{"id":73,"date":"2006-04-15T17:10:29","date_gmt":"2006-04-15T16:10:29","guid":{"rendered":"http:\/\/www.reynalddrouhin.net\/wrks\/?p=73"},"modified":"2026-08-27T09:56:20","modified_gmt":"2026-08-27T08:56:20","slug":"black-out","status":"publish","type":"post","link":"https:\/\/www.reynalddrouhin.net\/wrks\/black-out\/","title":{"rendered":"Black out"},"content":{"rendered":"<p class=\"isSelectedEnd\">R\u00e9alis\u00e9 en 2006 \u00e0 partir d&rsquo;une s\u00e9quence de <em>Blow Out<\/em> de Brian De Palma, <em>Black Out<\/em> supprime enti\u00e8rement l&rsquo;image du film pour ne conserver qu&rsquo;un \u00e9cran noir, la bande-son originale et les sous-titres anglais. L&rsquo;action dispara\u00eet du champ visuel, mais continue d&rsquo;exister \u00e0 travers les voix, les bruits, la musique et les mots.<\/p>\n<p class=\"isSelectedEnd\">La s\u00e9quence choisie occupe une place centrale dans <em>Blow Out<\/em>. Jack Terry, ing\u00e9nieur du son, enregistre de nuit des ambiances et des sons naturels lorsqu&rsquo;une voiture arrive, quitte la route et plonge dans l&rsquo;eau. Son enregistrement conserve la trace de l&rsquo;accident. \u00c0 la r\u00e9\u00e9coute, un doute appara\u00eet : le bruit entendu avant l&rsquo;\u00e9clatement du pneu pourrait \u00eatre un coup de feu. De cette incertitude sonore d\u00e9coule toute l&rsquo;intrigue du film.<\/p>\n<p class=\"isSelectedEnd\">Le choix de cette sc\u00e8ne est directement li\u00e9 \u00e0 l&rsquo;\u00e9coute. Dans le film de De Palma, l&rsquo;image ne suffit pas \u00e0 comprendre l&rsquo;\u00e9v\u00e9nement : c&rsquo;est le son enregistr\u00e9, puis r\u00e9\u00e9cout\u00e9, isol\u00e9 et interpr\u00e9t\u00e9, qui transforme un accident apparent en \u00e9v\u00e9nement \u00e0 d\u00e9chiffrer. <em>Black Out<\/em> pousse cette logique plus loin en retirant pr\u00e9cis\u00e9ment ce que le cin\u00e9ma donne habituellement comme preuve : l&rsquo;image.<\/p>\n<p class=\"isSelectedEnd\">L&rsquo;\u00e9cran noir ne fonctionne alors pas comme une absence d&rsquo;image. Il devient un monochrome actif, un espace mental dans lequel le spectateur tente de reconstruire ce qu&rsquo;il ne peut plus voir. Le cin\u00e9ma se d\u00e9place de l&rsquo;\u0153il vers l&rsquo;\u00e9coute et l&rsquo;imagination. On entend une voiture, un pneu, peut-\u00eatre une d\u00e9tonation, une chute, sans disposer de l&rsquo;image susceptible de trancher entre ces diff\u00e9rentes interpr\u00e9tations.<\/p>\n<p class=\"isSelectedEnd\">Les sous-titres anglais prolongent cette exp\u00e9rience en faisant passer une partie du son vers le langage \u00e9crit. Ils transcrivent les dialogues, mais aussi les indications sonores destin\u00e9es aux spectateurs sourds et malentendants, d\u00e9crivant certains bruits, ambiances ou \u00e9v\u00e9nements. Priv\u00e9es de leur image d&rsquo;origine, ces indications deviennent elles-m\u00eames des indices permettant de reconstruire mentalement la sc\u00e8ne. Entendre et lire constituent ainsi deux mani\u00e8res parall\u00e8les d&rsquo;approcher un \u00e9v\u00e9nement dont la dimension visuelle a disparu. Ni le son ni le texte ne restituent pourtant enti\u00e8rement ce qui s&rsquo;est produit : ils en proposent des fragments \u00e0 interpr\u00e9ter.<\/p>\n<p class=\"isSelectedEnd\">Le titre <em>Black Out<\/em> d\u00e9place lui-m\u00eame celui de <em>Blow Out<\/em>. L&rsquo;\u00e9clatement contenu dans le film devient extinction de l&rsquo;image. Le noir agit \u00e0 la fois comme coupure, hors-champ et surface de projection.<\/p>\n<p><em>Black Out<\/em> construit ainsi un cin\u00e9ma priv\u00e9 de ses images sans supprimer la repr\u00e9sentation. Leur disparition oblige au contraire le spectateur \u00e0 les produire mentalement. Ce que l&rsquo;\u00e9cran ne montre plus continue d&rsquo;appara\u00eetre dans le son, le langage et l&rsquo;imagination, pr\u00e9cis\u00e9ment l\u00e0 o\u00f9, dans <em>Blow Out<\/em>, commence le doute.<\/p>\n<div style=\"width: 640px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-73-1\" width=\"640\" height=\"468\" poster=\"https:\/\/red.reynalddrouhin.net\/wp-content\/uploads\/2006\/04\/bo.png\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/red.reynalddrouhin.net\/wp-content\/uploads\/2006\/04\/Black_out.mp4?_=1\" \/><a href=\"https:\/\/red.reynalddrouhin.net\/wp-content\/uploads\/2006\/04\/Black_out.mp4\">https:\/\/red.reynalddrouhin.net\/wp-content\/uploads\/2006\/04\/Black_out.mp4<\/a><\/video><\/div>\n<p>2006, DVD vid\u00e9o 4&rsquo;20, d&rsquo;apr\u00e8s <strong>Blow out<\/strong> (Brian de Palma) en r\u00e9utilisant les sous-titres pour malentendant (en anglais) avec la bande son en VO.<\/p>\n<hr \/>\n<p class=\"isSelectedEnd\">Created in 2006 from a sequence in Brian De Palma\u2019s <em>Blow Out<\/em>, <em>Black Out<\/em> completely removes the film image, leaving only a black screen, the original soundtrack, and English subtitles. The action disappears from the visual field, yet continues to exist through voices, noises, music, and words.<\/p>\n<p class=\"isSelectedEnd\">The selected sequence occupies a central place in <em>Blow Out<\/em>. Jack Terry, a sound engineer, is recording nighttime ambience and natural sounds when a car arrives, leaves the road, and plunges into the water. His recording preserves the trace of the accident. On listening back, a doubt emerges: the sound heard just before the tire blows may have been a gunshot. The entire plot of the film unfolds from this uncertainty in the soundtrack.<\/p>\n<p class=\"isSelectedEnd\">The choice of this scene is therefore directly connected to listening. In De Palma\u2019s film, the image alone is not enough to understand the event: it is the recorded sound, then replayed, isolated, and interpreted, that transforms an apparent accident into something to be deciphered. <em>Black Out<\/em> pushes this logic further by removing precisely what cinema usually offers as evidence: the image.<\/p>\n<p class=\"isSelectedEnd\">The black screen therefore does not function as an absence of image. It becomes an active monochrome, a mental space in which the viewer attempts to reconstruct what can no longer be seen. Cinema shifts from the eye toward listening and imagination. One hears a car, a tire, perhaps a gunshot, a fall, without access to the image that might settle these different interpretations.<\/p>\n<p class=\"isSelectedEnd\">The English subtitles extend this experience by translating part of the soundtrack into written language. They transcribe the dialogue, but also the sound descriptions intended for deaf and hard-of-hearing viewers, describing certain noises, atmospheres, or events. Deprived of their original image, these indications themselves become clues from which the scene can be mentally reconstructed. Hearing and reading thus become two parallel ways of approaching an event whose visual dimension has disappeared. Yet neither sound nor text fully restores what happened: both offer fragments to be interpreted.<\/p>\n<p class=\"isSelectedEnd\">The title <em>Black Out<\/em> itself shifts the meaning of <em>Blow Out<\/em>. The blowout or explosion contained in the film becomes an extinction of the image. Black functions at once as interruption, off-screen space, and projection surface.<\/p>\n<p><em>Black Out<\/em> thus constructs a cinema deprived of its images without eliminating representation. On the contrary, their disappearance forces the viewer to produce them mentally. What the screen no longer shows continues to appear through sound, language, and imagination, precisely where, in <em>Blow Out<\/em>, doubt begins.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>2006, DVD vid\u00e9o 4\u201920.<\/p>\n","protected":false},"author":3,"featured_media":413,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[52],"tags":[919,677,665,680,131,667,68,999,949,675,1001,673,330,389,998,165,682,666,683,237,395,681,575,674,937,672,664,44,28,66,676,679,113,514,769,641,669,678,67,670,1000,106,671,805,98,668,975],"class_list":["post-73","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-video","tag-absence","tag-accident","tag-anglais","tag-anticipation","tag-appropriation","tag-bande-son","tag-black","tag-bruit","tag-cinema","tag-comprehension","tag-decalage","tag-decalages","tag-detournement","tag-disparition","tag-ecoute","tag-ecran","tag-evocatrice","tag-francais","tag-hors-champ","tag-image","tag-imagination","tag-incertitude","tag-interpretation","tag-interpretations","tag-langage","tag-langues","tag-malentendants","tag-memoire","tag-monochrome","tag-mot","tag-multilingue","tag-musique","tag-noir","tag-perception","tag-presence","tag-projection","tag-reutilisation","tag-son","tag-sous-titre","tag-superposition","tag-suspense","tag-texte","tag-textes","tag-traduction","tag-video","tag-vo","tag-voix"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p72hz6-1b","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-content\/uploads\/2006\/04\/bo.jpg","_links":{"self":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts\/73","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/comments?post=73"}],"version-history":[{"count":6,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts\/73\/revisions"}],"predecessor-version":[{"id":1505,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts\/73\/revisions\/1505"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/media\/413"}],"wp:attachment":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/media?parent=73"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/categories?post=73"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/tags?post=73"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}