One of the first difficulties of writing the script is the macroscopic structure, ie the general sense of the narrative. Forget Syd Field There are, of course, the famous “three-act structure,” dear to Syd Field (see his famous book Screenplay), (...)
Animation of a conference by Benoît Labourdette on the issues of the new screens, October 8, 2010. “What is digital ? : The stakes of new screens”: this is the theme of the 3 days of training offered by écla Aquitaine on 6, 7 and 8 October 2010. (...)
A week of exploration of Virtual Reality by a group of Femis and CNSAD students, leaded by Benoît Labourdette. Experiments, creations, reflections ... A philosophical and critical perspective, through playful explorations, to question the (...)
A flim by Benoît Labourdette (3’08s, 2021).
Getting back in touch with nature is not that simple.
Since four years, I coordinate and I run a large part of this training of five weeks, which aims to provide skills into the multidisciplinary field of new media . Link to the page of presentation of the Next session : November 4 to 8 December (...)
(text written in 2006, before the advent of social networks and cultural proposals such as the Arte website for example) New Internet Issues The Internet is no longer a showcase, the Internet has become a (real) space of sociality. There are (...)
A film by Benoît Labourdette (2’44s, 2009).
Let’s imagine for a moment that this street is a safe deposit box...
Screening of « Barcelona Hotel » by Benoît Labourdette (4’48, 2012). On September 28, 2013. The film was awarded by the Marguerite Duras prize. The jury was constitued by : Vincent Dieutre (filmmaker), Zoé Chantre (artist), Nicolas Thévenin (film (...)
A film by Benoît Labourdette (3’09s, 2019).
Tribute seen from the sky to the work of Victor Vasarely.
As part of the Festival of documentary films “The real in sight”, Image’ is, business education to the images in Lorraine, proposed on 18 November 2016 one day of training for professionals of the education to the image, that I’ve driven, titled (...)
A film by Richard Texier and Benoît Labourdette (8’51s, 2014).
Film Richard Texier’s paintings with a drone...
In this interview, I explain the reasons that made my interest in creating audiovisual experiences with these objects that were not be made to, and why my interest is growing. Interview conducted by Rodolphe Olcese, from the Agence of short (...)
Retrospective of short films by Benoît Labourdette. The Festival Takavoir in Niort, is a “child” of the Pocket Films Festival. I had advised its founder, Guyome Simonnet, before its creation in 2009. In 2013, this is the fourth edition of the (...)
Projection of my film Fatigue at Illegal cinema is an original initiative born in Belgrade in 2007, and taken over at the Laboratoires d’Aubervilliers. Note of intent of Illegal cinema: illegal_cinema is a weekly meeting where spectators show (...)
Reflection and starting point for experiments.
Moving images are verticalizing. This is far from being anecdotal and has an impact on our representation of the world. What philosophical changes does this bring about? How can we explore them? How can we share them? Images are becoming more (...)
A film by Benoît Labourdette (8’50s, 2013).
The visit of an empty Paris apartment, where several people lived successively. Memory fumes artists Sophie Calle and Boris Lehman.
I am very regular member commission to award financial aid to film production. In my experience, what are the best practices and pitfalls ? Why oral presentation All commissions do not offer the ability to project to make an oral presentation. (...)
A film by Benoît Labourdette (3’19s, 2011).
The trace, in the places, of the stories and dramas that took place there. A reserved parking space, another reserved parking space, empty at the moment we look at them, but which have seen so many people and life stories... who can tell so (...)
Stage de 5 semaines (formation en présentiel, à distance ou mixte).
Cette formation approfondie proposée par le CEFPF, dont le formateur référent est Benoît Labourdette, permet l’appropriation des nouveaux langages, technologies et pratiques de l’audiovisuel numérique, dans une perspective de construction (...)