Play Time (1967) by Jacques Tati is a relatively unknown movie. It is a more than two hours long and highly sophisticated visual comedy with nearly no dialogues, which probably explains why it wasn’t a big success in the box office. The film is however the best criticism of modern society that I have ever seen, and is still very relevant today. It is also a sharp criticism on modern architecture, both capturing the ideals of modernism and pointing at its delusiveness.
Hiroshima mon amour (1959) directed by Alain Resnais is an emblematic film of the French New Wave. Its opening scene showing images of Hiroshima after the atomic bomb is narrated by Emmanuelle Riva, her voice delivering with great sensitivity the screenplay of Marguerite Duras. I could not stop thinking about my study on the appropriation of space when I saw the movie. The female character is from Nevers, a small town in France. The male character lives in Hiroshima, where they both met. There is a feeling of placeless during the whole film; the past of Hiroshima “had to be forgotten” and the couple seems to be lost in a city without any apprehensible meaning. The two characters are unrooted, they move from one place to another without care, all the settings look impersonal and interchangeable. Staying one more day in Hiroshima is too long and the night seems to never end. But there is no coming back, Nevers can only represent the troubled past of the female character. The paradox is that the film is undeniably about places, described in great details, but from the point of view of a painful detachment…
The Jeff Koons exhibition in the Chateau de Versailles illustrates how important the process of curation is in the reception of art. Curation is a relatively recent discipline, at least in our shared consciousness. It can be defined as the process of selecting and organizing artwork in order to further knowledge. A curator is thus an agent taking part in the cultural assimilation of art. He is a kind of “culturepreneur” who organizes art collections, exhibitions or festivals; explaining his approach through articles, books and conventions. His work influences what will be culturally remembered, how it will be perceived and classified.
Though I’m a big fan of themed ride experiences and am working in media innovation, I never visited the Futuroscope park of Poitiers. It’s a little more than an hour away from Paris by TGV, so I decided to address this gap during my previous trip to the French capital. What makes the park unique is in my opinion the mix between new technologies and the French cultural exception. Let me explain why.
Futuroscope is the second biggest theme park in France, after Disneyland Paris resort. It is radically different from other theme parks as it focuses mainly on simulators and audio-visual experiences. The look of the park is also unique with its futuristic buildings from Denis Laming.
