The year 2018-2019

Introduction

Focus : Places and Stories

Resources and Supporting Materials

Participants

Blog

Les Lumières de la villeConte d'hiver

INTRODUCTION

La situation

La situation permet de penser à la fois la relation entre les personnages, la mise en scène et la place du spectateur. Au fil des situations qu’ils traversent – que celles-ci soient désirées ou imposées, répertoriées ou inconnues - les personnages changent, se métamorphosent ou même parfois basculent à l’occasion de moments décisifs.

Le spectateur suit les personnages de situation en situation, à travers le film, mais il s’identifie à eux différemment, selon son propre état subjectif, les enjeux de ces situations et selon la façon dont le cinéaste les découpe et les filme.

 En juin 2019, lors des Rencontres internationales « A nous le cinéma ! » à La Cinémathèque française, les enfants et adolescents de 42 ateliers CCAJ à travers le monde viendront présenter leurs films et échanger sur cette question de « la situation » avec des cinéastes parrains invités.

 En 2018-19, le Cinéma, cent ans de jeunesse (CCAJ) concerne 15 pays différents et 9 régions en France (métropole et outre-mer). Il accueille la région Nouvelle Aquitaine en France, et l’Italie.

Le Voleur de bicyclette

Mulholland Drive

La Nuit du chasseur

Docteur Jerry et Mister Love

FOCUS

 

Situation and cinema

Situations, characters and spectator's place

What is a situation in a film? It’s the relationship between the characters that is set up in each new scene. The film progresses from a scene to another, from a situation to another. 
Every film is made up of evolving situations. The characters that are taken in these successive situations evolve with them. They go from one state to another going through these situations. They change, and even sometimes metamorphose or shift as part of some decisive moments. (I’m thinking about the moment when Ethan (John Wayne), at the end of The Searchers by John Ford, forgets about his racist and lethal hate, when he holds his niece in his arms).

The characters are not necessarily aware of their own evolutions or of these transformations they undergo when going from one situation to another. They don’t control all of it because they go through situations which are sometimes forced onto them, unknown or enigmatic. There are situations upon which they can take action, others when they can only react, like in films where the characters explore or travel through unknown lands.

The situations depend just as much on the space in which they take place as on the scenario. Filming a situation means setting up relationships between the characters in a specific and precise space: the same relation between two characters, or even the same dialogue, will not trigger the same emotions if they are filmed side by side in a car, or separated by stairs, or each of them in their own setting over the phone. If they are filmed in a car, my relationship to the characters depends on the choice made by the film maker to only film one of them and leave the other one out of the off camera.
Kiarostami have used this situation many times which has become a matrix in his films.

As a spectator, I am present in the film through the characters, I follow them from a situation to another, I evolve with them, I can relate to their emotions, I share their emotions. But depending on the way the situation if filmed (the axes, the size of the shots, the editing) my identification to such and such character varies, evolves. In the situation attacker/attacked, for example, the film maker can ensure I identify myself rather with one or the other: in M by Fritz Lang, the moment when M is chased by the police in the cordoned off building, I can identify myself with a child murderer because he is the one who is in danger, and that he only has very little chances to get out of it.
My identification also depends a lot on the choice of actors and their acting. My own emotions as a spectator depend on who embodies the characters’ emotions.

I find my place in the film by going through the spaces and successive situations alongside the characters, but this place constantly gets modified, and my relationship to the characters evolves also from one scene to another, depending on the way the situation evolves.

 


Alain Bergala

Resources and supporting materials

Soon: resources (eading list, links), and
 supporting materials, to allow you to explore the topic in greater depth.

 

 

Participants

ARGENTINA: La Cinemateca y Archivo de la Imagen Nacional, Rosario BELGIUM: Service de Culture Cinématographique and Cinémathèque royale de Belgique, Brussels BRASIL: Imagens em Movimento (association Raiar) with la Cinemateca do Museu de Arte Moderna (MAM-Rio), Rio de Janeiro / Escola Carlitos with la Cinemateca Brasileira, São Paulo BULGARIA: Association Arte Urbana Collectif with Festival "Meetings of the Young European Cinema", Sofia GERMANY: Deutsche Kinemathek, Berlin and University of Bremen FINLAND: IhmeFilmi ry and the Finnish Cinematheque, Helsinki INDE: Children’s Film Academy, Mumbai ITALIE: Cineforum, Teramo JAPON: Children meet cinema, Tokyo LITHUANIA: Meno Avilys, Vilnius MEXICO: EduKino with la Cineteca Nacional, México PORTUGAL: Association Os Filhos de Lumière with la Cinemateca Portuguesa, Lisbon SPAIN: Cinema en curs (association A Bao A Qu), Barcelona UNITED KINGDOM (ENGLAND et SCOTLAND): British Film Institute, London / Centre for the Moving Image, Edinburgh.

FRANCE : Auvergne-Rhône-AlpesCinéma Mon Ciné, Saint Martin D’Hères Corse: Corsica.Doc and La Cinémathèque de Corse Grand-Est:  Vidéo Les Beaux Jours, Strasbourg Guadeloupe: L’Artchipel National Scene of Guadeloupe Ile-de-France: La Cinémathèque française, Paris Martinique: Tropiques Atrium, National Scene of Martinique Nouvelle-Aquitaine : ALCA - Agence livre cinéma audiovisuel, Bègles Occitanie: Institut Jean Vigo-Cinémathèque euro-régionale, Perpignan Provence-Alpes-Côte d'Azur: Cinéma Jean Renoir, Martigues.

 

Blog

The blog allows participants to get to know each other and keep in contact throughout the course of the year, discussing their work, their discoveries and how they are progressing through the project.

Bandeau 2018-2019 

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Plaquette 2018