Le chef opérateur du son, du technicien au collaborateur artistique : les cas de Jean-Pierre Duret et de Nicolas Cantin
In most cases, film production requires the involvement of several professionals during consecutive stages. However, everything must aim towards the creation of a unique work. This article will focus on one occupation, sound recordist, and the ways in which s/he is perceived within the collective. W...
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| Format: | Article |
| Language: | English |
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Association Française des Enseignants et Chercheurs en Cinéma et Audiovisuel
2025-04-01
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| Series: | Mise au Point |
| Subjects: | |
| Online Access: | https://journals.openedition.org/map/7502 |
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| Summary: | In most cases, film production requires the involvement of several professionals during consecutive stages. However, everything must aim towards the creation of a unique work. This article will focus on one occupation, sound recordist, and the ways in which s/he is perceived within the collective. What is the position of the sound recordist today within the artistic cooperation chain? Regarding the French film industry and its “Convention Collective”, sound engineers are grouped under the denomination “collaborative creative executive”. In the same way as the film director. What leads the technician to be considered as a potential creative collaborator? It will of course force us to question the very notion of artistic collaboration. How is such a status characterized? What is the path that allows one to define and constitute oneself as such? We will focus on two case studies: two French sound recordists who highlight a singular discourse and positioning within the team: Nicolas Cantin, sound engineer and sound editor, accomplice of Arnaud Desplechin and Olivier Assayas and Jean-Pierre Duret whose sound recording work is inseparable from the films of the Dardenne brothers. |
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| ISSN: | 2261-9623 |