Image de synthèse et réalisme cinématograhique : une esthétique des effets visuels

Authors: Saldaña, Gustavo
Advisor: Bourassa, RenéeDospinescu, Liviu
Abstract: This research dissertation explores the relationship between cinematic realism and the aesthetic implications related to the use of various synthetic imaging technologies in cinema. Our approach is oriented towards a historical perspective relating to certain pictorial and photographic means of image making in order to identify aesthetic aspects linked to visual realism. This aim is anchored in the semiotic critique of the index, a sign-image predetermined by a causal relationship of physical contingency that is challenged by virtual simulation. While computer graphics fits into the realm of the arts, the production of visual effects, traditionally pictorial and photographic, undergoes a transformation that is at the origin of hybrid cinema. Became the standard for the production movies dedicated to the fantastic imaginary, the composite image blends shooting of live action and the computer-generated image (CGI), heteroclites forms of representation in which proliferate magical worlds and characters entirely shaped using the computer image. Next to an aesthetic of virtual simulation paradoxically devoted to realism and illusionism, an anthropological dimension is set up to address the creation of humanoid creatures mixed with bestiary which occupy a prominent role, even leading in narratives films. The synthetic actor is now at the heart of techniques that seek to solicit the perceptual and sensory experience of the viewer. In terms of physical appearance and body language as a means of dramatic expression, Stephen Prince's (1996) "perceptual realism" and Dominic McIver Lopes’ (2014) "aspects recognition" provide a conceptual framework that serves as the foundation for the logic of synthetic realism, a regime that continually seeks to bridge the gap between virtual simulation and reality, in order to increase the "impression of reality" stated by Christian Metz (2003) and the immersive effect of spectacular and narrative cinema.
Document Type: Mémoire de maîtrise
Issue Date: 2020
Open Access Date: 9 March 2020
Grantor: Université Laval
Collection:Thèses et mémoires

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