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| - ALTHOUGH TIME IS PART OF THE LIVING SUBSTANCE OF CINEMATOGRAPHIC CREATION AND CONSTITUTES THE HID, DEN FOUNDATION OF OUR CULTURAL COMPASS, IT IS OFTEN UNEXPLORED IN ITS MOST VIVID ANTHROPOLOGICAL DIMENSION. WHEN EXAMINED IN THIS PERSPECTIVE, EACH FILM NARRATIVE CAN BE VIEWED AS THE RESULT OF A SPLENDID TIME CONSTRUCTION WHICH GOES THROUGH A NEVER-ENDING PROCESS OF RECOMPOSITION IN THE SPECTATOR'S EYE. IN FACT THE INTRODUCTION TO THE SOCIOLOGY OF FILMWORK PERCEPTION PROPOSED IN THE SPECTATORS OF TIME SETS OUT TO EXPERIMENT LITERALLY THE IDEA THAT THE SPECTATORS' MODES OF PERCEPTION ARE LARGELY CONDI, TIONED BY THE WAY THEY CONCEIVE AND EXPERIENCE TIME IN REAL LIFE. IN THAT SENSE, THE CINEMA IS A FOR, CEFUL REMINDER OF THE SINGULAR BEAT OF MODERNITY. ONE FORGETS ALL TOO FREQUENTLY THAT IF ONE MAY INDEED FEEL STRANDED A THOUSAND MILES AWAY FROM ANY CIVILISATION, ONE MAY ALSO FEEL STRANDED AFTER BEING LURED INTO THE TIME MAZE WHICH THE CINEMA OFFERS US, AND WHICH TURNS OUT TO BE FAR LESS OBJEC, TIVE THAN ONE MIGHT HAVE THOUGHT. INDEED, QUITE SURPRISINGLY OUR READINGS OF FILMS REFER TO AN APPRE, HENSION OF TIME WHICH, INCIDENTALLY, IS A REVEALING SIGN OF OUR SOCIAL AND CULTURAL IDENTITY. THE PRESENT STUDY TRIES TO BRING OUT THE DIFFERENT WAYS OF APPREHENDING TIME PATTERNS IN FILMWORK BY MEANS OF AN INVESTIGATION PROTOCOL WHERE SPECTATORS ARE MADE TO REACT TO REAL FILMS, THEREBY GRA, DUALLY REVEALING SOME OF THE BASIC ELEMENTS OF THE RELATIONSHIP WE ENTERTAIN WITH THE CINEMA. THIS EXPERIMENT RUNS ALONG THREE DIFFERENT LINES ; THE RHETORIC OF FILM NARRATIVE, THE COMPREHENSION OF THE CINEMA AS A GENRE AND THE VALUE JUDGMENT PASSED UPON FILMWORK, AND IT MEANS TO EXPLORE THE WAYS IN WHICH THE SPECTATOR MAKES SENSE OUT OF WHAT HE SEES. THE CONCLUSIONS OF THIS STUDY, BASED AS IT IS UPON A MICROSOCIOLOGICAL APPROACH OF INDIVIDUAL PRAC, TICES, ARE NOT STRIKINGLY DIFFERENT FROM THOSE OF MACROSOCIOLOGICAL WORKS DEALING WITH CULTURAL CONSU, MER HABITS; THE IDEA IS TO GO DEEPER INTO CERTAIN ASPECTS, AND POSSIBLY TO UNVEIL THE SOCIOLOGICAL DIMENSION OF THE MANY-SIDED INTIMATE RELATIONSHIP WHICH DEVELOPS BETWEEN THE WORK AND ITS SPEC, TATOR. FOR, BEING A SPECTATOR ALSO MEANS ACCEPTING THE IMPOSED TIME OF THE FILMWORK. WHICH TRANS, FORMS THE WAY REAL TIME IS EXPERIENCED BY WHOEVER ACCEPTS THIS CONFRONTATION
- MATIERE BIEN SOUVENT IMPENSEE EN SES DIMENSIONS ANTHROPOLOGIQUES LES PLUS AGISSANTES, LE TEMPS - FONDATION CACHEE DE NOS +BOUSSOLES CULTURELLES; - CONSTITUE UNE SUBSTANCE VIVE DE L'OEUVRE CINE, MATOGRAPHIQUE. OBSERVE SOUS CET ANGLE, CHAQUE RECIT FILMIQUE SE LAISSE AINSI SAISIR COMME LE RESUL, TAT D'UNE SPLENDIDE SYNTHESE TEMPORELLE QUI N'A DE CESSE DE SE RECOMPOSER DANS LE REGARD DU SPECTATEUR. DE FAIT, L'INTRODUCTION A LA SOCIOLOGIE DE LA RECEPTION DES OEUVRES FILMIQUES PROPOSEE DANS LES SPECTATEURS DU TEMPS TENTE DE PRENDRE EXPERIMENTALEMENT AU MOT L'IDEE SELON LAQUELLE LES RECEP, TIONS SPECTATORIELLES DEPENDENT FORTEMENT DE LA MANIERE DONT. PLUS ORDINAIREMENT ON CONCOIT ET ON +HABITE; NOTRE TEMPS SOCIAL. EN CE SENS, LE CINEMA SCANDE A SA FACON UN RAPPEL A L'ORDRE DU TEMPS PARTICULIER DE NOTRE MODERNITE : ON OMET TROP SOUVENT QUE SI L'ON PEUT ETRE NAUFRAGE A MILLE MILLES DE TOUTE CIVILISATION, NAUFRAGE, ON PEUT L'ETRE EGALEMENT EN S'EGARANT DANS LA DIMENSION TEMPOREL, LE DANS LAQUELLE LE CINEMA NOUS ENTRAINE, ET DONT ON DECOUVRE QU'ELLE EST LOIN D'ETRE AUSSI OBJECTI, VE QU'ON L'IMAGINAIT ; CAR, CONTRE TOUTE ATTENTE, NOS LECTURES DU FILM RENVOIENT A UNE CONQUETE DU TEMPS QUI, INCIDEMMENT, SIGNE TRES SUREMENT NOTRE IDENTITE SOCIALE ET CULTURELLE. EN RENDANT MANIFESTE LA DIVERSITE DES APPROPRIATIONS DU TEMPS FILMIQUE PAR L'INTERMEDIAIRE D'UN PROTOCOLE D'ENQUETE QUI REPLACE LES SPECTATEURS FACE A DES OEUVRES REELLES, L'ON VOIT. PEU A PEU, APPARAITRE QUELQUES UNS DES TRAITS SAILLANTS SUR LESQUELS S'ENGAGE NOTRE RAPPORT A LA CINEMATOGRA- PHIE, CETTE EXPERIMENTATION, CENTREE SUR LES TROIS POLES DE LA NARRATION FILMIQUE, DE LA GENERICITE CINEMATOGRAPHIQUE, ET DU JUGEMENT DE VALEUR PORTE SUR LES OEUVRES, S'OBLIGE A INTERROGER LES ACTES SEMIQUES DE LA PERCEPTION SPECTATORIELLE. ORIENTEE VERS UNE ANALYSE MICROSOCIOLOGIQUE DE PRATIQUES SINGULIERES, CETTE ETUDE, SI ELLE NE VIENT PAS FONCIEREMENT CONTREDIRE LES CONCLUSIONS DES MACRO-SOCIOLOGIES DE LA CONSOMMATION CULTURELLE, ESPERE, EN PRECISER CERTAINS ASPECTS, VOIRE DEVOILER UNE PART SOCIOLOGIQUE DES INTIMITES PLURIELLES ET POLYMORPHES FECONDEES DANS LA RELATION ENTRE L'OEUVRE ET SON SPECTATEUR : CAR DEVENIR SPECTATEUR, C'EST AUSSI FAIRE SIEN LE TEMPS CONTRAINT DE L'OEUVRE FILMIQUE QUI, DANS SA FOULEE LA PLUS IMMEDIATE, REIFIE LE VECU TEMPOREL DE CEUX QUI S'Y CONFRONTENT.
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