{"id":1833,"date":"2021-03-10T16:52:46","date_gmt":"2021-03-10T15:52:46","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=1833"},"modified":"2021-03-15T10:38:47","modified_gmt":"2021-03-15T09:38:47","slug":"pierre-olivier-toulza-politiques-du-musical-hollywoodien","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/pierre-olivier-toulza-politiques-du-musical-hollywoodien\/","title":{"rendered":"Pierre-Olivier Toulza : \u00ab\u00a0Politiques du musical hollywoodien\u00a0\u00bb"},"content":{"rendered":"

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Pierre-Olivier Toulza est ma\u00eetre de conf\u00e9rences HDR en \u00e9tudes cin\u00e9matographiques au sein de l’UFR LAC. Co-directeur du parcours Etudes cin\u00e9matographiques du Master cin\u00e9ma et audiovisuel, il est \u00e9galement chercheur au CERILAC.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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\u00a9 PU Paris Nanterre<\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb2_3″][et_pb_text admin_label=\u00a0\u00bbPr\u00e9sentation\u00a0\u00bb _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″ custom_margin=\u00a0\u00bb-15px|||\u00a0\u00bb]<\/p>\n

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La com\u00e9die musicale offre \u00e0 ses publics des divertissements \u00ab\u00a0familiaux\u00a0\u00bb et en apparence inoffensifs, dont la fantaisie semble \u00e9loign\u00e9e de tout r\u00e9alisme et de tout souci critique. Pourtant le\u00a0musical<\/em>, \u00e9manation parfaite de l\u2019\u200a\u00e2ge d\u2019or hollywoodien, expose de fa\u00e7on ouverte les tensions id\u00e9ologiques et culturelles qui le traversent.
Rassemblant les contributions de sp\u00e9cialistes de cin\u00e9ma, de danse et de musique, cet ouvrage propose une exploration des \u00ab\u00a0politiques\u00a0\u00bb de ce genre prot\u00e9iforme \u2013\u00a0depuis les cycles de\u00a0musicals<\/em>\u00a0des ann\u00e9es\u00a01930 et jusqu\u2019aux films \u00e0 grand spectacle des ann\u00e9es\u00a01960\u00a0\u2013 \u00e0 partir de trois questions principales\u00a0: la place sp\u00e9cifique de la com\u00e9die musicale dans le syst\u00e8me d\u2019autocensure orchestr\u00e9 par le Code de production hollywoodien\u00a0; les normes de repr\u00e9sentation, en particulier raciales, li\u00e9es \u00e0 la reprise de traditions musicales ou chor\u00e9graphiques\u00a0; les enjeux id\u00e9ologiques, enfin, d\u2019un genre situ\u00e9 au c\u0153ur de la culture de masse et, \u00e0 ce titre, ins\u00e9parable d\u2019imp\u00e9ratifs technologiques et m\u00e9diatiques.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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