{"id":2992,"date":"2022-05-23T17:00:36","date_gmt":"2022-05-23T15:00:36","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/?p=2992"},"modified":"2022-05-27T12:22:01","modified_gmt":"2022-05-27T10:22:01","slug":"emmanuelle-andre-dictionnaire-diconologie-filmique","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/emmanuelle-andre-dictionnaire-diconologie-filmique\/","title":{"rendered":"Emmanuelle Andr\u00e9 \u00ab\u00a0Dictionnaire d’iconologie filmique\u00a0\u00bb"},"content":{"rendered":"

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Emmanuelle Andr\u00e9 est professeure des universit\u00e9s en \u00e9tudes cin\u00e9matographiques au sein de l\u2019UFR Lettres, Arts et Cin\u00e9ma. Ses recherches au CERILAC sont int\u00e9gr\u00e9es \u00e0 l\u2019axe EMOI.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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\u00a9 DR<\/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

Alors qu\u2019au XVIe si\u00e8cle l\u2019iconologie est consid\u00e9r\u00e9e comme un discours sur les images destin\u00e9 \u00e0 l\u2019usage des peintres, elle se r\u00e9invente au cours du XIXe si\u00e8cle, sous l\u2019impulsion des historiens de l\u2019art, comme une technique d\u2019interpr\u00e9tation des oeuvres. Aby Warburg y verra l\u2019instrument privil\u00e9gi\u00e9 d\u2019une \u00ab\u00a0science de la culture\u00a0\u00bb.<\/p>\n

Con\u00e7u par des chercheurs issus d\u2019horizons disciplinaires diff\u00e9rents et organis\u00e9 autour de cinq cat\u00e9gories r\u00e9parties en une centaine d\u2019entr\u00e9es \u2013 les th\u00e9oriciens de l\u2019art et du cin\u00e9ma, les cin\u00e9astes, les films, les notions et les motifs \u2013, ce dictionnaire entend tout \u00e0 la fois reformuler l\u2019iconologie au cin\u00e9ma et r\u00e9pondre d\u2019une histoire \u00e9largie des images. De Walter Benjamin \u00e0 Jacques Ranci\u00e8re, d’Arnaud Desplechin \u00e0 Tsai Ming-liang, du\u00a0Cuirass\u00e9 Potemkine<\/i>\u00a0\u00e0\u00a0Shining<\/i>\u00a0et du burlesque au zombie, les contributions propos\u00e9es constituent un outil et une source de r\u00e9flexion aujourd’hui indispensables \u00e0 tous ceux qui font de l’analyse un acc\u00e8s privil\u00e9gi\u00e9 \u00e0 la connaissance des films.<\/p>\n

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