{"id":2259,"date":"2021-09-20T11:42:14","date_gmt":"2021-09-20T09:42:14","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=2259"},"modified":"2021-09-20T12:02:02","modified_gmt":"2021-09-20T10:02:02","slug":"caroline-zeau-edgar-morin-et-le-cinema","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/caroline-zeau-edgar-morin-et-le-cinema\/","title":{"rendered":"Caroline Z\u00e9au \u00ab\u00a0Edgar Morin et le cin\u00e9ma\u00a0\u00bb"},"content":{"rendered":"

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Caroline Z\u00e9au est ma\u00eetresse de conf\u00e9rences et responsable du Master pro DEMC \u00e0 l\u2019UFR LAC. Ses recherches au sein du CERILAC portent sur les \u00e9tudes cin\u00e9matographiques.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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\u00a9 Presses universitaires de Caen<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Edgar Morin aura consacr\u00e9 au cin\u00e9ma deux d\u00e9cennies de recherche, de 1945 \u00e0 1965, une p\u00e9riode qui peut sembler de courte dur\u00e9e \u00e0 l\u2019aune de son importante carri\u00e8re mais qui peut aussi \u00eatre consid\u00e9r\u00e9e comme fondamentale puisqu\u2019elle se situe \u00e0 l\u2019origine de sa pens\u00e9e. Ses activit\u00e9s sont alors partag\u00e9es entre r\u00e9flexions th\u00e9oriques \u2013 avec la parution de deux livres majeurs,\u00a0Le cin\u00e9ma ou l\u2019homme imaginaire<\/i>\u00a0(1956) et\u00a0Les stars<\/i>\u00a0(1957) \u2013, et exp\u00e9riences de r\u00e9alisation cin\u00e9matographique, avec\u00a0Chronique d\u2019un \u00e9t\u00e9<\/i>\u00a0(1961), un film qui l\u2019associe \u00e0 Jean Rouch et qui r\u00e9volutionna le cin\u00e9ma documentaire.
L\u2019ouvrage, dans un premier temps, interroge la singularit\u00e9 de ses propositions en restituant les contextes intellectuels et \u00e9pist\u00e9mologiques \u00e0 partir desquels il a d\u00e9velopp\u00e9 son projet d\u2019anthropologie sociologique\u00a0; tandis que l\u2019\u00e9tude de\u00a0Chronique d\u2019un \u00e9t\u00e9<\/i>\u00a0permet d\u2019observer, \u00e0 travers les dispositifs, les implications du geste film\u00e9 dans sa capacit\u00e9 \u00e0 r\u00e9v\u00e9ler l\u2019\u00eatre au monde.
Autant de r\u00e9flexions qui restituent l\u2019importance et la singularit\u00e9 des propositions cin\u00e9matographiques de Morin, retrouvant de la sorte la dimension politique du voir et du savoir.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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