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\u00a9 Tous droits r\u00e9serv\u00e9s<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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Les s\u00e9ances du \u00abCin\u00e9ma de midi\u00bb offrent l\u2019occasion de d\u00e9couvrir sur grand \u00e9cran des films documentaires issus des fonds du\u00a0d\u00e9partement de l\u2019Audiovisuel<\/a>\u00a0\u00a0de la BnF. Cette ann\u00e9e, la programmation, intitul\u00e9e \u00ab Des images et des lieux \u00bb, fait \u00e9cho \u00e0 trois des expositions que propose la BnF \u00e0 l\u2019automne \u2013\u00a0\u00abJosef Koudelka. Ruines\u00bb<\/a>,\u00a0\u00ab\u00c0 l\u2019affiche\u00a0!\u00bb<\/a>\u00a0et \u00abNoir\u00a0&<\/span>\u00a0Blanc\u00a0: une esth\u00e9tique de la photographie\u00bb<\/a>.<\/p>\n Programme sur le site de la BNF<\/a><\/p>\n Programme :\u00a0<\/p>\n \u014cmecitt\u00e0\u00a0<\/em> de Chantal Stoman<\/p>\n Rencontre avec Claudia Pellegrini<\/strong>, documentaliste au centre de conservation et de recherche de la Cin\u00e9math\u00e8que de Toulouse, et\u00a0Chantal Stoman<\/strong>, photographe et r\u00e9alisatrice, autour de l\u2019affiche de\u00a0cin\u00e9ma.<\/p>\n Un affichiste ne dispose que d\u2019une image pour r\u00e9sumer une histoire qu\u2019un film raconte en deux heures. Qui sont les artisans de cet art m\u00e9connu\u00a0? Comment les affiches s\u2019inscrivent-elles dans l\u2019espace public\u00a0? Comment acqui\u00e8rent-elles leur identit\u00e9 propre\u00a0?<\/p>\n \u00c0 l\u2019occasion de cette rencontre, Claudia Pellegrini pr\u00e9sente le fonds des affiches de fa\u00e7ade peintes par l\u2019affichiste Andr\u00e9 Aza\u00efs, conserv\u00e9 \u00e0 la Cin\u00e9math\u00e8que de Toulouse, et Chantal Stoman \u00e9voque son film\u00a0\u014cmecitt\u00e0<\/em>, sur les traces de l\u2019h\u00e9ritage cin\u00e9matographique d\u2019une petite ville de la banlieue de\u00a0Tokyo.<\/p>\n Discussion anim\u00e9e par\u00a0Alexia Vanh\u00e9e<\/strong>, charg\u00e9e de collections pour le cin\u00e9ma documentaire (d\u00e9partement de l\u2019Audiovisuel, BnF), et\u00a0Fr\u00e9d\u00e9rique Berthet<\/strong>, ma\u00eetre de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques (universit\u00e9 Paris Cit\u00e9) et responsable du programme Archi Vives avec la Cin\u00e9math\u00e8que\u00a0fran\u00e7aise.<\/p>\n Ce film sera disponible en visionnage gratuit du 14 d\u00e9cembre au 20 d\u00e9cembre sur le site de la BNF<\/p>\n Pour revoir la s\u00e9ance :\u00a0https:\/\/youtu.be\/r8lUoDJWYSc<\/a><\/p>\n L’Am\u00e9rique d’Henri Cartier-Bresson<\/p>\n Pour accompagner l\u2019exposition Henri Cartier-Bresson. Le Grand Jeu<\/a><\/em> pr\u00e9sent\u00e9e sur le site Fran\u00e7ois-Mitterrand jusqu\u2019au 22 ao\u00fbt 2021, cette s\u00e9ance du \u00ab\u00a0Cin\u00e9ma de midi\u00a0\u00bb propose un regard sur le travail de \u00ab\u00a0l\u2019\u0153il du si\u00e8cle\u00a0\u00bb, par le biais de films r\u00e9alis\u00e9s par Cartier-Bresson lui-m\u00eame ou par ses\u00a0contemporains.<\/p>\n<\/div>\n<\/div>\n<\/div>\n Southern exposures<\/em><\/strong>, Henri Cartier-Bresson, 1971, 26\u00a0min <\/strong> Qu\u00e9bec vu par Cartier-Bresson<\/em><\/strong>, Wolff Koenig, 1969, 10 min<\/strong> In the Street<\/em>, Helen Levitt, James Agee, Janice Loeb, 1948, 16\u00a0min<\/strong> En pr\u00e9sence de Sylvie Aubenas, directrice du d\u00e9partement des Estampes et de la photographie de la BnF, commissaire invit\u00e9e de l\u2019exposition Henri Cartier-Bresson. Le Grand Jeu<\/a><\/em>. [\/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 Les s\u00e9ances du \u00abCin\u00e9ma de midi\u00bb offrent l\u2019occasion de d\u00e9couvrir sur grand \u00e9cran des films documentaires issus des fonds du\u00a0d\u00e9partement de l\u2019Audiovisuel\u00a0\u00a0de la BnF. Cette ann\u00e9e, la programmation, intitul\u00e9e \u00ab Des images et des lieux \u00bb, fait \u00e9cho \u00e0 trois des expositions que propose la BnF \u00e0 l\u2019automne \u2013\u00a0\u00abJosef… Lire la suite Cycle 2020-2021 du Cin\u00e9ma de midi<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":2091,"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":[27],"tags":[],"class_list":["post-1436","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-seminaire"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/1436","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=1436"}],"version-history":[{"count":5,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/1436\/revisions"}],"predecessor-version":[{"id":2092,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/1436\/revisions\/2092"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/2091"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=1436"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=1436"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=1436"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
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Programme de la s\u00e9ance (sous r\u00e9serve)<\/h3>\n
\u00ab Mon nom est Henri Cartier-Bresson, je suis Fran\u00e7ais et je prends des photographies \u00bb<\/em>\u00a0: ainsi commence l\u2019un des deux films am\u00e9ricains r\u00e9alis\u00e9s par Cartier-Bresson dans les ann\u00e9es 1970, carnet de voyage dans l\u2019Am\u00e9rique\u00a0profonde.<\/p>\n
Invit\u00e9 par l\u2019Office national du film du Canada, Henri Cartier-Bresson en est revenu avec un grand nombre de photographies dont Wolff Koenig a tir\u00e9 ce film r\u00e9alis\u00e9 au\u00a0banc-titre.<\/p>\n
D\u00e8s les ann\u00e9es 1930, Helen Levitt photographie la culture de rue des enfants de New York. In the street<\/em> prolonge sa d\u00e9marche. D\u00e9pourvu de commentaire, les images de ce film pionnier s\u2019apparentent \u00e0 un photo-reportage effervescent dans\u00a0Harlem.<\/p>\n
Discussion anim\u00e9e par Alexia Vanh\u00e9e, charg\u00e9e de collections pour le cin\u00e9ma documentaire (d\u00e9partement de l\u2019Audiovisuel, BnF), et Fr\u00e9d\u00e9rique Berthet, ma\u00eetre de conf\u00e9rences HDR en \u00e9tudes cin\u00e9matographiques (universit\u00e9 Paris Cit\u00e9) et directrice adjointe du laboratoire Lettres, Arts et Cin\u00e9ma\u00a0(CERILAC).<\/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<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\u00c0<\/span> lire aussi<\/h2>\n