Face-to-face , first term, 30 hours of theory.

French

The course aims to deepen the philosophical questioning starting from a reflection on literary works presenting philosophemes in an “original” manner, likely to challenge the philosophical evidences (notably in the fields of anthropology, ontology, and philosophy of history).

For the Bachelor in Law :

For the Bachelor in History :

For the Bachelor in Information and Communication :

For the Bachelor in French and Romance Languages and Letters : General :

For the Bachelor in Modern Languages and Letters: German, Dutch and English :

For the Bachelor in Philosophy :

For the Bachelor in Economics and Management :

For the Bachelor in Political Sciences: General :

For the Bachelor in Sociology and Anthropology :

None

Philosophy of cinema. Aesthetic reflection on the status of the industrial production of the work of art. Study of the American work of Alfred Hitchcock, centred on the theme of subjectivity in these four cinematic aspects: the author, the “camera-eye”, the character, and the spectator.

Course outline:

INTRODUCTION, AURA, TECHNICAL REPRODUCTION AND INDEPENDENCE: FOR AN AESTHETIC OF SHOCK
I. Walter Benjamin and the cinema: between auratic loss and cathartic liquidation
II. The industrial production of cultural goods by Adorno and Horkheimer
III. Autonomy between Adorno and Benjamin: the letter of 1936
CHAPTER 1: POWER AND POWERLESSNESS OF THE ARTIST: IMAGES OF THE AUTHOR
Section 1. Is Alfred Hitchcock an author?
1.1. Position of the problem
1.2. "Policy of authors"
1.3. Did Hitchcock build a "career"?
Section 2. Vertigo: the abyss of creation
2.1. Hitchcock on Vertigo: author's words
2.1.1. The interview with Jean Domarchi and Jean Douchet
2.1.2. The interview with François Truffaut
2.2. Narrative figures
2.2.1. The initial sequence
2.2.2. The first sequence by Midge
2.2.3. The sequence of giant sequoias
2.2.4. Cinema of signs and intensification of space and time
2.3. From vision to narration and back
2.3.1. The profile icon
2.3.2. The face and story

2.3.3 The construction of the object of desire
2.4. Demiurgic creation
2.4.1. Viewer / director
2.4.2. Elster or Scottie?
2.4.3. Balance above the void
2.5. The credits of Saul Bass

CHAPTER 2: ASSEMBLE AND DISSEMBLE: IMAGES OF THE CAMERA-EYE
Section 1. Under Capricorn: the composition of the plan-sequence
1.1. The long sequence by Hitchcock
1.2. The Abstraction of topochronology
1.2.1. A no man's land without past
1.2.2. The attribution of roles
1.3. The Complexity of movement
1.3.1. The plan-sequence without depth of field
1.3.2. The pure movement
1.3.3. The Conscience-camera
1.4. The Ambivalence of language
1.4.1. The Abundance and variations
1.4.2. The confession and the image
1.5. The camera-eye from double to triple
Section 2. Strangers on a Train: edit, frame, destroy
2.1. Alternation and crossing
2.2. Oneself as a double
2.3. Unitotality: from frame to circle
2.4. The evil eye or evil camera

CHAPTER 3 THE FAULT AND THE WORLD: IMAGES OF THE CHARACTER
Section 1. The Wrong Man: The crossfading of guilt
1.1. The double and its time
1.1.1. The repetition
1.1.2. Chance and necessity
1.1.3. The exchange
1.1.4. The miracle
1.2. The body and its space
1.2.1. Nudity of the face and mutism of the body
1.2.2. The limits of the field
1.2.3. Violence of the gesture and power of the gaze
Section 2. The Birds: the fall of innocence
2.1. See and hear: towards an anthropological in-difference
2.1.1. From "Union Square" to Bodega Bay School
2.1.2. The impossible subjective continuity
2.1.3. Down the Rabbit Hole - "Why? "
2.2. Arrhythmia of time and saturation of space
2.2.1. Hollow out the space: the paradox of de-intensification
2.2.2. The monstrous moment
2.2.3. Rhyme and consecution logic: absolute irresolution
2.3. From fault to self-sacrifice
2.3.1. From trial to test
2.3.2. Guilt and desire
2.3.3. Chaos of rebirth
2.3.4. Link

CONCLUSION OR THE MATERIAL OF REFLECTION OR THE CREATIVE MIRROR
I. The story so far ...
II. Hitchcock's guilt and the discomfort of identification
III. Create in spite of everything: return to the aesthetics of shock

The course is an ordinary lecture with plenty of room for questions and answers.

Oral examination.

None

Course outline, showing of at least 5 films of A. Hitchcock: “Vertigo”, “Under Capricorn”, “Strangers on a Train”, “The Wrong Man”, “The Birds”.