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L’art trompeur </a> </li> <li class="list-group-item "> <a class="d-block" title="IMAGE ANIMÉE, La fantasmagorie" href="/encyclopedie/image-animee/2-la-fantasmagorie/"> 2. La fantasmagorie </a> </li> <li class="list-group-item "> <a class="d-block" title="IMAGE ANIMÉE, La méthode graphique" href="/encyclopedie/image-animee/3-la-methode-graphique/"> 3. La méthode graphique </a> </li> <li class="list-group-item "> <a class="d-block" title="IMAGE ANIMÉE, Capter le mouvement : Étienne-Jules Marey" href="/encyclopedie/image-animee/4-capter-le-mouvement-etienne-jules-marey/"> 4. Capter le mouvement : Étienne-Jules Marey </a> </li> <li class="list-group-item "> <a class="d-block" title="IMAGE ANIMÉE, Naissance du cinématographe" href="/encyclopedie/image-animee/5-naissance-du-cinematographe/"> 5. Naissance du cinématographe </a> </li> <li class="list-group-item "> <a class="d-block" title="IMAGE ANIMÉE, Le temps de l’industrialisation" href="/encyclopedie/image-animee/6-le-temps-de-l-industrialisation/"> 6. Le temps de l’industrialisation </a> </li> <li class="list-group-item "> <a class="d-block" title="IMAGE ANIMÉE, Bibliographie" href="/encyclopedie/image-animee/7-bibliographie/"> 7. Bibliographie </a> </li> </ul> <button class="btn btn-sm btn-universalis" data-bs-toggle="collapse" data-bs-target="#free-toc" aria-expanded="false" title="Afficher / masquer le sommaire"> <i aria-hidden="true" class="fa fa-fw fa-eye"></i> Sommaire </button> </div> <h1 class="mb-1"> <strong>IMAGE ANIMÉE</strong> </h1> <ul class="pagination justify-content-center public-links "><li class="page-item active"><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 1" class="page-link" title="Abonnez-vous" data-loaded="true">1</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 2" class="page-link" title="Abonnez-vous" data-loaded="true">2</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 3" class="page-link" title="Abonnez-vous" data-loaded="true">3</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 4" class="page-link" title="Abonnez-vous" data-loaded="true">4</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 5" class="page-link" title="Abonnez-vous" data-loaded="true">5</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 6" class="page-link" title="Abonnez-vous" data-loaded="true">6</a></li></ul><p class="text-sm text-muted mb-1">Article modifié le <time datetime="2025-01-29"> 29/01/2025 </time></p><div class="content paged type-article" ><div class="block_1" data-ucode="yC180023_0"><i class="anchor" id="yC180023_0"></i><p> Depuis les <a data-bs-toggle="popover" data-bs-content="Chacun sait à quel aspect de son expérience répond le mot de temps ; mais aucune définition de la notion correspondante n'a reçu jusqu'ici, chez les savants comme chez les philosophes, une approbation unanime. Sensible à cette difficulté qu'il jugeait caractéristique de toutes les notions premières, Pascal estimait que le temps est de ces choses qu'il est impossible et même inutile de..." title="Article : TEMPS" href="/encyclopedie/temps/">temps</a> les plus reculés, l’être humain a toujours voulu recréer la vie en animant des images. Les peintures rupestres témoignent déjà de ce désir. À la <a data-bs-toggle="popover" data-bs-content="On peut imaginer que, de tout temps , les hommes se sont intéressés à la lumière, celle du soleil qui éclaire et chauffe, puis celle domestiquée du feu. Indispensable à la perception du monde qui nous entoure, source d'énergie et de vie, messagère des informations les plus lointaines qui nous parviennent du fond de l' Univers , la lumière possède de multiples facettes.. En vingt-ci..." title="Article : LUMIÈRE" href="/encyclopedie/lumiere/">lumière</a> changeante des flambeaux, les lions enchevêtrés de la grotte Chauvet-Pont d’Arc ou les sangliers d’Altamira (Espagne) semblent bouger et parcourir l’espace. <em>L</em><em>a République</em> de Platon réactive ce besoin sur le plan symbolique, et lui donne une paradoxale actualité. Dans une caverne, des hommes immobiles, enchaînés, condamnés à vivre dans l'obscurité, voient les images des corps en <a data-bs-toggle="popover" data-bs-content="Certes, la conceptualisation du mouvement ne date pas des débuts de la science moderne. Force est de constater, cependant, que la physique moderne est née à propos de la question du mouvement et en réaction, sur ce point précis, contre la tradition de la science antique et médiévale. L'œuvre de Galilée marque à cet égard plus qu'un renouveau : une manière de commencement. L'import..." title="Article : MOUVEMENT" href="/encyclopedie/mouvement/">mouvement</a> projetées sur la paroi.</p><p> À la <a data-bs-toggle="popover" data-bs-content="André Chastel faisait remarquer un jour que la Renaissance était la seule période de l'histoire qui se fût donné un nom dès les premières manifestations de son essence (les humanistes italiens du Quattrocento parlaient déjà de Rinascità ), et Alphonse Dupront commençait un célèbre article intitulé « Espace et humanisme » en identifiant la Renaissance à une idée ou à un mythe ..." title="Article : RENAISSANCE" href="/encyclopedie/renaissance/">Renaissance</a>, les peintres mettent en pratique la <a data-bs-toggle="popover" data-bs-content="Par sa situation au carrefour de la science, de la culture humaniste et de la pratique artistique, la perspective, comme tout autre thème interdisciplinaire, échappe à un traitement conceptuel univoque. Dans son acception technique, le terme moderne de perspective désigne un système particulier de projection sur un plan bidimensionnel des objets à trois dimensions et de leurs divers rapports..." title="Article : PERSPECTIVE" href="/encyclopedie/perspective/">perspective</a> grâce à la <em>camera </em><em>o</em><em>b</em><em>scura</em> (chambre noire ou chambre optique) et au perspectographe de Dürer. Les tableaux éclatent alors en déplacements entremêlés, tels que dans les images successives de Léonard de Vinci ou la spectaculaire <em>Bataille de San </em><em>Romano</em> de <a data-bs-toggle="popover" data-bs-content="Biographie de PAOLO UCCELLO (1397-1475). Uccello est un peintre soucieux avant tout de pousser ses recherches dans une direction scientifique ; mais la science sur laquelle il s'appuie, l'optique de son temps, ou perspective , reste essentiellement psychologique ; son intellectualisme extrême l'amène à condenser, dans une exécution impeccable et avec un acharnement d'artisan poussé au par..." title="Article : PAOLO UCCELLO (1397-1475)" href="/encyclopedie/paolo-uccello/">Paolo Uccello</a>, comme pour répondre à l’attente de ce que le cinéma donnera bien plus tard au public : le déplacement d’un corps en mouvement dans le temps et dans l’espace.</p><p>En 1588, le Napolitain Giambattista della Porta prétend faire apparaître, à l'intérieur de sa <em> camera </em><em>obscura</em> perfectionnée, des « chasses à courre, des banquets, des armées d'ennemis, aussi nettement et clairement que s'ils étaient devant nos yeux ». Le Français Jean Leurechon,<em></em>dans son <a data-bs-toggle="popover" data-bs-content="C'est vers le milieu du xv e siècle que la technique occidentale d'impression des textes au moyen de caractères mobiles fut mise au point, très vraisemblablement dans la région de Mayence . À partir de 1460, le nouvel art se répand très rapidement à travers l'Europe. Très rapidement également, on prend l'habitude d'illustrer les nouveaux livres au moyen d'illustrations gravées sur..." title="Article : LIVRE" href="/encyclopedie/livre/">livre</a><em>Récréation mathématique</em> publié en 1626, demande à voir dans la <em>camera </em><em>obscura</em> le « mouvement continué » que les peintres, dit-il, sont incapables de représenter sur leurs tableaux. « Le mouvement continué » : une notion capitale pour ce qui va suivre.</p><div class="clearfix"></div></div><div class="block_1" data-ucode="yC180023_1"><i class="anchor" id="yC180023_1"></i><h2>L’art trompeur</h2><p>Un concept essentiel émerge au <span class="pc">xvii</span><sup>e</sup> siècle : « l’art trompeur ». Cet art très ancien, le septième si l'on veut, consiste à transfigurer les images par la lumière et, avec l'aide des règles de la perspective et des sciences optiques – dioptrique et catoptrique –, à les animer, à les déformer parfois.</p><div class="clearfix"></div><div class="media-container float-md-start me-2 col-md-3 text-center"><figure class="figure text-center w-100 mb-0 p-1" style="position: relative"><a data-ucode="PH180231" data-showMediaPlayer="1" class="protected media-reference-copy " title="Média : La lanterne magique" href="/media/la-lanterne-magique-ph180231/"><img id="PH180231" loading="lazy" src="/typo3temp/assets/_processed_/f/2/csm_ph180231_7a96b93a14.webp" class="figure-img rounded mx-auto media_resized" alt="La lanterne magique - crédits : Cinémathèque française" data-description="La lanterne magique ou « lanterne de peur » va connaître un succès croissant au XVIIIe puis au XIXe siècle. Elle permet de projeter une série d'images à thématique diabolique, licencieuse, religieuse, politique ou scientifique. La Lanterne magique, gravure de J. Ouvrier, d'après J. E. Schenau, 1855." data-copyright="Cinémathèque française" width="750" height="1024" /></a><figcaption class="figure-caption"><p class="m-0 mt-1 fw-bold text-gray-700 text-truncate"> La lanterne magique </p><p class="m-0 copyright text-sm text-gray-700 text-truncate"> Cinémathèque française </p></figcaption></figure></div><p>C'est au médecin et voyageur français Charles Patin que nous devons la première mention de l'art trompeur, en 1674. Patin est alors en Allemagne, et assiste à un spectacle de <a data-bs-toggle="popover" data-bs-content="Le même principe régit à la fois le théâtre d'ombres et la lanterne magique : des silhouettes sont projetées sur une toile ou sur une muraille blanche à l'aide d'une source lumineuse. Cependant, tandis que le théâtre d'ombres utilise des marionnettes ou des acteurs, la lanterne magique permet de projeter ou d'agrandir des silhouettes gravées ou peintes sur le verre . La lanterne magi..." title="Article : LANTERNE MAGIQUE" href="/encyclopedie/lanterne-magique/">lanterne magique</a> donné par un moine. Dès son apparition en 1659 dans le cabinet de physique de l’astronome hollandais <a data-bs-toggle="popover" data-bs-content="Biographie de CHRISTIAAN HUYGENS (1629-1695). Christiaan Huygens n'a pas, aujourd'hui, la célébrité qu'il mérite. Il fut en son temps la référence vivante de la physique, dont l'apparition comme discipline autonome dans l'enseignement coïncide avec sa mort. Ce qui reste de son énorme correspondance permet de mesurer la raison et l'étendue de son influence. Les traités qui sont sortis d..." title="Article : CHRISTIAAN HUYGENS (1629-1695)" href="/encyclopedie/christiaan-huygens/">Christiaan Huygens</a> à La Haye, la lanterne magique ou « lanterne de peur » (appelée ainsi en raison de l’effet qu’elle provoque) permet la projection d’images animées peintes sur verre. Certaines de ces plaques sont mécanisées, et permettent de montrer sur une toile blanche des vues lumineuses mouvantes. Par exemple, un squelette inspiré de la <em>Danse de</em><em>s</em><em> mort</em><em>s</em> de Holbein salue l’assistance terrifiée en détachant son crâne de ses épaules. <a data-bs-toggle="popover" data-bs-content="Même limitée aux arts visuels, l'image ne peut être séparée des racines profondes qu'elle a dans la mémoire, l'imagination, la pensée ou le rêve. L'image est sans nul doute l'objet de réflexion le plus rebelle aux classifications par genres et par espèces, car elle participe à nos opérations mentales, à notre vie affective : elle fait partie intégrante de notre activité psychique. ..." title="Article : IMAGE" href="/encyclopedie/image/">Image</a> choc qui va traverser les siècles, en passant par Walt Disney ou Tim Burton.</p><p>L'art trompeur, écrit Patin à propos de ce spectacle de lanterne magique, « peut placer la moitié du monde dans un point ». Il a trouvé « le moyen de faire sortir des échos visuels du cristal » – il parle précisément ici du faisceau lumineux, chargé d'images, qui s'échappe de la lentille en cristal dont la lanterne magique est équipée. Le moine, avec sa lanterne magique, « remue les ombres comme il veut sans le secours des enfers » : les images « roulent dans les ténèbres » jusqu’à l’écran blanc. « Cet art trompeur se joue de nos yeux et, avec la règle et le compas, dérègle tous nos sens. »</p><p>Ce « dérèglement de tous les sens », qui nous évoque Arthur Rimbaud, constitue l’un des moteurs de la recherche précinématographique. Au fond, il demeure aussi l’un des axiomes du cinéma moderne à grand spectacle.</p><div class="clearfix"></div></div><div class="clearfix"></div></div><ul class="pagination justify-content-center public-links "><li class="page-item active"><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 1" class="page-link" title="Abonnez-vous" data-loaded="true">1</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 2" class="page-link" title="Abonnez-vous" data-loaded="true">2</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 3" class="page-link" title="Abonnez-vous" data-loaded="true">3</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 4" class="page-link" title="Abonnez-vous" data-loaded="true">4</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 5" class="page-link" title="Abonnez-vous" data-loaded="true">5</a></li><li class="page-item "><a href="/abonnement" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="page 6" class="page-link" title="Abonnez-vous" data-loaded="true">6</a></li></ul><div class="folio-block"><p class="folio-block-title text-center text-uc"><strong>La suite de cet article est accessible aux abonnés</strong></p><ul class="list-unstyled"><li><i class="fa fa-fw fa-check-circle"></i> Des contenus variés, complets et fiables</li><li><i class="fa fa-fw fa-check-circle"></i> Accessible sur tous les écrans</li><li><i class="fa fa-fw fa-check-circle"></i> Pas de publicité</li></ul><p class="text-center"><a href="/abonnement/" class="btn btn-cta text-uc" id="folio-button" data-matomo-category="Article" data-matomo-name="Folio" data-matomo-value="Block bottom">Découvrez nos offres </a></p><p class="text-center text-sm"> Déjà abonné ? <a href="/identification/" id="folio-login">Se connecter</a></p></div><div id="ad_mpuslot" class="pub-container text-center"><div class="pub-placeholder"></div></div><section class="mt-3 mb-5"><i class="anchor" id="C180023_AUTHORS"></i><p class="title-minor">Écrit par</p><ul class="list-group"><li class="list-group-item" data-dc-author="MANNONI, Laurent"><a title="Auteur : Laurent MANNONI" rel="author" href="/auteurs/laurent-mannoni/"><strong>Laurent MANNONI</strong></a> : directeur scientifique du patrimoine à la Cinémathèque française </li></ul></section><section class="mb-5"><div class="text-center mb-3 d-print-none"><a class="d-inline-flex flex-row justify-content-center align-items-center btn btn-light btn-large text-start" title="Carte mentale : IMAGE ANIMÉE" href="/carte-mentale/image-animee/"><i class="fa fa-sitemap fa-rotate-270 me-1 fs-1 text-universalis"></i><p class="m-0"><strong class="fs-4">Carte mentale</strong><br /> Élargissez votre recherche dans Universalis </p></a></div></section> <section class="mb-5 article-classification" data-print-label="la classification" data-print-target=".article-classification"> <i class="anchor" id="yC180023_ROOT_LINES"></i> <p class="title-minor">Classification</p> <nav aria-label="Classification 1"> <ol class="breadcrumb"> <li class="breadcrumb-item"> <a title="Classification : Techniques" href="/classification/techniques/"> Techniques </a> </li> <li class="breadcrumb-item"> <a title="Classification : Techniques du son et de l'image" href="/classification/techniques/techniques-du-son-et-de-l-image/"> Techniques du son et de l'image </a> </li> <li class="breadcrumb-item active" data-dc-subject="Histoire des techniques du son et de l'image"> <a title="Classification : Histoire des techniques du son et de l'image" href="/classification/techniques/techniques-du-son-et-de-l-image/histoire-des-techniques-du-son-et-de-l-image/"> Histoire des techniques du son et de l'image </a> </li> </ol> </nav> <nav aria-label="Classification 2"> <ol class="breadcrumb"> <li class="breadcrumb-item"> <a title="Classification : Arts" href="/classification/arts/"> Arts </a> </li> <li class="breadcrumb-item"> <a title="Classification : Cinéma" href="/classification/arts/cinema/"> Cinéma </a> </li> <li class="breadcrumb-item active" data-dc-subject="Histoire du cinéma"> <a title="Classification : Histoire du cinéma" href="/classification/arts/cinema/histoire-du-cinema/"> Histoire du cinéma </a> </li> </ol> </nav> <nav aria-label="Classification 3"> <ol class="breadcrumb"> <li class="breadcrumb-item"> <a title="Classification : Arts" href="/classification/arts/"> Arts </a> </li> <li class="breadcrumb-item"> <a title="Classification : Cinéma" href="/classification/arts/cinema/"> Cinéma </a> </li> <li class="breadcrumb-item"> <a title="Classification : Histoire du cinéma" href="/classification/arts/cinema/histoire-du-cinema/"> Histoire du cinéma </a> </li> <li class="breadcrumb-item active" data-dc-subject="Cinématographe"> <a title="Classification : Cinématographe" href="/classification/arts/cinema/histoire-du-cinema/cinematographe/"> Cinématographe </a> </li> </ol> </nav> </section> <section class="mb-5 d-print-none"> <i class="anchor" id="yC180023_MEDIAS"></i> <p class="title-minor">Médias</p> <div class="row"> <div class="col-12 col-md-4 text-center p-1"> <figure class="figure text-center w-100 mb-0 p-1" style="position: relative"> <a data-ucode="PH180231" data-showMediaPlayer="1" class="protected media-reference-copy " title="Média : La lanterne magique" href="/media/la-lanterne-magique-ph180231/"> <img id="PH180231" loading="lazy" src="/typo3temp/assets/_processed_/f/2/csm_ph180231_7a96b93a14.webp" class="figure-img rounded mx-auto media_resized" alt="La lanterne magique - crédits : Cinémathèque française" data-description="La lanterne magique ou « lanterne de peur » va connaître un succès croissant au XVIIIe puis au XIXe siècle. Elle permet de projeter une série d'images à thématique diabolique, licencieuse, religieuse, politique ou scientifique. La Lanterne magique, gravure de J. Ouvrier, d'après J. E. Schenau, 1855." data-copyright="Cinémathèque française" width="750" height="1024" /> </a> <figcaption class="figure-caption"> <p class="m-0 mt-1 fw-bold text-gray-700 text-truncate"> La lanterne magique </p> <p class="m-0 copyright text-sm text-gray-700 text-truncate"> Cinémathèque française </p> </figcaption> </figure> </div> <div class="col-12 col-md-4 text-center p-1"> <figure class="figure text-center w-100 mb-0 p-1" style="position: relative"> <a data-ucode="PH180232" data-showMediaPlayer="1" class="protected media-reference-copy " title="Média : Phénakistiscope de Joseph Plateau" href="/media/phenakistiscope-de-joseph-plateau-ph180232/"> <img id="PH180232" loading="lazy" src="/typo3temp/assets/_processed_/9/1/csm_ph180232_d1abb542cf.webp" class="figure-img rounded mx-auto media_resized" alt="Phénakistiscope de Joseph Plateau - crédits : Stéphane Dabrowski/ Cinémathèque française" data-description="Au cours du XIXe siècle, on voit apparaître toutes sortes de dispositifs qui tendent à la recherche du mouvement dans l'image. Un des plus sophistiqués est le phénakistiscope de Joseph Plateau, constitué de deux disques parallèles. L'un, divisé en secteurs, porte les images successives d'un…" data-copyright="Stéphane Dabrowski/ Cinémathèque française" width="1024" height="1024" /> </a> <figcaption class="figure-caption"> <p class="m-0 mt-1 fw-bold text-gray-700 text-truncate"> Phénakistiscope de Joseph Plateau </p> <p class="m-0 copyright text-sm text-gray-700 text-truncate"> Stéphane Dabrowski/ Cinémathèque française </p> </figcaption> </figure> </div> <div class="col-12 col-md-4 text-center p-1"> <figure class="figure text-center w-100 mb-0 p-1" style="position: relative"> <a data-ucode="PH999484" data-showMediaPlayer="1" class="protected media-reference-copy " title="Média : <em>Étude de la course du cheval</em>, E. Muybridge" href="/media/etude-de-la-course-du-cheval-e-muybridge-ph999484/"> <img id="PH999484" loading="lazy" src="/typo3temp/assets/_processed_/8/c/csm_ph999484_c8afa4bbc2.webp" class="figure-img rounded mx-auto media_resized" alt="<em>Étude de la course du cheval</em>, E. Muybridge - crédits : Eadweard Muybridge/ Hulton Archive/ Getty Images" data-description="Ces clichés, obtenus par déclenchements successifs d'une série d'appareils disposés sur le parcours du cheval, permettent au photographe d'analyser pour la première fois les différents temps du galop. Eadweard Muybridge, Étude de la course du cheval, vers 1878, tirages argentiques." data-copyright="Eadweard Muybridge/ Hulton Archive/ Getty Images" width="1024" height="790" /> </a> <figcaption class="figure-caption"> <p class="m-0 mt-1 fw-bold text-gray-700 text-truncate"> <em>Étude de la course du cheval</em>, E. Muybridge </p> <p class="m-0 copyright text-sm text-gray-700 text-truncate"> Eadweard Muybridge/ Hulton Archive/ Getty Images </p> </figcaption> </figure> </div> </div> <div class="text-center"> <a class="btn btn-sm btn-primary" rel="related" href="/medias/image-animee/"> Afficher les 6 médias de l'article <span class="rg">IMAGE ANIMÉE</span> <i aria-hidden="true" class="fa fa-fw fa-chevron-right"></i> </a> </div> </section> <section class="mb-5 d-print-none learn-more"> <i class="anchor" id="yC180023_REFERENCES"></i> <p class="title-minor">Autres références</p> <ul class="list-group"> <li class="list-group-item"> <h3 class="fs-5 m-0 mt-1"> <a href="/encyclopedie/anthropologie-visuelle/#c57194"> <span class="rg">ANTHROPOLOGIE VISUELLE</span> </a> </h3> <ul class="list-inline list-inline-bullet mb-1 text-muted"> <li class="list-inline-item text-sm">Écrit par <span rel="author">Damien MOTTIER</span> </li> <li class="list-inline-item text-sm">4 466 mots</li> </ul> <div class="snippet-content mt-3"> ...des séquences spécifiques de l’activité humaine pour en favoriser l’étude. Puis il a élaboré un programme d’anthropologie visuelle avant l’heure (Piault, 2000), faisant des images animées une source d’analyse comparée du mouvement des corps, selon une théorie où la différence raciale prévalait. </div> </li> <li class="list-group-item"> <h3 class="fs-5 m-0 mt-1"> <a href="/encyclopedie/cinema-aspects-generaux-les-techniques-du-cinema/#c57194"> <span class="rg">CINÉMA </span><span class="rm">(Aspects généraux) - Les techniques du cinéma</span> </a> </h3> <ul class="list-inline list-inline-bullet mb-1 text-muted"> <li class="list-inline-item text-sm">Écrit par <span rel="author">Michel BAPTISTE</span> , <span rel="author">Pierre BRARD</span> , <span rel="author">Jean COLLET</span> , <span rel="author">Michel FAVREAU</span> et <span rel="author">Tony GAUTHIER</span> </li> <li class="list-inline-item text-sm">17 544 mots</li> <li class="list-inline-item text-sm">15 médias </li> </ul> <div class="d-none d-md-inline-block float-start me-3"> <a class="protected" title="Article : CIN&Eacute;MA (Aspects g&eacute;n&eacute;raux) - Les techniques du cin&eacute;ma" href="/encyclopedie/cinema-aspects-generaux-les-techniques-du-cinema/"> <img class="rounded shadow" loading="lazy" alt="Cinéma : montage d'un film - crédits : mixetto/ E+/ Getty Images" width="125" height="125" src="/typo3temp/assets/_processed_/1/7/csm_ph050537_dd8bf4aebb.webp"/> </a> </div> <div class="snippet-content mt-3"> Au cours du <span class="pc">xxi</span><sup>e</sup> siècle, des évolutions dans les techniques de restitutiond'images animées en relief pourront permettre d'éviter l'utilisation de lunettes stéréoscopiques. Plusieurs inventeurs ont déjà tenté de mettre au point des procédés de projection stéréoscopique où le relief serait visible... </div> </li> <li class="list-group-item"> <h3 class="fs-5 m-0 mt-1"> <a href="/encyclopedie/cinema-cinemas-paralleles-le-cinema-d-animation/#c57194"> <span class="rg">CINÉMA </span><span class="rm">(Cinémas parallèles) - Le cinéma d'animation</span> </a> </h3> <ul class="list-inline list-inline-bullet mb-1 text-muted"> <li class="list-inline-item text-sm">Écrit par <span rel="author">Bernard GÉNIN</span> et <span rel="author">André MARTIN</span> </li> <li class="list-inline-item text-sm">17 661 mots</li> <li class="list-inline-item text-sm">5 médias </li> </ul> <div class="d-none d-md-inline-block float-start me-3"> <a class="protected" title="Article : CIN&Eacute;MA (Cin&eacute;mas parall&egrave;les) - Le cin&eacute;ma d'animation" href="/encyclopedie/cinema-cinemas-paralleles-le-cinema-d-animation/"> <img class="rounded shadow" loading="lazy" alt="Blanche-Neige et les sept nains (1937) - crédits : PRNewsFoto/Walt Disney Studios Home Entertainment/ AP Images" width="125" height="125" src="/typo3temp/assets/_processed_/a/8/csm_ph060020_358a7f4b3f.webp"/> </a> </div> <div class="snippet-content mt-3"> Depuis les années cinquante, mais seulement dans des laboratoires réservés aux recherches militaire, industrielle et architecturale, le couplage du tube cathodique et de l'ordinateur préparait l'émergence d'un nouveau système de création picturale. Lié à un codage de toutes les valeurs visuelles en... </div> </li> <li class="list-group-item"> <h3 class="fs-5 m-0 mt-1"> <a href="/encyclopedie/cinema-realisation-d-un-film-musique-de-film/#c57194"> <span class="rg">CINÉMA </span><span class="rm">(Réalisation d'un film) - Musique de film</span> </a> </h3> <ul class="list-inline list-inline-bullet mb-1 text-muted"> <li class="list-inline-item text-sm">Écrit par <span rel="author">Alain GAREL</span> </li> <li class="list-inline-item text-sm">6 490 mots</li> <li class="list-inline-item text-sm">5 médias </li> </ul> <div class="d-none d-md-inline-block float-start me-3"> <a class="protected" title="Article : CIN&Eacute;MA (R&eacute;alisation d'un film) - Musique de film" href="/encyclopedie/cinema-realisation-d-un-film-musique-de-film/"> <img class="rounded shadow" loading="lazy" alt="La musique au cinéma - crédits : Encyclopædia Universalis France" width="125" height="125" src="/typo3temp/assets/_processed_/8/7/csm_an050065_89c9e8a496.webp"/> </a> </div> <div class="snippet-content mt-3"> ...montage, enfin de la seule vertu symphonique de son orchestration visuelle. [...] Mais, dès mon premier film, je déchantai. J'avais aperçu à temps que l'<a data-bs-toggle="popover" data-bs-content="Même limitée aux arts visuels, l'image ne peut être séparée des racines profondes qu'elle a dans la mémoire, l'imagination, la pensée ou le rêve. L'image est sans nul doute l'objet de réflexion le plus rebelle aux classifications par genres et par espèces, car elle participe à nos opérations mentales, à notre vie affective : elle fait partie intégrante de notre activité psychique. ..." title="Article : IMAGE" href="/encyclopedie/image/">image</a> animée n'a pas, par vertu propre, le pouvoir affectif que je lui attribuais ; que sans musique les images ne parlent pas ; que la musique,... </div> </li> <li class="list-unstyled text-center mt-3"> <a class="btn btn-sm btn-primary" title="Afficher la liste complète des références" rel="related" href="/index/image-animee/"> Afficher les 11 références <i aria-hidden="true" class="fa fa-fw fa-chevron-right"></i> </a> </li> </ul> </section> <section class="mb-5 d-print-none article-indexes learn-more"> <i class="anchor" id="yC180023_INDEXES"></i> <p class="title-minor">Voir aussi</p> <ul class="list-inline list-inline-bullet"> <li class="list-inline-item m-1"> <a title="Index : FILM" href="/index/film/"> <span class="rg">FILM</span> </a> </li> <li class="list-inline-item m-1"> <a title="Index : CAMÉRA" href="/index/camera/"> <span class="rg">CAMÉRA</span> </a> </li> <li class="list-inline-item m-1"> <a title="Index : REYNAUD ÉMILE (1844-1918)" href="/index/emile-reynaud/"> <span class="rg">REYNAUD </span><span class="pc">ÉMILE </span><span class="rm">(1844-1918)</span> </a> </li> <li class="list-inline-item m-1"> <a title="Index : PRISE DE VUE" href="/index/prise-de-vue/"> <span class="rg">PRISE DE VUE</span> </a> </li> <li class="list-inline-item m-1"> <a title="Index : PROJECTEURS" href="/index/projecteurs/"> <span class="rg">PROJECTEURS</span> </a> </li> <li class="list-inline-item m-1"> <a title="Index : SKLADANOWSKY MAX (1863-1939) et EMIL (1859-1945)" href="/index/skladanowsky-max-et-emil/"> <span class="rg">SKLADANOWSKY </span><span class="pc">MAX </span><span class="rm">(1863-1939) et </span><span class="pc">EMIL </span><span class="rm">(1859-1945)</span> 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