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La Limite élastique
© ENSAD
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AUTEUR(S)-RÉALISATEUR(S)

Pauline Pastry

MUSIQUE ORIGINALE

Jules Cassignol

PRODUCTION / DIFFUSION

ENSAD (École Nationale Supérieure des Arts Décoratifs)

ORGANISME(S) DÉTENTEUR(S) ou DÉPOSITAIRE(S)

ENSAD (École Nationale Supérieure des Arts Décoratifs)

ISAN : non renseigné - en savoir plus

EXPÉRIMENTAL
La figure de mon père, ouvrier, me sert de modèle dans mes recherches sur la période de l'entre-deux industriel, entre la banalisation de la robotisation et le maintien du travail à la chaine. Qu’y aura-t-il après mon père ? Quelle sera la place du corps humain dans l’industrie de demain ?

The stretching limit: " Stress from which a material or a body stops being deformed in a reversible manner and thus begins to deform irreversibly."

As my father was a worker, the terms of productivity, deindustrialization, efficiency and maintenance were present every day. He uses me as an interpreter, as a model for this working-class figure in a period of industrial in-between, between the banalization of robotization and the maintenance of work on the chain. What will happen after my father? What will be the place of the human body in the industry of tomorrow? The body subjected to repetitive work can also, like a material, reach its limit, break and not regain its original form.
This project is a link between the notions of optimization, technique, fatigue and body becoming, while maintaining a hybrid position between the fascination of technique and my sensitivity to the working class cause. The dialogues are shared between a technical director of a company, a salesman of a robotics company, and one who designs exoskeletons and robots. I wanted to integrate images taken in a school of orthopedics to approach the body aspect in my project. Having myself worn a corset for years, I experienced the physical constraint that can be felt by workers equipped with exoskeletons. In both cases, there is a notion of acceptability for the person, but also the feeling of vulnerability of the body when faced with repetitive gestures or heavy loads.
My intention was to place the spectator at the center of this conversation, leading to nothing and dividing into two incompatible points of view: the "man" as the workman, and the financial investment; but also to show the absurdity of the relationship between technique (costly progress, noble, representing the future) and the social condition of the worker, at the bottom of the scale than at the top. These exchanges thus question the mutation of the place of the worker in the factory of today in front of the technique and the progress that is imposed on him.

Distinctions