{"id":2197,"date":"2021-07-05T15:05:56","date_gmt":"2021-07-05T13:05:56","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=2197"},"modified":"2021-07-05T15:05:56","modified_gmt":"2021-07-05T13:05:56","slug":"n-mauffrey-et-s-ohana-la-prise-au-depart-du-cinema","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/n-mauffrey-et-s-ohana-la-prise-au-depart-du-cinema\/","title":{"rendered":"N. Mauffrey et S. Ohana : \u00ab\u00a0La Prise au d\u00e9part du cin\u00e9ma\u00a0\u00bb"},"content":{"rendered":"

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Nathalie Mauffrey et Sarah Ohana sont docteures en \u00e9tudes cin\u00e9matographiques de l’Universit\u00e9 Paris Cit\u00e9, chercheuses associ\u00e9es du CERILAC et membres de l’axe EMOI.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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\u00a9 Editions Mimesis<\/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

Si la prise se dit au pluriel\u00ad de \u00adses vues qu\u2019elle met techniquement en s\u00e9rie, elle est aussi un geste imparfait \u00e0 mettre au pluriel\u00ad de\u00ad ses prises r\u00e9p\u00e9t\u00e9es. D\u2019une r\u00e9alit\u00e9 technique \u00e0 la force d\u2019un concept, cet ouvrage explore la dimension exp\u00e9rimentale de la prise, ni seulement de \u00advues ni \u00adde son, mais\u00ad d\u2019abord cin\u00e9matographique, parce qu\u2019elle est pens\u00e9e au c\u0153ur \u00adde \u00adses divers dispositifs, institutionnel, technique et psychique. \u00ad\u00c0 travers diff\u00e9rentes \u00e9tudes de cas et sous le prisme d\u2019approches \u00adg\u00e9n\u00e9tique et historique, politique et \u00e9thique, esth\u00e9tique et po\u00e9tique, les textes rassembl\u00e9s ici explorent tous les \u00e9tats du processus cr\u00e9atif cin\u00e9matographique dans ses prises multiples, directes et filmiques.<\/p>\n

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