Le plan \ue0 la premi\ue8re personne. Technologie et subjectivit\ue9 dans le paysage postcinematographique

The article focus on the new forms of the subjective image in audiovisual media, defining the "first person shot" as a new kind of post-media semiotic figure. The first-person shot appears on different occasions throughout different media, from combat videos recorded with helmet cams and distributed via the Internet to video-surveillance footage re-used in art installations, and from video clips of live events taken with video cell phones and broadcasted by television news to first-person video games, to cite just a few examples. The core of my paper is devoted to reconstructing the first-person shot\u2019s technological and stylistic genealogy. I argue that although firmly a part of contemporary cinema, it constitutes a radically intermedial and post-cinematographic technique, since it stems from a network of \u201cremediations\u201d and \u201cdeep-remixes\u201d involving different media agencies and players \u2013 from mainstream cinema to independent television and video producers, from the video-game industry to military and surveillance uses of audiovisuals. In my conclusions, I rapidly sketch two questions related to the first-person shot. First, I ask whether the first-person shot should or not be considered not just as an audio-visual technique but also as a well-defined semiotic figure. My answer is positive; moreover, I argue that a formal assessment of the first-person shot entails a new systematization of point-of-view issue within the semiotics of audiovisual media. The second question concerns the cultural foundation of the first-person shot. In this regard, I propose to consider it as a kind of \u201csymbolic form\u201d, implying a specific conception of the subject as a hybrid, dynamical and relational entity \u2013 an idea of the subject and sub-jectivity chiming with contemporary conceptions of phenomenological neuroscience