Interdit aux moins de 18 ans : Morale, sexe et violence au by Laurent Jullier

By Laurent Jullier

Artwork de voyants mais aussi de voyeurs, le cinéma n'a cessé de flirter avec les interdits. Ceux du sexe et de l. a. cruauté avant tout. Quand los angeles caméra alanguie s'attarde un peu trop sur un genou féminin, quand un plan-séquence couvre tout le déroulé d'une orgie frénétique et baroque, quand s'ouvrent les portes de l. a. nuit et de l'univers des damnés, certains rougissent dans l. a. pénombre, d'autres se pâment d'aise, l. a. plupart en redemandent...

Et les censeurs, sujets finalement aux mêmes stimuli que nos organes intimes, entrent en action...

Après une étude comparée du problème de l. a. censure en France et aux États-Unis, l'auteur examine toutes les attitudes possibles face à los angeles représentation de l. a. violence et du sexe au cinéma.

Ce livre très vivant et documenté s'appuie sur l'exemple de motion pictures et sur le témoignage de spécialistes de ces questions (membre de l. a. fee de contrôle, psychologue, sociologue, philosophe, etc.).

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By Laurent Jullier

Artwork de voyants mais aussi de voyeurs, le cinéma n'a cessé de flirter avec les interdits. Ceux du sexe et de l. a. cruauté avant tout. Quand los angeles caméra alanguie s'attarde un peu trop sur un genou féminin, quand un plan-séquence couvre tout le déroulé d'une orgie frénétique et baroque, quand s'ouvrent les portes de l. a. nuit et de l'univers des damnés, certains rougissent dans l. a. pénombre, d'autres se pâment d'aise, l. a. plupart en redemandent...

Et les censeurs, sujets finalement aux mêmes stimuli que nos organes intimes, entrent en action...

Après une étude comparée du problème de l. a. censure en France et aux États-Unis, l'auteur examine toutes les attitudes possibles face à los angeles représentation de l. a. violence et du sexe au cinéma.

Ce livre très vivant et documenté s'appuie sur l'exemple de motion pictures et sur le témoignage de spécialistes de ces questions (membre de l. a. fee de contrôle, psychologue, sociologue, philosophe, etc.).

Show description

Read or Download Interdit aux moins de 18 ans : Morale, sexe et violence au cinéma PDF

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Extra info for Interdit aux moins de 18 ans : Morale, sexe et violence au cinéma

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The more that is explicitly known, the more readily accessible intuitive responses will be. “Geniuses . . ”4 Intuitive Thinking This discussion of intuition therefore proceeds from the premise that articulation of ideas about what kinds of learned knowledge inform an editor’s intuition need not disturb the balance of thinking and doing that allows editors to use intuition in the creation of the rhythms in films. Not everyone will agree with this premise, and furthermore, some editors who disagree are, in fact, extremely credible given their experience, knowledge, and swags of awards.

167. 10. , “Dany Cooper interview,” Inside Film Magazine, p. 43. 11. , Sculpting in Time, pp. 119–120. 12. Ibid. 13. , First Cut, Conversations with Film Editors. 14. , “The anatomy of intuition,” in The Intuitive Practitioner, p. 40. 15. Modell, A. , Imagination and the Meaningful Brain, p. 145. 16. , The New Brain, pp. 35–37. 17. The meaning of “intentional” has significant potential for variation when moving between scientific studies and philosophical studies. As Robert Sokolowski says in Introduction to Phenomenology, “The core doctrine of phenomenology is the teaching that every act of consciousness we perform, every experience that we have is intentional: it is essentially ‘consciousness of’ or an ‘experience of’ something or other .

The other three characters each respond: Lester’s wife (Annette Bening), with a chirpy, high-pitched insistence that glosses over everything; Janie (Thora Birch), with a strangled breath and sound that barely escapes through gritted teeth; and Angela, with an easy poise, a breath rhythm that promises much but gives little away. [Photo credit: DreamWorks/Jinks/Cohen; The Kobal Collection] 19 20 CHAPTER 1: Rhythmic Intuition I propose that Murch’s ideas about blinking and Gibson’s about breathing can be extended to take the actor’s whole body and the whole of the mise-en-scene into account as a source of kinetic communication.

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