{"word_count": 1748, "character_count": 13285}
Universit&#233; de Poitiers, France18 et 19 novembre 2010Equipes de recherche :&#160; MIMMOC &#8211; EA 3812FoReLL &#8211; EA 3816, &#233;quipes B1 (Po&#233;tiques de la repr&#233;sentation) et B3 (Esth&#233;tique compar&#233;e)Comit&#233; d&#8217;organisation :    Dieter MERLIN (Universit&#233; de Poitiers / DAAD)     V&#233;ronique CAMPAN (Universit&#233; de Poitiers)     Andrew McKeown (Universit&#233; de Poitiers)     Martin RASS (Universit&#233; de Poitiers)     Jeremy PRICE (Universit&#233; de Poitiers) Un film, comment l&#8217;entendre ? Ecoute filmique et m&#233;moire culturelleLa th&#233;orie du cin&#233;ma a beaucoup r&#233;fl&#233;chi sur le statut et&#160; la fonction des sons dans un film : rep&#233;rage et classification des composantes de la bande son, &#233;tude de leur relation par rapport &#224; l&#8217;image, analyse de leur dimension narratologique, examen de leur fonction dramatique ou de leur composition musicale. Elle s&#8217;est &#233;galement, depuis quelques ann&#233;es,&#160; attach&#233;e &#224; d&#233;crire les conditions &#233;pist&#233;mologiques de l&#8217;&#233;coute filmique ainsi que les mod&#232;les perceptifs et m&#233;moriels que celle-ci convoque.Le &#171; tournant acoustique &#187; observ&#233; dans plusieurs disciplines depuis une trentaine d&#8217;ann&#233;es (recherches en psychologie cognitive, &#233;tudes de l&#8217;environnement sonore men&#233;es par Jean-Fran&#231;ois Augoyard et son &#233;quipe au sein du CRESSON, travail sur le &#171; sound design &#187; de Barbara Fl&#252;ckiger), ent&#233;rine une prise en compte croissante de l&#8217;influence des &#233;l&#233;ments sonores&#160; sur le comportement. Mais on n&#8217;a pas encore pris totalement la mesure de leur impact sur la r&#233;ception spectatorielle.Cette journ&#233;e d&#8217;&#233;tude pourrait &#234;tre l&#8217;occasion d&#8217;inscrire l&#8217;&#233;tude de la bande son des films dans une perspective anthropologique. Chacun sait la puissance &#233;vocatoire des traces acoustiques, qui colorent la repr&#233;sentation cin&#233;matographique de ce que Michel Chion nomme une&#160; valeur ajout&#233;e. A travers les images mais aussi les sons qui le constituent, un film nous renseigne sur un moment de l&#8217;histoire, sur une r&#233;alit&#233; g&#233;ographique, sur des pratiques &#233;conomiques et sociales, et&#160; nous informe sur les repr&#233;sentations culturelles auxquelles ils sont associ&#233;s. R&#233;ciproquement, l&#8217;&#233;coute filmique nourrit une m&#233;moire sonore qui s&#8217;&#233;labore &#224; partir des sons r&#233;invent&#233;s par le cin&#233;ma. Notre appr&#233;hension des lieux, personnages, &#233;v&#233;nements pass&#233;s ou pr&#233;sents, est inform&#233;e par les films que nous avons &#171; entendus &#187;.&#160; Pour &#233;tudier les relations existant entre la bande son d&#8217;un film et la m&#233;moire culturelle, nous souhaitons repartir de l&#8217;id&#233;e que les sons n&#8217;existent pas en soi, mais sont toujours construits par une ou plusieurs &#233;coutes concurrentes. Le tissu sonore d&#8217;un film est le produit de la mani&#232;re singuli&#232;re dont un cin&#233;aste, un compositeur et/ou un designer sonore per&#231;oivent le monde qui les entoure. Ce tissu est ensuite transform&#233; par l&#8217;&#233;coute que chaque spectateur en fait, en fonction de sa comp&#233;tence &#224; isoler, analyser et identifier des &#233;l&#233;ments qui le composent. La bande son restitue non des realia mais des repr&#233;sentations stylis&#233;es dont il faut tenter de rendre compte. Dans une perspective r&#233;solument transversale, l&#8217;enjeu de cette journ&#233;e d&#8217;&#233;tude est de croiser r&#233;flexion po&#233;tique et &#233;tude anthropologique pour repenser l&#8217;&#233;coute filmique en inscrivant l&#8217;analyse de la bande son dans le contexte social, culturel et esth&#233;tique contemporain de son &#233;laboration. On s&#8217;attachera &#224; &#233;lucider et &#233;valuer la part prise par les bruits, paroles et musiques dans la construction d&#8217;objets fictifs cin&#233;matographiques. On s&#8217;interrogera sur les habitudes qui influencent leur conception comme leur r&#233;ception. On se demandera de quelles activit&#233;s, de quels usages, de quel imaginaire ces fictions sonores sont l&#8217;empreinte, et dans quelle mesure elles &#171; font &#233;poque &#187;.Des sp&#233;cialistes du cin&#233;ma, des anthropologues, des architectes, urbanistes, des cr&#233;ateurs, seront invit&#233;s &#224; confronter leurs approches respectives autour d&#8217;un certain nombre de questions :    Quelles sont, dans un film, les formes sonores de restitution d&#8217;un lieu, d&#8217;un moment, d&#8217;un &#233;v&#233;nement ?     Quel traitement mod&#232;le leur rendu&#160; (distorsions acoustiques, musicalisation, mise en perspective spatiale et temporelle, etc.) ?     Sur quels imp&#233;ratifs technologiques et quelles conceptions id&#233;ologiques ces choix esth&#233;tiques sont-ils fond&#233;s ?     Quelle place occupe l&#8217;&#233;coute des films dans la construction des repr&#233;sentations culturelles et de leur m&#233;moire ?     Quels outils et quelles m&#233;thodes la th&#233;orie du cin&#233;ma peut-elle emprunter aux anthropologues, aux urbanistes, aux architectes ou aux musicologues, pour d&#233;crire et&#160; analyser les composantes d&#8217;une bande son, les constellations sensibles que dessine le profil sonore d&#8217;un lieu, d&#8217;un moment, d&#8217;un personnage, ou d&#8217;un &#233;v&#233;nement ?     Le cin&#233;ma, en tant qu&#8217;activit&#233; artistique, en tant qu&#8217;exp&#233;rience esth&#233;tique et en tant que dispositif technique, offre-t-il un lieu d&#8217;exp&#233;rimentation privil&#233;gi&#233; tant aux designers sonores qu&#8217;aux chercheurs en sciences humaines qui s&#8217;int&#233;ressent &#224; la dimension sonore de la vie quotidienne et de la cr&#233;ation ? Cette rencontre prolongera les recherches sur les repr&#233;sentations culturelles et la m&#233;moire sonore entreprises depuis trois ans par le MIMMOC, et sera organis&#233;e en collaboration avec certains chercheurs en esth&#233;tique des &#233;quipes B1 et B3 du FoReLL. Elle aura lieu les 18 et 19 novembre 2010. La participation de chercheurs &#233;trangers est souhait&#233;e ; les communications pourront &#234;tre pr&#233;sent&#233;es en fran&#231;ais et en anglais. Elles seront strictement limit&#233;es &#224; une dur&#233;e de 30 minutes, et devront comprendre au moins un exemple audio-visuel.&#160; Les propositions de communication sont &#224; adresser par courriel aux membres du comit&#233; d&#8217;organisation avant le 1er juin 2010.Contacts :    dieter.merlin@univ-poitiers.fr     veronique.campan@univ-poitiers.fr     andrew.mckeown@univ-poitiers.fr University of Poitiers, FranceThursday 18th and Friday 19th November 2010Organising research groups: MIMMOC &#8211; EA 3812FoReLL &#8211; EA 3916, B1 (Representational aesthetics) and B3 (Comparative aesthetics)Organising committee:    Dieter Merlin (University of Poitiers / DAAD)     V&#233;ronique Campan (University of Poitiers)     Andrew McKeown (University of Poitiers)     Martin Rass (University of Poitiers)     Jeremy Price (University of Poitiers) Listening to film? Film soundtracks and cultural memoryIn the field of film theory a significant amount of research has been devoted to the exploration of the nature and function of sound in film. Such work has included, for instance, the identification and classification of the various elements which make up the soundtrack, the study of the connection and interaction between sound and image, analysis of the narratological aspects, study of the dramatic function of sound, and analysis of the musical score. Over the past few years there have also been attempts to describe not only the epistemological environment but also attendant models of perception and memory involved in &#8220;listening&#8221; to film.The advent of the &#8220;acoustic turn&#8221; which has been observed in several fields in the past couple of decades confirms a growing awareness of the specific influence of sound on spectator behaviour and, to lesser extent, on reception. This is evidenced, for example, by recent research in cognitive psychology, by studies on sound environments by Jean-Fran&#231;ois Augoyard and his team at the Centre de recherche sur l&#8217;espace sonore et l&#8217;environnement urbain (CRESSON), and by Barbara Fl&#252;ckiger&#8217;s work on &#8220;sound design&#8221;. However, the impact of film sound on spectator reception has not yet been fully accounted for.This conference aims to provide an opportunity to approach the study of soundtrack from an anthropological perspective. It is generally accepted that soundtracks have a potentially strong suggestive influence which colours filmic representation with &#8220;added value&#8221;, to borrow Michel Chion&#8217;s terminology. The images and sounds which make up film may inform us about a specific moment in history, about geographical conditions, economic and social practices, but may also reveal the cultural representations associated with specific periods. Similarly, listening to film may also help build &#8220;sound memory&#8221;, through the reinvented sounds of cinema, since our perceptions of places, people and present or past events are also influenced by the films we have &#8220;heard&#8221;.In order to study the links between soundtrack and cultural memory we would suggest, as a starting point, the precept that film sounds do not exist per se but are rather built up through one or several successive listenings. The sound &#8220;fabric&#8221; of a film is the product of film-makers&#8217;, composers&#8217; and/or sound designers&#8217; specific perceptions of the world around them. This &#8220;fabric&#8221; is subsequently transformed by the way in which each spectator listens to film, based on his/her capacity to isolate, analyse and identify the elements which go to make up that sound. Soundtracks do not recreate reality as such, but rather stylised representations of reality which need to be taken into account. Such representations may tell us less about the actual reality of a period than about the way in which that reality may be perceived at various moments in history.The aim of this resolutely cross-disciplinary conference is therefore to bring together aesthetic and anthropological approaches in order to provide a new understanding of how we &#8220;listen&#8221; to film. Soundtracks will therefore be considered within the contemporaneous social, cultural and aesthetic contexts of their creation. We will focus on pinpointing the role played by sound effects, dialogue and music in the construction of fictitious filmic creations. We will examine the practices that underpin how films are created, and how they are received by spectators. We will seek to discover the practices and activities, the forms of imagination that these sound fictions retrace, and to what extent they may help describe a specific period in time.Cinema specialists, musicologists, anthropologists, architects, urban designers and other creative specialists are invited to provide contributions from their respective disciplines, focussing on a number of specific questions:     How is sound used in film to evoke place, time and events?     What specific characteristics define how a sound is produced (acoustic distortion, musical form, relation to a point in space and time etc.)?     What technological criteria and what ideological assumptions inform these aesthetic choices?     What role is played by listening to film in the construction of cultural representations and memory?     What critical tools and methodologies can film theory borrow from anthropologists, urban designers, architects and musicologists in order to describe and analyse the constituent parts of a sound track, the galaxy of feeling contained within the sound footprint of a place, a time, a character, an event?     Cinema is a marriage of artistic activity, aesthetic experience and technical know how. To what extent may this unique combination provide us with a potentially promising field for research and experimentation, both for sound designers and Humanities scholars who are equally concerned with the role of sound in daily life and in artistic creation? This conference aims to further the research project initiated by MIMMOC three years ago in the field of cultural forms and sound memory and will be co-organised with researchers from FoReLL (B1 &#38; B3).The conference will take place on Thursday 18th and Friday 19th November 2010.Proposals from abroad are particularly welcome. The conference languages will be French and English and papers will be strictly limited to 30 minutes duration and must include at least one audio-visual sample. A selection of papers will be published following the conference.Proposals should be submitted by E-mail to the conference organisers (below) before 1st June 2010.Conference organisers:    dieter.merlin@univ-poitiers.fr     veronique.campan@univ-poitiers.fr     andrew.mckeown@univ-poitiers.fr Universit&#228;t Poitiers, Frankreich18/19. November 2010&#160;