{"id":3280,"date":"2007-04-01T16:22:16","date_gmt":"2007-04-01T16:22:16","guid":{"rendered":"https:\/\/archee.uqam.ca\/?p=3280"},"modified":"2023-02-13T16:22:26","modified_gmt":"2023-02-13T16:22:26","slug":"avril-2007-manipulation-et-fuite-de-la-litterature-hypermediatique","status":"publish","type":"post","link":"https:\/\/archee.uqam.ca\/avril-2007-manipulation-et-fuite-de-la-litterature-hypermediatique\/","title":{"rendered":"Avril 2007 &#8211; Manipulation et fuite de la litt\u00e9rature hyperm\u00e9diatique"},"content":{"rendered":"\n<p>L\u2019adaptation num\u00e9rique d\u2019\u0153uvres cin\u00e9matographiques ou litt\u00e9raires entra\u00eene l\u2019insertion de nouvelles possibilit\u00e9s d\u2019interaction au sein des r\u00e9cits. Cette arriv\u00e9e d\u2019une interaction accrue \u00e0 l\u2019int\u00e9rieur des structures narratives s\u2019\u00e9labore autour de l\u2019ajout d\u2019une capacit\u00e9 suppl\u00e9mentaire du spectateur ou du lecteur \u00e0 manipuler le r\u00e9cit. Les \u0153uvres Internet\u00a0<em>1=1: A Tribute to David Lynch,<\/em> de Gregory Chatonsky<sup>1<\/sup>\u00a0et\u00a0<em>Sc\u00e9nario<\/em>\u00a0de Michael Sellam<sup>2<\/sup>\u00a0sont des adaptations num\u00e9riques d\u2019\u0153uvres cin\u00e9matographiques qui introduisent une nouvelle forme de manipulation au sein des films d\u2019origine. Les deux cr\u00e9ations sont enti\u00e8rement construites sur la base d\u2019extraits de films. Dans\u00a0<em>1=1,\u00a0<\/em>Chatonsky restitue, par exemple, plusieurs s\u00e9quences de\u00a0<em>Lost Highway<\/em>\u00a0de David Lynch, alors que dans\u00a0<em>Sc\u00e9nario<\/em>\u00a0Sellam m\u00e9lange des extraits tir\u00e9s de neuf films diff\u00e9rents, dont\u00a0<em>Lost Highway<\/em>,\u00a0<em>Blowup<\/em>\u00a0de\u00a0Michelangelo Antonioni,\u00a0<em>Blade Runner<\/em>\u00a0de Ridley Scott,\u00a0<em>2001\u00a0: A Space Odyssey<\/em>\u00a0de Stanley Kubrick et\u00a0<em>The Pillow Book\u00a0<\/em>de Peter Greenaway. L\u2019adaptation sur Internet de ces films d\u00e9veloppe une nouvelle modalit\u00e9 de r\u00e9ception pour le spectateur. La progression au sein des \u0153uvres, assur\u00e9e par la souris<sup>3<\/sup>, accorde \u00e0 l\u2019internaute des possibilit\u00e9s de manipulation que ne lui offre pas le cin\u00e9ma traditionnel. Devant l\u2019accroissement apparent de la manipulation de certains noyaux narratifs des films choisis, l\u2019impossibilit\u00e9 du saisissement effectif de l\u2019\u0153uvre devient pourtant de plus en plus importante. D\u00e8s lors que le spectateur croit se trouver au plus pr\u00e8s de l\u2019\u0153uvre, la distance entre le site Internet et lui s\u2019accro\u00eet davantage.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"895\" height=\"682\" src=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-13-a-11.21.38.png\" alt=\"\" class=\"wp-image-3281\" srcset=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-13-a-11.21.38.png 895w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-13-a-11.21.38-300x229.png 300w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-13-a-11.21.38-768x585.png 768w\" sizes=\"(max-width: 895px) 100vw, 895px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"895\" height=\"153\" src=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-13-a-11.22.01.png\" alt=\"\" class=\"wp-image-3282\" srcset=\"https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-13-a-11.22.01.png 895w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-13-a-11.22.01-300x51.png 300w, https:\/\/archee.uqam.ca\/wp-content\/uploads\/2023\/02\/Capture-decran-le-2023-02-13-a-11.22.01-768x131.png 768w\" sizes=\"(max-width: 895px) 100vw, 895px\" \/><\/figure>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>L\u2019adaptation num\u00e9rique d\u2019\u0153uvres cin\u00e9matographiques ou litt\u00e9raires entra\u00eene l\u2019insertion de nouvelles possibilit\u00e9s d\u2019interaction au sein des r\u00e9cits. Cette arriv\u00e9e d\u2019une interaction accrue \u00e0 l\u2019int\u00e9rieur des structures narratives s\u2019\u00e9labore autour de l\u2019ajout d\u2019une capacit\u00e9 suppl\u00e9mentaire du spectateur ou du lecteur \u00e0 manipuler le r\u00e9cit. Les \u0153uvres Internet\u00a01=1: A Tribute to David Lynch, de Gregory Chatonsky1\u00a0et\u00a0Sc\u00e9nario\u00a0de Michael Sellam2\u00a0sont &hellip; <a href=\"https:\/\/archee.uqam.ca\/avril-2007-manipulation-et-fuite-de-la-litterature-hypermediatique\/\">Continued<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[190],"acf":[],"_links":{"self":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/3280"}],"collection":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/comments?post=3280"}],"version-history":[{"count":2,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/3280\/revisions"}],"predecessor-version":[{"id":3284,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/posts\/3280\/revisions\/3284"}],"wp:attachment":[{"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/media?parent=3280"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/categories?post=3280"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archee.uqam.ca\/wp-json\/wp\/v2\/tags?post=3280"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}