Abstracts
Abstract
In this essay I shall briefly summarize what it was about the original formulation of the cinematic apparatus that seemed crucial; what were subsequently perceived to be its shortcomings; how in my own media-archaeological approach I have tried to extend as well as to relativize/historicise the model of the apparatus/dispositif; and finally, what avenues I see for invigorating the theoretical challenges apparatus theory still poses, now in the context of viewing situations that either pastiche and inflate the original paradigm or completely bypass or ignore it.
Résumé
Dans cet article, je rappelle brièvement ce qui, à propos de la formulation d’origine du dispositif cinématographique, nous paraissait si crucial. Je me tourne ensuite vers ce qui fut perçu comme ses défauts. Troisièmement, j'évoque comment, dans mon approche ‘média-archéologique’ j’ai cherché à relativiser et à historiciser la notion de dispositif. En dernier lieu, enfin, j’expose les avenues qui permettront de relever les défis théoriques que la théorie du dispositif posent aujourd’hui encore face à des situations de spectature qui tantôt pastichent, tantôt caricaturent le paradigme initial, ou encore le contournent et l’ignorent.
Appendices
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