EXPÉRIENCES DU NOCTURNE. AU CINÉMA, EN PHOTOGRAPHIE, EN VIDÉO
It would be held in French
Relatively known and established in the field of the history of art, the history of music and the history of literature – which does not mean that its definition is there simple, unitary and fixed – the Nocturne nevertheless remains largely unthought of in other fields, particularly in the modern or contemporary visual arts. At first glance, the very definition of this “concept”, in its most general sense, is very variable and immediately poses a number of questions and difficulties, if only those of its status: the Nocturne designates there an “atmosphere” or an “emotional tone” (like the Stimmung)? Does it constitute a “genre” (with its frameworks and codes)? Is it a “form” or a “style”? Is it a “device” linked to material operating conditions (techniques)? Is it a sort of “aesthetic category” going beyond the specificities of the different arts or mediums? The complexity and diversity of the problems deserve attention, and this conference intends to make the category work in fields where it has so far received little recognition. Beyond the necessary return to the origins of the Nocturne (literature, music, painting), and because the “life of forms” is made up of displacements and metamorphoses, the main stake of this conference is to explore its modern “reinventions”. in photography, film and video. Multidisciplinary, its ambition is as much to understand how (s) way (s) filmic, videographic or photographic representations reiterate and extend this long historical tradition, as to grasp the subversions and other contemporary reworkings of the Nocturne.
In photography and cinema, the “nocturnal” remains for the most part to be conceived and developed. It hardly exists – in the rubric of “effects” (special, like “American night”) or in the lighting lexicon (“exterior night”). It is a simple state of appearance (producer of ethos) reduced to the rank of a poietic, a technique, an art of doing, which has not achieved the status of form, a fortiori of category. aesthetic. And this, even though since the beginning, photography as well as cinema have made black (the negative, the blackening of the film), darkness (the dark room, the lab) and the night (the theme , the motif, the decor, the atmosphere), the very center of their visual universe. Constructing the question in its multiple dimensions will be the very ambition of this conference.