://dx.doi.org/10.9771/r.v0i14.4661.
- Jentsch 1906: Ernst Jentsch, “On the Psychology of the Uncanny” (1906), Angelaki 1 (1997), pp. 7-16, https://doi.org/10.1080/09697259708571910.
- Krysinski 2002: Wladimir Krysinski, “Le fantôme et l’automate. De la reproductibilité technique sur la scène,” Alternatives théâtrales 73-74 (2002), pp. 24-29.
- Larrue 2008: Jean-Marc Larrue, “Théâtre et intermédialité. Une rencontre tardive,” Intermédialités 12 (2008), pp. 13-29, http://id.erudit.org/iderudit/039229ar
- Maciel Guimarães 2016: Pedro Maciel Guimarães, “No rosto, lê-se o homem: a fisiognomonia no cinema,” Significação 43:46 (2016), pp. 85-105, https://doi.org/10.11606/issn.2316-7114.sig.2016.121048.
- Monteiro 2016: Maria Conceição Monteiro, O corpo mecânico feminino: Uma poética do transumano, Rio de Janeiro, Garamond/FAPERJ, 2016.
- Mulvey 2006: Laura Mulvey, Death 24x a Second: Stillness and the Moving Image, London, Reaktion Books, 2006.
- Ovid 8 BC: Ovid, Metamorphoses (8 BC), book 10, Cambridge, Chadwyck-Healey, 1992.
- Steimatsky 2017: Noa Steimatsky, The Face on Film, New York, Oxford University Press, 2017.
- Stoichita 2008: Victor Stoichita, The Pygmalion Effect: From Ovid to Hitchcock, Chicago/London, University of Chicago Press, 2008.
- Telotte 1995: Jay P. Telotte, Replications: A Robotic History of the Science Fiction Film, Chicago/Urbana, University of Illinois Press, 1995.
- Wosk 2015: Julie Wosk, My Fair Ladies: Female Robots, Androids and Other Artificial Eves, New Brunswick / London, Rutgers University Press, 2015.
- Wulff 1997: Hans Wulff, “La perception des personnages de film,” Iris 24 (1997), pp. 15-32.
10.7202/039229ar