Superimposition, or “multi-exposure” consisted, at the time of photographic film, of putting the same film several times in a row back into the camera. Thus several images were superimposed on the sensitive surface, inseparable forever. It was used to produce fantastic special effects (appearances, multiplications, mixing of scales by Georges Méliès as early as 1895), or poetic effects (in surrealist films in particular, for example “Entr’acte” by René Clair in 1924). It originated before the invention of cinema, in the superimpositions made by means of several magic lanterns, as well as in the projections on a tulle placed in the foreground in the fantasmagorias.
At the age of photographic film, superimposition was definitive and could only be done easily over short periods of time, except in a laboratory, at “truca”, which represented significant costs, with no guarantee of convincing results. The arrival of video mixers in the early 1980s and especially computerized online video editing in the late 1990s freed up the possibilities of superimposition.
Thus, in 2000, with the feature film « Tire », I innovated by superimposing and cross-fading for several minutes, which are not “effects”, but become the heart of a new cinematographic “grammar”. Superimposition, in my approach, is much more than a stylistic effect, it is a way of reinventing the concept of editing, which I experimented radically in Chaosmos in 2014. My reflection on superimposition goes as far as its implementation at the time of projection on various supports in the city, during the travelling projections that I have been organising since 2011.
A film by Benoît Labourdette (2’27s, 2019).
Dead animals are helplessly witnessing human violence.
A film by Benoît Labourdette (0’28s, 2020).
There’s a difference in essence between fatigue and sleep.
A film by Benoît Labourdette (3’51s, 2013).
Paradoxical injunctions in school space of a College, with a musical treatment.
A film by Benoît Labourdette (8’33s, 2012).
A little piece of nature in the middle of the city is a microcosm of nature impulses of life. Love, the mix of bodies, dramas, reunion, always. Crosses of stories on feelings and bodies.
A film by Benoît Labourdette (4’19s, 2018).
“I am absolutely convinced that anyone, without any special knowledge or skills, without having to look at I don’t know what so-called native dispositions, can devote themselves to art with every chance of success.” Jean (...)
A film by Benoît Labourdette (2000, 1h03 ’).
SynopsisOn digital images digitally reworked where fugitive anonymous silhouettes goes on, a poetic monologue book a disenchanted vision of ghostly ballet of modern life. (Forum des Images)
A film by Benoît Labourdette (4’47s, 2016).
Facing our child, real or imagined.
A film by Benoît Labourdette (3’27s, 2018).
Gather around a book, gather yourself.
A film by Benoît Labourdette (1’, 2019).
Paris as seen by its paper directory in 2019.
Film by Benoît Labourdette (2’47 s, 2016).
Is reality more real than dream, or both are equal ? Based on the “Thoughts” by Blaise Pascal (17th century).
Artwork digital video. Benoît Labourdette (5’51s, 2014).
Abstract shapes, children color from the sky.
Tell me LED... A choral film, which connects speech and light.Article in the magazine “Projections” n°37 (Passeurs d’images), December 2015.
A film by Benoît Labourdette (3’09s, 2019).
Tribute seen from the sky to the work of Victor Vasarely.
A film by Richard Texier and Benoît Labourdette (8’51s, 2014).
Film Richard Texier’s paintings with a drone...
A film by Benoît Labourdette (2’20s, 2019).
The disorder, the inner disorder caused by the love break-ups are in no way diminished by plural love...
Experimental film by Benoît Labourdette (7’26s, 2015). With Marta Zielinska and Senghte Vanh Bouapha.
A couple of “Living ghosts” emanate from the walls, floors, windows, of an old apartment.
Analysis of a success.
A 10-second video posted on the social network TikTok on August 18, 2020 has made, one month later, more than 400 million views, and the highest number of “I like” since the beginning of this social network. Hypothesis on the reasons for this (...)