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One bodily posture reappears throughout the cinematic work of Luchino Visconti. From the Spaniard in Ossessione, who gets to his feet after receiving a punch and leaves alone, to the character in The Innocent, who collapses after shooting himself in the head, we encounter in film after film the same figure of the man who falls down, wounded or dead. In these prostrate characters, who evoke, among other things, a Rimbaldian idleness and sensuality, what logic brings down Visconti's men? What truth is to be found in this immobility rather than in action, in the sudden coming to a halt rather than in the becoming? What force of resistance is expressed through these downtrodden bodies.
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AbstractThe theory of artialisation developed by Alain Roger (Roger, 1997) is still a conceptual benchmark in landscape theory, particularly in France. This paper briefly reviews the French debate about landscape that was coeval with the emergence of this theory. The definition of landscape implied by Roger's theory is then submitted to a double criticism,both internal and external. The internal criticism highlights a logical gap in the use of the notion of patrimonialization, which prevents this theory from reaching operativity in the design of landscape policy,although it claims to do so. The second external criticism suggests that this theory does not explain the genesis of landscapes, once again contrary to its claims. In both cases, the gap is due to the missing link between the landscape and its substratum, degré zéro, as Alain Roger has named it.
Keywords: Théorie, environnement, paysage, artialisation, patrimonialisation, Theory, environment, landscape, artialisation, patrimonialization
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With the appearance of photography, images were no longer merely representational, they became the site of the world's memory as well. Cinema, which animates photography and mirrors reality back at itself as its double, makes photography into living memory. However photography quickly finds ways to play with appearances, to construct images in which the apparent reality corresponds not to an "objective" memory but to a fiction. The real world is taken less as a point of departure, more as a model to copy from. Subsequent technological developments in imaging have accentuated this rupture. With image synthesis and interactive television, both specialists and ordinary viewers construct their own personal show out of the elements presented to them. The screen has now become the site of a memory of the virtual.