{"id":1099,"date":"2012-04-10T16:29:45","date_gmt":"2012-04-10T14:29:45","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=1099"},"modified":"2014-09-03T09:27:39","modified_gmt":"2014-09-03T07:27:39","slug":"zero-de-conduite-de-jean-vigo-1933","status":"publish","type":"post","link":"https:\/\/philippelanglois.net\/lcd\/en\/zero-de-conduite-de-jean-vigo-1933\/","title":{"rendered":"ZERO DE CONDUITE de Jean Vigo (1933)"},"content":{"rendered":"<p class=\"translation-block\">The text and the video excerpt below document Philippe Langlois\u2019s book, <a href=\"https:\/\/philippelanglois.net\/lcd\/en\/?p=1004\"><em>Les cloches d\u2019Atlantis, musique \u00e9lectroacoustique et cin\u00e9ma arch\u00e9ologie et histoire d\u2019un art sonore,<\/em> <\/a>\u00e9ditions mf, Paris, 2012.<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" alt=\"\" height=\"259\" src=\"https:\/\/philippelanglois.net\/lcd\/wp-content\/uploads\/0 de conduite affiche.jpg\" width=\"194\" \/><\/p>\n<p>In this autobiographical film, Jean Vigo depicts the hardships, joys and dreams of life at boarding school. He rebels against the authority of teachers and against paedophilia, mocks the representatives of the state, and goes so far as to fly the black flag over the roofs of a public institution. Moreover, the proclamation of revolt and the provocations of the film ultimately mobilise the members of the censorship commission, who ban the film. This censorship would last until 1945. This ban was obviously linked to the revolutionary ideas contained in the script, but, more insidiously, it punished the family tie that bound Vigo to his father Miguel Almereyda, a notorious anarchist imprisoned in 1917 and found dead by suicide in his cell.<\/p>\n<p class=\"translation-block\"><em>Zero for Conduct<\/em> is a fiction film by Jean Vigo that traces life in boys\u2019 boarding schools at the dawn of the 1930s. The return to boarding school is made by train, which becomes the pretext for the film\u2019s opening scene. The sequence is entirely guided by the soundtrack, which is at once film score and sound effects for the incidents unfolding on screen.<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" allowfullscreen=\"\" frameborder=\"0\" height=\"360\" src=\"http:\/\/www.youtube.com\/embed\/R1bhlJjBoVY?rel=0\" width=\"480\"><\/iframe><\/p>\n<p class=\"translation-block\">Three years after Claude Roland-Manuel for <em>La petite Lise<\/em> by Jean Gr\u00e9millon, Maurice Jaubert appropriates the retrograde score technique to compose the score of Jean Vigo\u2019s <em>Zero for Conduct<\/em> (1933) <br>\n\tThe second part of Zero for Conduct is signalled, just after the big train journey scene, by the following intertitle: the plot. In this sequence, the first signs of rebellion are put in place, and during the card that introduces the scene, Jean Vigo and Maurice Jaubert let us hear for a few seconds children\u2019s cries played backwards. In our view, these brief sound accents are enough to announce the insurrection to come. Sound then takes on a premonitory function that anticipates the musical treatment of the dormitory scene.<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" allowfullscreen=\"\" frameborder=\"0\" height=\"360\" src=\"http:\/\/www.youtube.com\/embed\/7KAx1Lemmcw?rel=0\" width=\"480\"><\/iframe><\/p>\n<p>The instructions Jean Vigo gives Jaubert to illustrate this sequence are to seek \u201ca particular sound, as if sucked in\u201d to convey the children\u2019s dream world. To anchor the scene definitively in reverie, Jean Vigo films it in slow motion, a visual metaphor that reinforces on screen the particular treatment of sound that wraps the dream in a muffled texture.<\/p>\n<p>The music creates a sound universe that materialises the world of dreams. The use of retrogradation allows this musical disembodiment, just like the camera that shoots the scene in slow motion. It is, moreover, necessary to shoot the sequence at high speed during filming in order to obtain visual slow motion at projection. Here, the interweaving of inversions and reversals between sound and image is organised subtly, revealing a rare audiovisual complementarity. Barely a few years after the appearance of sound in cinema, the degree of audiovisual integration at work in Zero for Conduct is quite remarkable. Far from any purely formalist effect, the work on sound in Jean Vigo\u2019s first film demonstrates an extraordinary mastery that serves the great poetic value of his films.<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" allowfullscreen=\"\" frameborder=\"0\" height=\"360\" src=\"http:\/\/www.youtube.com\/embed\/KZIk2Y6cVRQ?rel=0\" width=\"480\"><\/iframe><\/p>","protected":false},"excerpt":{"rendered":"<p>film qui explore la technique de la partition r\u00e9trograde<\/p>","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[41,3,53,57,7,6,1],"tags":[15,128,19,16],"class_list":["post-1099","post","type-post","status-publish","format-standard","hentry","category-auditorium","category-featured","category-extrait-video","category-fiche-film","category-les-cloche-datlantis","category-musee-du-son","category-uncategorized","tag-cinema","tag-design-sonore","tag-experimentations-sonores","tag-musique-de-film"],"_links":{"self":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts\/1099","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/comments?post=1099"}],"version-history":[{"count":7,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts\/1099\/revisions"}],"predecessor-version":[{"id":1717,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/posts\/1099\/revisions\/1717"}],"wp:attachment":[{"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/media?parent=1099"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/categories?post=1099"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/philippelanglois.net\/lcd\/en\/wp-json\/wp\/v2\/tags?post=1099"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}