De faux amis : Kracauer et la filmologie

Siegfried Kracauer, exilé aux États-Unis depuis 1939, s’intéresse de près au projet de Cohen-Séat et aux travaux de l’Institut de filmologie, ce dont témoignera Theory of Film en 1960. S’il doit renoncer à participer au 1er Congrès de filmologie de 1947, c’est dans les colonnes de la Revue internationale de filmologie que paraît pour la première fois en Europe, en 1948, son introduction méthodologique à From Caligari to Hitler, sous le titre « Sociologie du cinéma ». Ce texte, qui sera suivi d’une autre étude consacrée aux types nationaux dans le cinéma américain, servira de modèle à la branche sociologique de l’Institut, considérée d’emblée comme centrale par les fondateurs du mouvement et que dirige Georges Friedmann. Edgar Morin y débutera et se montrera très proche de Kracauer jusqu’au milieu des années 1950 avant d’adopter une autre orientation de nature plutôt anthropologique. Avec le déplacement de la pensée de Cohen-Séat du côté des théories de l’information et de la communication, l’aspect anthropologique s’accuse encore, aboutissant à la théorie de « l’iconosphère ». D’autre part, se développe une sociologie du public de cinéma et non plus des oeuvres et des courants de pensée collectifs qui s’y matérialisent. L’autre dimension de la méthode kracauérienne de l’appareil psychique « collectif » est mis au second plan au sein de l’Institut au profit de la psychologie expérimentale. L’article qui suit expose cette évolution des rapports entre Kracauer et la filmologie.Siegfried Kracauer, in exile in the United States since 1939, was closely interested in Cohen-Séat’s enterprise and in the work of the Institut de filmologie, as seen in his book Theory of Film, published in 1960. While Kracauer was unable to attend the first filmology congress in 1947, his methodological introduction to the book From Caligari to Hitler was published for the first time in Europe in 1948 in the Revue internationale de filmologie, under the title “Sociologie du cinéma.” This text, which was followed by another study devoted to national types in American cinema, became a model to the sociological wing of the Institute, seen as central to it by the movement’s founders from the outset and headed by Georges Friedmann. Edgar Morin got his start there and his work was very close to Kracauer’s until the mid-1950s, when he adopted a more anthropological approach. With the shift in Cohen-Séat’s thinking towards theories of information and communication, this anthropological element became even more a part of his theory of the “iconosphere.” At the same time a sociology of cinema audiences was taking shape in place of a sociology of the films themselves and of the collective intellectual currents visible in them. In this way, the other dimension of Kracauer’s method (a “collective” psychic apparatus) was promoted by the Institut by means of experimental psychology. The present article explores this evolution in the relationship between Kracauer and filmology

Film remakes, the black sheep of translation

Film remakes have often been neglected by translation studies in favour of other forms of audiovisual translation such as subtitling and dubbing. Yet, as this article will argue, remakes are also a form of cinematic translation. Beginning with a survey of previous, ambivalent approaches to the status of remakes, it proposes that remakes are multimodal, adaptive translations: they translate the many modes of the film being remade and offer a reworking of that source text. The multimodal nature of remakes is explored through a reading of Breathless, Jim McBride's 1983 remake of Jean-Luc Godard's À bout de souffle (1959), which shows how remade films may repeat the narrative of, but differ on multiple levels from, their source films. Due to the collaborative nature of film production, remakes involve multiple agents of translation. As such, remakes offer an expanded understanding of audiovisual translation

Reducing the environmental impact of surgery on a global scale: systematic review and co-prioritization with healthcare workers in 132 countries

Abstract Background Healthcare cannot achieve net-zero carbon without addressing operating theatres. The aim of this study was to prioritize feasible interventions to reduce the environmental impact of operating theatres. Methods This study adopted a four-phase Delphi consensus co-prioritization methodology. In phase 1, a systematic review of published interventions and global consultation of perioperative healthcare professionals were used to longlist interventions. In phase 2, iterative thematic analysis consolidated comparable interventions into a shortlist. In phase 3, the shortlist was co-prioritized based on patient and clinician views on acceptability, feasibility, and safety. In phase 4, ranked lists of interventions were presented by their relevance to high-income countries and low–middle-income countries. Results In phase 1, 43 interventions were identified, which had low uptake in practice according to 3042 professionals globally. In phase 2, a shortlist of 15 intervention domains was generated. In phase 3, interventions were deemed acceptable for more than 90 per cent of patients except for reducing general anaesthesia (84 per cent) and re-sterilization of ‘single-use’ consumables (86 per cent). In phase 4, the top three shortlisted interventions for high-income countries were: introducing recycling; reducing use of anaesthetic gases; and appropriate clinical waste processing. In phase 4, the top three shortlisted interventions for low–middle-income countries were: introducing reusable surgical devices; reducing use of consumables; and reducing the use of general anaesthesia. Conclusion This is a step toward environmentally sustainable operating environments with actionable interventions applicable to both high– and low–middle–income countries