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\u00a9 Tous droits r\u00e9serv\u00e9s<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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Le cycle de conf\u00e9rences \u00ab\u00a0Archi Vives\u00a0\u00bb, con\u00e7u en partenariat avec l\u2019Universit\u00e9 Paris Cit\u00e9, vise \u00e0 mettre en sc\u00e8ne la valorisation des archives, ses liens avec la cr\u00e9ation contemporaine et \u00e0 performer la recherche pour en restituer la part vive et cr\u00e9ative.\u00a0<\/strong><\/p>\n Organisateurs :<\/strong><\/p>\n Fr\u00e9d\u00e9rique Berthet, Emmanuelle Andr\u00e9 (Universit\u00e9 Paris Cit\u00e9, UFR LAC, CERILAC) Jo\u00ebl Daire, V\u00e9ronique Rossignol (La Cin\u00e9math\u00e8que fran\u00e7aise)\u00a0<\/p>\n Avec le soutien de la Fondation Balzan.<\/p>\n 17h30 salle Jean Epstein, 90 mn<\/p>\n \u00ab\u00a0Nuremberg, l\u2019emprise du visible \u00bb<\/strong><\/p>\n Par Sylvie Lindeperg<\/p>\n L\u2019enregistrement film\u00e9 des audiences de Nuremberg renouv\u00e8le la compr\u00e9hension du grand proc\u00e8s international contre les criminels nazis. C\u2019est ce que d\u00e9montrera Sylvie Lindeperg en tirant quelques fils de son r\u00e9cent ouvrage, Nuremberg, la bataille des images <\/em>(Payot, 2021).<\/p>\n Les images d\u2019audience offrent une puissante m\u00e9taphore des philosophies de la justice qui s\u2019affront\u00e8rent dans l\u2019enceinte de Nuremberg. La copr\u00e9sence des \u00e9quipes de tournage -am\u00e9ricaine et sovi\u00e9tique- \u00e9claire la nature de ce proc\u00e8s n\u00e9 de compromis qui rendirent possible en m\u00eame temps qu\u2019ils handicap\u00e8rent les d\u00e9bats judiciaires.<\/p>\n Les prises de vues de Nuremberg compl\u00e8tent par ailleurs, et parfois m\u00eame corrigent, les minutes \u00e9crites du Tribunal. Elles offrent une exp\u00e9rience sensible des audiences, inscrite \u00e0 m\u00eame les visages et les corps. Elles saisissent l\u2019intensit\u00e9 d\u2019un moment dans le trembl\u00e9 d\u2019une voix, la vivacit\u00e9 d\u2019un geste, l\u2019\u00e9clat d\u2019un regard.<\/p>\n Les images de Nuremberg r\u00e9v\u00e8lent enfin la capacit\u00e9 in\u00e9gale des acteurs du proc\u00e8s \u00e0 incarner leur r\u00e9cit sur la sc\u00e8ne judicaire. Elles mettent en relief les \u00e9carts, parfois b\u00e9ants, entre leurs intentions dramaturgiques et leurs performances au cours de la \u00ab\u00a0repr\u00e9sentation\u00a0\u00bb.<\/p>\n A la suite de la conf\u00e9rence \u00e0 19h30, projection du film choisi par la conf\u00e9renci\u00e8re\u00a0:<\/p>\n Jugement \u00e0 Nuremberg<\/em>, Stanley Kramer, 1961.<\/p>\n Sylvie Lindeperg<\/strong> est professeure \u00e0 l\u2019universit\u00e9 Paris Cit\u00e9 1 Panth\u00e9on-Sorbonne et membre honoraire de l\u2019Institut Universitaire de France. Elle est l\u2019auteure et la directrice d\u2019une quinzaine d\u2019ouvrages parmi lesquels Les<\/em> \u00c9crans de l\u2019ombre <\/em>; Clio de 5 \u00e0 7\u00a0: les actualit\u00e9s film\u00e9es de la Lib\u00e9ration<\/em>\u00a0; Nuit et Brouillard\u00a0: un film dans l\u2019histoire<\/em>\u00a0; La Voie des images<\/em>. Sylvie Lindeperg a co-\u00e9crit avec Jean-Louis Comolli le film Face aux fant\u00f4mes<\/em>. Son dernier livre, Nuremberg, la bataille des images,<\/em> est paru chez Payot en avril 2021.<\/p>\n 17h30 salle Jean Epstein, 90 mn<\/p>\n \u00ab\u00a0Godard Machine(s)\u00a0\u00bb<\/strong><\/p>\n Par Gilles Mou\u00ebllic et Antoine de Baecque<\/p>\n Jean-Luc Godard est sans doute le cin\u00e9aste dont l\u2019\u0153uvre a questionn\u00e9 avec le plus de constance et de lucidit\u00e9 la place des machines dans le monde du cin\u00e9ma, de l\u2019imposante cam\u00e9ra Mitchell NBC qui ouvre Le M\u00e9pris<\/em> (1963) \u00e0 l\u2019installation vid\u00e9o de Num\u00e9ro deux<\/em> (1975), du ballet de cam\u00e9ras mont\u00e9es sur des grues devant les tableaux de Passion<\/em> (1982) aux images de d\u00e9filement de la pellicule qui ponctuent les Histoire(s) du cin\u00e9ma<\/em> (1988-1998). Cette conf\u00e9rence reviendra sur les rapports complexes entre Jean-Luc Godard et la technique, en prenant pour exemple parmi d\u2019autres sa relation avec l\u2019ing\u00e9nieur et inventeur Jean-Pierre Beauviala, cr\u00e9ateur de la soci\u00e9t\u00e9 Aaton, dont les riches archives sont d\u00e9pos\u00e9es \u00e0 la Cin\u00e9math\u00e8que Fran\u00e7aise.<\/p>\n A la suite de la conf\u00e9rence \u00e0 19h30, projection du film choisi par les conf\u00e9renciers\u00a0:<\/p>\n Num\u00e9ro deux<\/em>, Jean-Luc Godard, 1975<\/p>\n Historien et critique de cin\u00e9ma, Antoine de Baecque<\/strong> a \u00e9t\u00e9 r\u00e9dacteur en chef des\u00a0Cahiers du cin\u00e9ma<\/em>, puis de\u00a0Lib\u00e9ration<\/em>, dont il a dirig\u00e9 les pages culturelles. Il propose une arch\u00e9ologie biographique de la Nouvelle Vague en revisitant ses archives, s’attachant \u00e0 Fran\u00e7ois Truffaut (Gallimard, 1996), Jean-Luc Godard (Grasset, 2010), Eric Rohmer (Stock, 2014), Claude Chabrol (Stock, 2021). Son essai, Le cin\u00e9ma est mort, vive le cin\u00e9ma !<\/em> est paru au printemps 2021, deuxi\u00e8me volume de la s\u00e9rie \u00ab\u00a0Histoire-cam\u00e9ra\u00a0\u00bb sur les rapports du cin\u00e9ma et de l’histoire. Antoine de Baecque est professeur d’histoire et d’esth\u00e9tique du cin\u00e9ma \u00e0 l’Ecole normale sup\u00e9rieure.<\/p>\n Gilles Mou\u00ebllic<\/strong> enseigne le cin\u00e9ma \u00e0 l\u2019Universit\u00e9 Rennes 2. Outre ses recherches sur les rapports entre le cin\u00e9ma et la musique (et le jazz en particulier), ses travaux actuels portent sur les relations entre techniques et esth\u00e9tiques ainsi que sur l\u2019improvisation en tant que mode de cr\u00e9ation au cin\u00e9ma. Parmi ses derni\u00e8res publications, le n\u00b0 14 de la revue Cahier Louis Lumi\u00e8re<\/em>, intitul\u00e9 \u00ab\u00a0Aaton\u00a0: le cin\u00e9ma r\u00e9invent\u00e9\u00a0\u00bb (2021, en codirection avec Giusy Pisano) et Godard\/Machines<\/em> (Yellow Now, 2020, en codirection avec Antoine de Baecque).<\/p>\n 17h30 salle Epstein, 90 mn<\/p>\n Unit\u00e9 et accidents dans l\u2019inspiration classique\u00a0: l\u2019exp\u00e9rience ultime de\u00a0<\/strong>Duel au soleil<\/strong><\/em>\u00a0(1946) <\/strong><\/p>\n Par Pierre Berthomieu<\/p>\n Affiche de la s\u00e9ance<\/a><\/p>\n Exemple radical de la fabrication d\u2019une \u0153uvre monumentale dans le syst\u00e8me classique hollywoodien, ce western-fresque fait \u00e9clater les limites de la production conventionnelle et interroge en profondeur les notions d\u2019inspiration et de signature. Eclair\u00e9e par une multitude d\u2019archives \u00e9crites et visuelles tr\u00e8s pr\u00e9cises, la longue gen\u00e8se du film \u00e9carte les n\u00e9buleuses l\u00e9gendes critiques, d\u00e9stabilise la notion d\u2019auteur et oblige \u00e0 repenser l\u2019analyse des styles singuliers. Tir\u00e9 du roman d\u2019un important \u00e9crivain-sc\u00e9nariste, dirig\u00e9 par King Vidor et co-r\u00e9alis\u00e9 par d\u2019autres cin\u00e9astes majeurs (dont William Dieterle et Josef Von Sternberg), Duel au soleil<\/em> ob\u00e9it in fine<\/em> \u00e0 la vision du producteur David O. Selznick et oblige \u00e0 m\u00e9diter le geste de \u00ab\u00a0l\u2019\u00e9criture filmique\u00a0\u00bb.<\/p>\n A la suite de la conf\u00e9rence, \u00e0 19h, projection du film choisi par le conf\u00e9rencier\u00a0:<\/p>\n Duel au soleil de King Vidor, 1946<\/em><\/p>\n Pierre Berthomieu<\/strong> est historien du cin\u00e9ma am\u00e9ricain, enseignant \u00e0 l’Universit\u00e9 Paris Cit\u00e9 et critique \u00e0 Positif<\/em>. Il est l’auteur d’une histoire des formes du cin\u00e9ma am\u00e9ricain aux \u00e9ditions Rouge profond : Hollywood classique. Le temps des g\u00e9ants<\/em> (2009), Hollywood moderne. Le temps des voyants<\/em> (2011) et Hollywood. Le temps des mutants<\/em> (2013). Il a r\u00e9cemment publi\u00e9 Le temps des folies. La fabrique de \u00ab\u00a0Duel au soleil\u00a0\u00bb<\/em> (Carlotta, 2018).<\/p>\n Affiche de la s\u00e9ance<\/a><\/p>\n 17h salle Epstein, 90 mn<\/strong><\/p>\n Archives du vivant. Animaux et quelques question de cin\u00e9ma<\/strong><\/p>\n Par Viva Paci<\/p>\n Viva Paci propose une travers\u00e9e d’un corpus d’\u0153uvres audiovisuelles (essais, documentaires, immersives) o\u00f9 les figures d’animaux sauvages sont centrales, et o\u00f9 s’articulent des discours sur la conservation des esp\u00e8ces. Ces \u0153uvres seront mises en r\u00e9seaux avec des pans de discours critiques actuels qui se concentrent sur la figure de l’animal et ses nombreuses repr\u00e9sentations (tel que ceux de Vinciane Despret, Donna Haraway, Samuel Alberti, Giovanni Aloi, Miranda Niittynen, Jon Mooallem). En creux, dans ces renvois entre travaux qui montrent et pensent l’animal, entrera aussi la discipline naturaliste de la taxidermie, un acte paradoxal de conservation, si proche du cin\u00e9ma…<\/p>\n Suivi de la projection de La f\u00eate sauvage<\/em>, Fr\u00e9d\u00e9ric Rossif (1975) \u00e0 19h<\/p>\n Viva Paci<\/strong> est professeure de Th\u00e9ories du cin\u00e9ma \u00e0 l\u2019Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, o\u00f9 elle dirige le labdoc<\/em> (Le laboratoire de recherche sur les pratiques documentaires audiovisuelles). C\u2019est d\u2019un point de vue interm\u00e9dial qu\u2019elle travaille sur les relations entre cin\u00e9ma et mus\u00e9e, cin\u00e9ma et t\u00e9l\u00e9vision et sur les premiers temps de l\u2019imagerie num\u00e9rique. Ses r\u00e9flexions actuelles portent sur cin\u00e9ma et taxidermie.<\/p>\n https:\/\/www.cinematheque.fr\/intervention\/2429.html<\/a><\/p>\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 Le cycle de conf\u00e9rences \u00ab\u00a0Archi Vives\u00a0\u00bb, con\u00e7u en partenariat avec l\u2019Universit\u00e9 Paris Cit\u00e9, vise \u00e0 mettre en sc\u00e8ne la valorisation des archives, ses liens avec la cr\u00e9ation contemporaine et \u00e0 performer la recherche pour en restituer la part vive et cr\u00e9ative.\u00a0Organisateurs :Fr\u00e9d\u00e9rique Berthet, Emmanuelle Andr\u00e9 (Universit\u00e9 Paris Cit\u00e9, UFR… Lire la suite S\u00e9minaire 2021-2022 : Archi Vives<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":2391,"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-2390","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\/2390","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=2390"}],"version-history":[{"count":9,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/2390\/revisions"}],"predecessor-version":[{"id":2927,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/2390\/revisions\/2927"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/2391"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=2390"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=2390"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=2390"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Jeudi 21 octobre 2021<\/h3>\n
Jeudi 16 d\u00e9cembre 2021<\/h3>\n
Jeudi 10 f\u00e9vrier 2022<\/h3>\n
Jeudi 21 avril 2022<\/h3>\n
\u00c0<\/span> lire aussi<\/h2>\n