[et_pb_section bb_built=\u00a0\u00bb1″ next_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ module_id=\u00a0\u00bbimage-page-type\u00a0\u00bb width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb3_4″][et_pb_image admin_label=\u00a0\u00bbImage 1920 x 1080″ _builder_version=\u00a0\u00bb3.22.1″ src=\u00a0\u00bbhttps:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-content\/uploads\/sites\/7\/2020\/10\/BNF.jpg\u00a0\u00bb module_id=\u00a0\u00bbimage-page\u00a0\u00bb z_index_tablet=\u00a0\u00bb500″ \/][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][et_pb_text admin_label=\u00a0\u00bbTexte image\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbtexte-image\u00a0\u00bb background_color=\u00a0\u00bbrgba(242,242,242,0)\u00a0\u00bb custom_margin=\u00a0\u00bb|-15px||\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″ \/][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbl\u00c8gende\u00a0\u00bb _builder_version=\u00a0\u00bb3.16.1″ module_id=\u00a0\u00bblegende\u00a0\u00bb]<\/p>\n
\u00a9 Tous droits r\u00e9serv\u00e9s<\/p>\n<\/div>\n<\/div>\n<\/div>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb3_4″][et_pb_text _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbcontenu\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″]<\/p>\n
Le Cin\u00e9ma de midi fait \u00e9cho \u00e0 plusieurs expositions de la BnF. Un point commun \u00e0 toutes les s\u00e9ances propos\u00e9es : la relation entre le cin\u00e9ma et les lieux.<\/p>\n
Le travail du son dans les films de R. Depardon et C. Nougaret construit un espace de prise de parole (25 f\u00e9vrier).<\/p>\n
Le travail de J. Koudelka re-localise l\u2019imaginaire des ruines antiques (21 avril).<\/p>\n
N\u00e9 en noir et blanc, le cin\u00e9ma documentaire se nourrit de l\u2019h\u00e9ritage de l\u2019histoire de la photographie (12 mai).<\/p>\n
Par l\u2019affiche, le septi\u00e8me art projette ses images sur les murs des villes modernes (16 juin).<\/p>\n
Mardi 25 f\u00e9vrier<\/strong>\u00a0: autour de l\u2019exposition \u00ab Claudine Nougaret : d\u00e9gager l\u2019\u00e9coute. Le son dans le cin\u00e9ma de Raymond Depardon \u00bb Mardi 31 mars<\/strong>\u00a0:\u00a0Berlin still life<\/em>\u00a0de Laszlo Moholy-Nagy (1931, 9 min) Mardi 21 avril<\/strong>\u00a0: autour de l\u2019exposition \u00ab Ruines, de Josef Koudelka \u00bb Petra de Hans M. Nieter (1938, 8 min) Mardi 12 mai<\/strong>\u00a0: autour de l\u2019exposition \u00ab Noir et blanc \u00bb Mardi 16 juin<\/strong>\u00a0: autour de l\u2019exposition \u00ab \u00c0 l’affiche ! \u00bb Programme en ligne\u00a0ici(link is external)<\/span><\/span><\/a><\/p>\n Programme t\u00e9l\u00e9chargeable\u00a0 [PDF icon] \u00a0ici\u00a0(244.66 Ko)<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\u00a0\u00bb1″ specialty=\u00a0\u00bboff\u00a0\u00bb prev_background_color=\u00a0\u00bb#000000″ _builder_version=\u00a0\u00bb3.19.11″ custom_padding=\u00a0\u00bb0px||0px|\u00a0\u00bb inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbArticles similaires\u00a0\u00bb _builder_version=\u00a0\u00bb3.16.1″]<\/p>\n [\/et_pb_text][et_pb_blog _builder_version=\u00a0\u00bb3.21″ posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb38,45,14,12,11,15,1,13″ show_author=\u00a0\u00bboff\u00a0\u00bb show_date=\u00a0\u00bboff\u00a0\u00bb show_pagination=\u00a0\u00bboff\u00a0\u00bb border_width_bottom_fullwidth=\u00a0\u00bb1px\u00a0\u00bb border_color_bottom_fullwidth=\u00a0\u00bbrgba(51,51,51,0.18)\u00a0\u00bb custom_padding=\u00a0\u00bb||50px|\u00a0\u00bb module_id=\u00a0\u00bbpage_type_blog\u00a0\u00bb header_level=\u00a0\u00bbh4″ \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" \u00a9 Tous droits r\u00e9serv\u00e9s <\/p>\n Agenda 2020\u00a0Le Cin\u00e9ma de midi fait \u00e9cho \u00e0 plusieurs expositions de la BnF. Un point commun \u00e0 toutes les s\u00e9ances propos\u00e9es : la relation entre le cin\u00e9ma et les lieux.Le travail du son dans les films de R. Depardon et C. Nougaret construit un espace de prise de parole… Lire la suite Cycle 2019-2020 du Cin\u00e9ma de midi<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":1211,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[26],"tags":[],"class_list":["post-1213","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-evenements-passes"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/1213","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/comments?post=1213"}],"version-history":[{"count":2,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/1213\/revisions"}],"predecessor-version":[{"id":1215,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/1213\/revisions\/1215"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/1211"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=1213"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=1213"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=1213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Invit\u00e9e : Claudine Nougaret
Paul Lacombe<\/em>\u00a0de Claudine Nougaret (1986, 19 min)
Un vieil homme de 87 ans racont\u00e9 par ses amis, sa famille et par lui-m\u00eame, dans un village du plateau du Larzac.
Donner la parole<\/em>\u00a0de Raymond Depardon et Claudine Nougaret (2008, 33 min)
Avec des mots tr\u00e8s simples, des hommes et des femmes disent l\u2019attachement \u00e0 la terre qui les a vus na\u00eetre, \u00e0 leur langue qui dispara\u00eet, \u00e0 leur mode de vie remis en cause par la soci\u00e9t\u00e9 moderne.
En partenariat avec l’Universit\u00e9 Paris Cit\u00e9
Remerciements : CNC (direction du patrimoine)
Cin\u00e9math\u00e8que de Toulouse.<\/p>\n
Tourn\u00e9 principalement dans les bas-fonds des classes laborieuses de Berlin pendant la R\u00e9publique de Weimar, le film de Laszlo Moholy-Nagy est parmi les premiers \u00e0 repr\u00e9senter l\u2019atmosph\u00e8re pesante des grands ensembles.
Notes sur le syst\u00e8me de transport collectif\u00a0<\/em>de la ville de Mexico de Romain Andr\u00e9 (2010, 40 min)
Un film de photographies, sous forme de journal de bord d’un \u00e9tranger \u00e0 Mexico, donne \u00e0 voir les habitants du m\u00e9tro de cette \u00a0\u00bb ville illisible \u00ab\u00a0.<\/p>\n
L\u2019un des tout premiers documentaires tourn\u00e9s en Technicolor exalte la min\u00e9ralit\u00e9 du site antique de Petra, en Jordanie.
Koudelka shooting Holy Land<\/em>\u00a0de Gilad Baram (2015, 1 h 12 min)
Le c\u00e9l\u00e8bre photographe Josef Koudelka photographie le mur de s\u00e9paration construit par les Isra\u00e9liens en Cisjordanie. Un t\u00e9moignage au plus pr\u00e8s de l\u2019acte de cr\u00e9ation, o\u00f9 esth\u00e9tique et politique se superposent.<\/p>\n
Invit\u00e9 : Federico Rossin, critique de cin\u00e9ma
In the street<\/em>\u00a0de James Agee, Helen Levitt et Janice Loeb(1948, 16 min)
D\u00e8s les ann\u00e9es 1930, Helen Levitt photographie la culture de rue des enfants de New York. In the street prolonge sa d\u00e9marche. D\u00e9pourvu de commentaire, les images de ce film pionnier s\u2019apparentent \u00e0 un photo-reportage effervescent dans Harlem.
Landscape (for Manon)<\/em>\u00a0de Peter Hutton (1987, 12 min)
Boston fire<\/em>\u00a0de Peter Hutton (1979, 8 min)
L\u2019oeuvre cin\u00e9matographique de Peter Hutton semble nous arriver du plus profond de l\u2019histoire de la photographie, comme si des plaques lumineuses se trouvaient anim\u00e9es d\u2019un l\u00e9ger mouvement, nous invitant \u00e0 la m\u00e9ditation.
Films 16 mm projet\u00e9s dans leur format d\u2019origine.
Exceptionnellement, la s\u00e9ance a lieu au Grand auditorium<\/p>\n
Invit\u00e9e : Francesca Bozzano (Cin\u00e9math\u00e8que de Toulouse)
Marchands d\u2019images<\/em>\u00a0de Jean-Claude Bergeret (1964, 25 min)
Dans le quartier de Montparnasse, l\u2019un est directeur d\u2019un cin\u00e9ma commercial, l\u2019autre d\u2019une salle d\u2019art et d\u2019essai : deux mani\u00e8res de montrer des films \u00e0 Paris
dans les ann\u00e9es soixante.
Omecitta<\/em>\u00a0de Chantal Stoman (2017, 27 min)
\u00ab \u014cmecitta est l\u2019histoire d\u2019un rapport exceptionnel avec le pass\u00e9, la m\u00e9moire et l\u2019art, mais l\u2019histoire aussi d\u2019un d\u00e9clin. C\u2019est le r\u00e9cit d\u2019une exaltation, celle pour le cin\u00e9ma, s\u2019inscrivant pleinement dans l\u2019identit\u00e9 de la ville et de ses habitants.
Photographier la ville \u00e0 \u014cme, c\u2019est partir \u00e0 la recherche du temps perdu \u00bb.<\/p>\n\u00c0<\/span> lire aussi<\/h2>\n