Trois archives : films scientifiques et histoires de décontextualisation

Il existe une liaison ancienne et intime entre le cinéma scientifique et l'avant-garde. Dans les années vingt, le premier a en effet contribué à la construction de la deuxième, d'un côté par son inclusion systématique au sein de la pro-grammation de salles spécialisées et de ciné--clubs, et de l'autre en catalysant la réflexion théorique sur la spécificité du medium, en raison des techniques spécifiques qu'il déve-loppe, notamment le ralenti, l’accéléré, la mi-crocinématographie, la radiocinématographie et les prises de vue sous-marines. Dans cet article nous étudierons ce processus de dé-placement, re-sématisation, voire re-location du film scientifique, en ouvrant les portes des trois grandes archives européennes et en nous concentrant sur six films qu'ils préservent.Existe uma intima e antiga ligação entre o cinema científico e o cinema de vanguarda. Na década de 1920, de fato, o primeiro contribuiu para a construção do segundo. Por um lado, pela sua inclusão sistemática na programação das salas especializadas e em cineclubes, e por outro lado catalisando a reflexão teórica sobre a especificidade do meio, em razão das técnicas específicas desenvolvidas, em particular a câmera-lenta, a câmera rápida, a micro-cinematografia, a radiocinematografia e as filmagens submarinas. Neste artigo nós vamos estudar esse processo de deslocamento, re-semantização, ou mesmo re-location do filme científico, abrindo as portas de três grandes arquivos europeus e nos concentrando em seis filmes que eles preservam

How future surgery will benefit from SARS-COV-2-related measures: a SPIGC survey conveying the perspective of Italian surgeons

COVID-19 negatively affected surgical activity, but the potential benefits resulting from adopted measures remain unclear. The aim of this study was to evaluate the change in surgical activity and potential benefit from COVID-19 measures in perspective of Italian surgeons on behalf of SPIGC. A nationwide online survey on surgical practice before, during, and after COVID-19 pandemic was conducted in March-April 2022 (NCT:05323851). Effects of COVID-19 hospital-related measures on surgical patients' management and personal professional development across surgical specialties were explored. Data on demographics, pre-operative/peri-operative/post-operative management, and professional development were collected. Outcomes were matched with the corresponding volume. Four hundred and seventy-three respondents were included in final analysis across 14 surgical specialties. Since SARS-CoV-2 pandemic, application of telematic consultations (4.1% vs. 21.6%; p < 0.0001) and diagnostic evaluations (16.4% vs. 42.2%; p < 0.0001) increased. Elective surgical activities significantly reduced and surgeons opted more frequently for conservative management with a possible indication for elective (26.3% vs. 35.7%; p < 0.0001) or urgent (20.4% vs. 38.5%; p < 0.0001) surgery. All new COVID-related measures are perceived to be maintained in the future. Surgeons' personal education online increased from 12.6% (pre-COVID) to 86.6% (post-COVID; p < 0.0001). Online educational activities are considered a beneficial effect from COVID pandemic (56.4%). COVID-19 had a great impact on surgical specialties, with significant reduction of operation volume. However, some forced changes turned out to be benefits. Isolation measures pushed the use of telemedicine and telemetric devices for outpatient practice and favored communication for educational purposes and surgeon-patient/family communication. From the Italian surgeons' perspective, COVID-related measures will continue to influence future surgical clinical practice

Une goutte d’eau, une goutte d’étoiles. Microcinématographie et avant-garde dans les années 1920

A long-standing link exists between avant-garde and scientific cinema. In the 1920s, in fact, the former contributed to the construction of the latter: on the one hand, by its systematic inclusion in film clubs’ and film societies’ screening programs; on the other hand, by catalyzing the theoretical debate on the medium specificity because of the specific techniques it develops. Through the texts by philosophers, film makers and theorists of the time (Walter Benjamin, Germaine Dulac, Jean Epstein, Émile Vuillermoz, László Moholy-Nagy among others), this essay examines the role of microscope films in the construction of 1920s film theory, discussing several tropes and key concepts such as pure cinema, cinégraphie integrale, rhythm theory and optical “unconscious”

L'acc\ue9l\ue9r\ue9 dans la th\ue9orie des ann\ue9es vingt : \u201cGermination du bl\ue9... Cristallisation... Films documentaires et, surtout, films d\u2019avant-garde\u201d

The title of this article \u2013 a 1925 aphorism by Germaine Dulac \u2013 aims to show that personalities such as Jean Painlev\ue9 or Jan Cornelis Mol are just the result of an intimate and much older link between scientific cinematography and the avant-garde. Scientific film actually contributed to effectively building film theory in the 1920s: on one side it is systematically included in the screenings of film societies and cine\u301-clubs emerging in those years throughout Europe and, on the other side, it nourished the growing discourse on medium specificity due to the specific techniques it developed (slow motion and time-lapse, micro and radiocinematography). Throughout these pages we will deepen the contest of time-lapse to the theory of cinema of that time

La linea sperimentale. Un percorso di ricerca lungo quarant'anni di cinema documentario italiano

Cosa significa sperimentare in ambito documentaristico? Chi \ue8 sperimentatore? Plateau che perde la vista per sperimentare la resistenza della retina ai raggi solari, tanto vive in prima persona il suo furor scientifico, o Marey che perde i giorni a disegnare imbragature per insetti di cui studiare zigzaganti voli? E Omegna che si chiude tre giorni in una serra a quaranta gradi per filmare la vita delle farfalle e tradurne in epifaniche sequenze l'ineffabilit\ue0 del ciclo vitale? E Veronesi che nel filmare le incisioni e le viscere dei corpi umani in sala operatoria, ne scopre i "bellissimi colori" o Vincenzo Neri che, medico, si spinge ad approntare oniriche quinte teatrali tra i cui nebulosi androni filmare i segni dei disturbi neurologici dei suoi pazienti? E D'Errico che, quasi il solo in Italia alla sua altezza, monta alla russa? E Comerio che si fa legare a uno dei primi improbabili velivoli, per filmare dal cielo? E che estetica sperimentale incarnano Di Cocco, con le sue odorose inquadrature e i suoi rembrandtiani quarti animali, o le maschie ingegnerie fasciste raccontate da radenti chiaroscuri e montaggi serrati

Une émotion purement visuelle : films scientifiques entre expérimentation et avant-garde, 1904-1930

Par sa systématique inclusion au sein de la programmation de salles spécialisées et ciné-clubs qui poussent nombreux tout au long de la deuxième moitié des Années Vingt dans les principales villes d’Europe, le film scientifique se trouve à jouer un rôle déterminant dans la construction de l’avant-garde cinématographique. Notamment en raison des techniques spécifiques qu’il développe, il peut revendiquer sa propre place dans la réflexion sur la spécificité du médium, tout en catalysant la définition de quelques concepts fondamentaux des théories esthétiques de l’époque. Pourquoi l’avant-garde est-elle si magnétiquement attirée par le film scientifique? Comment est-il possible que des films qui ne sont pas de l’art soient entrés, de façon programmatique, dans son horizon esthétique? Après avoir proposé une cartographie du film scientifique et avoir passé en revue sa réception esthétique d'avant-guerre, j’essaye une réponse à cette question, en proposant une  “taxinomie de la révélation” à travers laquelle l’objectif cinématographique, potentialisé par les techniques scientifiques, révèle aux avant-gardes les occurrences multiples de ce que Walter Benjamin appellera dans ces mêmes années l’inconscient optique. Cette taxinomie suit deux axes, dont le premier est dédié au Janus constitué du ralenti et de l’accéléré, qui foudroient l’avant-garde en raison de leur capacité à modifier la temporalité en travaillant sur la cadence variable de l’échantillonnage et de la reproduction des photogrammes, et le deuxième traite du rapprochement aux corps et est dédié au film animalier, aux prises de vues sous-marines, à la micro et radiocinématographie.Systematically included in the screenings of film societies and ciné-clubs emerging in the late Twenties throughout Europe, scientific film took a pivotal role in the construction of the film avant-garde. In particular, through the special techniques that it developed, it carved its own niche in the growing discourse on medi­ um specificity, catalysing the definition of several key concepts of the aesthetic theories of the time. Why was the avant-garde so magnetically attracted to scientific film? How was it possible that films that are not art could have entered its aesthetic horizon in such a programmatic way? In the first part of the dissertation I propose a cartography of the scientific film, while in the second I review its pre-war aesthetic reception. In the third part I finally try an answer this question, by proposing a “taxonomy of revelation” through which the cinematographic objective, potentiated by scientific techniques, reveals to the avant-garde the multiple occurrences of what Walter Benjamin will call in these same years the optical unconscious. Avant-garde's investigation of the invisible through the powerful eye of cinema is twofold, so the first axis of this taxonomy is dedicated to the Janus made up of slow motion and time-lapse, two techniques that dazzled the avant-garde by virtue of their ability to modify temporality through the different speeds of filmed and and projected frames. On the other hand, since the avant-garde’s eye gradually gazed upon bodies – enveloping, penetrating, sectioning and x-raying them –, the second axis is dedicated to animal and underwater films, microcinematography and x-ray films

Un oeil nouveau. Le ralenti scientifique \ue0 la construction de l\u2019avant-garde

A long-standing and intimate link exists between avant-garde and scientific cinema. In the 1920s, in fact, the former contributed to the construction of the latter: on the one hand, by its systematic inclusion in film clubs and film societies screening programs; and on the other, by catalyzing the theoretical reflection on medium specificity because of the particular techniques it develops. In this essay I will examine the contribution of scientific slow motion to 1920s film theory, investigating how this technique conveys an epistemological shift in the concept of revelation, from the scientific observation of the invisible to the naked eye, to the deep understanding of previously unknown aspects of reality. Through the words of scholars and philosophers, as well as filmmakers and theorists (Louis Delluc, Germaine Dulac, Jean Epstein and Jean Tedesco, among others), I will discuss several concepts that marked the aesthetic theories of the time, such as photog\ue9nie, cin\ue9ma pur, and optical unconscious