Documents found

  1. 61.

    Article published in 24 images (cultural, collection Érudit)

    Issue 170, 2014-2015

    Digital publication year: 2014

  2. 62.

    Article published in Jeu (cultural, collection Érudit)

    Issue 43, 1987

    Digital publication year: 2010

  3. 63.

    Chaput, Luc

    Michael Crichton

    Article published in Séquences (cultural, collection Érudit)

    Issue 258, 2009

    Digital publication year: 2010

  4. 64.

    Article published in Communications (scholarly, collection Persée)

    Volume 48, Issue 1, 1988

    Digital publication year: 2009

  5. 65.

    Bellemare Brière, Véronique

    Montréal

    Article published in Séquences (cultural, collection Érudit)

    Issue 197, 1998

    Digital publication year: 2010

  6. 66.

    Article published in Communications (scholarly, collection Persée)

    Volume 101, Issue 1, 2017

    Digital publication year: 2018

    More information

    Making the perfect cloud. A century of atmospheric tricks in cinema. Since the cinematograph was born, reproducing clouds has constantly caused filmmakers' logistical but also aesthetic concern: how to control this cloud in order to have it participate in the story, and in the aesthetics of the view? How to add clouds absent from the set, how to remove clouds too present, and with what means can a cloud be perfectly adapted to filmmaker's wish, both in form, texture, and the way it moves? Throughout the history of cinema, different techniques of tricks have been used to monitor clouds in the image more and more strictly. This article focuses in particular on four forms of faked clouds (the composite, painted, liquid, and digital cloud) and the particular special effects that each technique conflates. It analyzes these different ways of creating clouds at will, and their common stake: to have control, at least in the films, of the weather.

    Keywords: cloud, tricks, special effects, cinema, movie, nuage, trucage, effets spéciaux, cinéma, film, trucaje, efectos especiales, nube, cine, película

  7. 67.

    Article published in 24 images (cultural, collection Érudit)

    Issue 212, 2024

    Digital publication year: 2024

  8. 68.

    Gendron, Nicolas

    L'art de la survie

    Article published in Ciné-Bulles (cultural, collection Érudit)

    Volume 31, Issue 1, 2013

    Digital publication year: 2012

  9. 69.

    Article published in Séquences (cultural, collection Érudit)

    Issue 179, 1995

    Digital publication year: 2010

  10. 70.

    Article published in Communications (scholarly, collection Persée)

    Volume 105, Issue 1, 2019

    Digital publication year: 2019

    More information

    From the outset, cinematography has explored the different worlds of Jules Verne’s work. The novel Voyage au centre de la Terre, issued in 1864, is thus adapted on many occasions, in particular at three key moments in the history of cinema : its beginnings (version by Segundo de Chomón in 1910), the standardisation of colour and the beginnings of the crisis of cinema attendance (version by Henry Levin in 1959), and the transition to all-digital movies (the stereoscopic version by Eric Brevig in 2008). How is the spectator to travel under the earth with sounds and moving images ? What special effects should be used to give credibility to this centre of the earth and the fantasy it provokes, half realistic, half imaginary ? What is left of J. Verne’s original universe, its scientific popularisation and its narrative codes ? What is the cinema’s vision of the underground and its inhabitants in these two Hollywood adaptations ?

    Keywords: cinema, Jules Verne, underground, journey, special effects, effets spéciaux, Jules Verne, sous terre, voyage, cinéma, Jules Verne, bajo tierra, viaje, cine, efectos especiales