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Les cicatrices cinéma(pho)tographiques des spectateurs cannois

Abstract : This paper explores the traces left by the Cannes Film Festival in the audience's memory via the photographs they take, buy or " steal " during this event. Plunged in the dark room of cinema, these pieces of evidence of the real festival emerge as visual scars displayed by different audiences and materialize as deliberately self deceptive spectator behavior. The imaginary world thus captured in these " souvenir pictures " of the festival are external proof of the ways and means the ordinary cinema lover uses to convince himself and others of his real participation in the film world. This specific relationship with the Cannes Film Festival reinforces the fetishism already created by the world of cinema and leaves its mark on the spectators' itinerary.
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Contributor : Olivier Zerbib Connect in order to contact the contributor
Submitted on : Monday, April 22, 2013 - 10:29:43 AM
Last modification on : Thursday, May 5, 2022 - 10:54:13 AM
Long-term archiving on: : Tuesday, July 23, 2013 - 4:12:25 AM


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Damien Malinas, Olivier Zerbib. Les cicatrices cinéma(pho)tographiques des spectateurs cannois. Protée. Revue internationale de théories et de pratiques sémiotiques, Université du Québec, 2003, 31 (2), pp.63-71. ⟨10.7202/008755ar⟩. ⟨halshs-00816387⟩



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