An Imitation of Cinema: Cinephilia and Cinematic lntertextuality in The Dreamers (Bernardo Bertolucci, 2003)
Titre alternatif :
La cinéphilie comme imitation du cinéma : représentations de la cinéphilie et intertextualité cinématographique dans The Dreamers (Innocents), Bernardo Bertolucci, 2003
Résumé :
Actes du Colloque international « Les représentations de la cinéphilie dans les productions cinématographiques et audiovisuelles », Université Nice Sophia Antipolis, 6-7 octobre 2016.
International audience
An adaptation of Gilbert Adair's autobiographical novel, The Dreamers, depicts the political upheaval of French cinephilia, from the defense of the Cinematheque of Langlois to the barricades of May 68. This reconstitution ofHistory tums out to be a reinvention by memory, almost commemorative, which goes through the filter of cinephilia. Bertolucci uses an iconography of May 68 and of cinephilia represented by emblematic signs: archives, names, places ofmemory, books and posters, threads and controversies, memorable quotes and fetish scenes. The Dreamers shows how intertextual movies of contemporary filmmakers may reconsider the memory of cinema, its masterpieces, but also the places, practices and emotions attached to him. Here, in the register of filmic intertextuality, the visual reinvention of cinephilia passes through a fetishistic imitation of memorable scenes. But the work of cinephilia is made obvious by the mise en scene or the editing of film clips, true cinematic quotes that comment the plot as well as filmmaker's cinephilia.
Date de publication : 2018-01
Citer ce document
Jean-Philippe Trias, « An Imitation of Cinema: Cinephilia and Cinematic lntertextuality in The Dreamers (Bernardo Bertolucci, 2003) », Cycnos, 2018-01. URL : https://hal.science/hal-01979327