[et_pb_section bb_built=\u00a0\u00bb1″ next_background_color=\u00a0\u00bb#000000″ inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row][et_pb_column type=\u00a0\u00bb3_4″][et_pb_text admin_label=\u00a0\u00bbintro\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbintro\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″]<\/p>\n
Journ\u00e9e d’\u00e9tudes organis\u00e9e par Gaspard Delon et Anthony Rescigno (CERILAC) le 11 d\u00e9cembre 2023 \u00e0 l’Universit\u00e9 Paris Cit\u00e9.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00a0\u00bb3.19.11″ module_id=\u00a0\u00bbimage-page-type\u00a0\u00bb width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb3_4″][et_pb_image admin_label=\u00a0\u00bbImage 1920 x 1080″ _builder_version=\u00a0\u00bb3.22.1″ src=\u00a0\u00bbhttps:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-content\/uploads\/sites\/7\/2020\/02\/lexique.jpg\u00a0\u00bb module_id=\u00a0\u00bbimage-page\u00a0\u00bb z_index_tablet=\u00a0\u00bb500″ \/][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4″][et_pb_text admin_label=\u00a0\u00bbTexte image\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ module_id=\u00a0\u00bbtexte-image\u00a0\u00bb background_color=\u00a0\u00bbrgba(242,242,242,0)\u00a0\u00bb custom_margin=\u00a0\u00bb|-15px||\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″ \/][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00a0\u00bb3_4″][et_pb_text _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″]<\/p>\n
AAC t\u00e9l\u00e9chargeable<\/a><\/p>\n Dans le cadre d\u2019un projet sur les cin\u00e9mas en \u00ab contexte sensible \u00bb, cette journ\u00e9e s\u2019int\u00e9ressera \u00e0 une situation a priori bien identifi\u00e9e, celle des guerres des XXe et XXIe si\u00e8cles, informant en profondeur la cr\u00e9ation et la r\u00e9ception des \u0153uvres qui leur sont contemporaines. Si la th\u00e9matique n\u2019est pas nouvelle, on se proposera de mettre la question contextuelle au c\u0153ur de l\u2019\u00e9tude non seulement des objets filmiques, mais des relations \u00e0 ces objets. Cette manifestation prend ainsi pour point de d\u00e9part une interrogation pr\u00e9cise : comment certains films allemands produits sous le nazisme ont-ils pu \u00eatre appr\u00e9ci\u00e9s ou d\u00e9tourn\u00e9s par les spectateurs des territoires occup\u00e9s et annex\u00e9s par l\u2019Allemagne ?<\/p>\n L\u2019un des aspects les plus explor\u00e9s des relations entre guerre et cin\u00e9ma est celui de son utilisation \u00e0 des fins de propagande, probl\u00e9matique incitant \u00e0 privil\u00e9gier la puissance \u00e9tatique et \u00e0 minorer la place des artistes, et plus encore celle des spectateurs. Les premiers sont souvent pr\u00e9sum\u00e9s complices et leur cr\u00e9ativit\u00e9 d\u00e9vou\u00e9e \u00e0 des objectifs id\u00e9ologiques. Les seconds facilement consid\u00e9r\u00e9s comme peu actifs face aux films dont ils sont destinataires. \u00c0 partir des ann\u00e9es 1960, la sociologie et les Cultural Studies ont pourtant d\u00e9montr\u00e9 la possibilit\u00e9 pour les consommateurs d\u2019objets culturels de s\u2019approprier les \u0153uvres selon leurs attentes et leurs d\u00e9sirs.<\/p>\n Cette capacit\u00e9 de \u00ab d\u00e9codage \u00bb ouvrait la voie \u00e0 une approche de la r\u00e9ception filmique davantage tourn\u00e9e vers les spectateurs, d\u00e9marche qui n\u2019a cess\u00e9 de se d\u00e9velopper depuis. En t\u00e9moigne la proposition singuli\u00e8re de Janet Staiger (2000) consid\u00e9rant les strat\u00e9gies d\u2019identification et d\u2019interpr\u00e9tation comme \u00ab historiquement construites \u00bb par les circonstances.<\/p>\n Attentive \u00e0 la \u00ab situation cin\u00e9matographique \u00bb des spectateurs face aux films (Creton et al., 2012), l\u2019approche privil\u00e9gi\u00e9e par cette journ\u00e9e accordera ainsi une place pr\u00e9- pond\u00e9rante au contexte dans lequel les \u0153uvres sont produites, distribu\u00e9es et appr\u00e9- hend\u00e9es, la guerre engendrant, de mani\u00e8re \u00e9troitement m\u00eal\u00e9e, des d\u00e9marches artistiques, des ph\u00e9nom\u00e8nes de compr\u00e9hension et d\u2019appropriation souvent oubli\u00e9s ou m\u00e9connus, reli\u00e9s \u00e0 ce qui se d\u00e9roule autour de la salle ou de la s\u00e9ance. Cette approche ne manquera pas de souligner le caract\u00e8re instable des objets artistiques au contact de leurs publics, rendant possible par exemple la reprise dans les \u00ab bals interdits \u00bb de chansons issues de films allemands pendant l\u2019Occupation en France (Rescigno, 2020). La perspective retenue pourra engendrer des r\u00e9flexions autour de la question classique de l\u2019emploi des films \u00e0 des fins politiques, mais \u00e9galement mettre en lumi\u00e8re, y compris chez des artistes rest\u00e9s \u00ab sur place \u00bb, des ph\u00e9nom\u00e8nes de d\u00e9placement, de transgression, de subversion ou de camouflage, voire de r\u00e9sistance, ceux-ci pouvant s\u2019exprimer autant par l\u2019esth\u00e9tique des \u0153uvres que par leur mode de diffusion (projections clandestines par exemple) et leurs usages.<\/p>\n Les axes d\u2019\u00e9tude envisageables iront donc de la cr\u00e9ation\/production (place et r\u00f4le des artistes et des groupes, travail op\u00e9r\u00e9 par et sur les repr\u00e9sentations de la guerre, d\u00e9placements en tout genre) \u00e0 la r\u00e9ception (r\u00f4le des films et sens du loisir cin\u00e9matographique en contexte), en passant par la diffusion (lieux institutionnels, organisations collectives, etc.). Les cas \u00e9tudi\u00e9s pourront s\u2019\u00e9chelonner du d\u00e9but du XXe si\u00e8cle aux ann\u00e9es 2000, en passant par les ann\u00e9es 1960-1970 qui ont vu se multiplier les positionnements cin\u00e9matographiques travaillant la critique des politiques militaires men\u00e9es par les \u00c9tats, que les films \u00e9voquent directement un conflit en cours, qu\u2019ils s\u2019y r\u00e9f\u00e8rent plus implicitement ou par le biais de parall\u00e9lismes historiques. En lien avec le cin\u00e9ma, une ouverture sur des supports filmiques ou audiovisuels vari\u00e9s pourra \u00eatre propos\u00e9e. La r\u00e9flexion pourra avancer, enfin, sur un terrain plus \u00e9pist\u00e9- mologique : \u00a0comment la recherche peut-elle et doit-elle prendre en compte les variations dans la perception et l\u2019utilisation des films en contexte de guerre ?<\/p>\n BATY-DELALANDE H\u00e9l\u00e8ne et TREVISAN Carine (dir.),\u00a0Entrer en guerre<\/em>, Paris, Hermann, coll. \u00ab\u00a0Cahier Textuel\u00a0\u00bb, 2016.<\/p>\n BERTHET Fr\u00e9d\u00e9rique,\u00a0La Voix manquante<\/em>, Paris, P.O.L, 2018.<\/p>\n BERTIN-MAGHIT Jean-Pierre (dir.), Une histoire mondiale des cin\u00e9mas de propagande, Monts, Nouveau Monde \u00c9ditions, 2008.<\/p>\n BIMBENET J\u00e9r\u00f4me, Film et histoire, Paris, Armand Colin, 2007.<\/p>\n CRETON Laurent, JULLIER Laurent, MOINE Rapha\u00eblle (dir.), Le Cin\u00e9ma en situation : exp\u00e9riences et usages du film, Th\u00e9or\u00e8me, n\u00b0 15, Presses Sorbonne Nouvelle, 2012.<\/p>\n DENIS S\u00e9bastien, Le Cin\u00e9ma et la guerre d\u2019Alg\u00e9rie. La propagande \u00e0 l\u2019\u00e9cran (1945-1962), Paris, Nouveau Monde, 2009.<\/p>\n DOHERTY Thomas, Projections of War: Hollywood, American Culture and World War II, New York, Columbia University Press, 1999.<\/p>\n FERRO Marc, Cin\u00e9ma et Histoire, Paris, Gallimard, Folio Histoire, 1993 (1977).<\/p>\n GLON Emmanuelle, \u00ab Le Film comme Crime : le cas Veit Harlan \u00bb, Raisons politiques, n\u00b0 34, 2009, p. 167-189.<\/p>\n GOFFMAN Edwin, Les Cadres de l\u2019exp\u00e9rience, Paris, Minuit, 1991.<\/p>\n HALL Stuart, \u00ab Codage\/d\u00e9codage \u00bb, R\u00e9seaux, volume 12, n\u00b0 68, 1994.<\/p>\n JUAN Myriam, TREBUIL Christophe (dir.), \u00ab Publics de cin\u00e9ma. Pour une histoire des pratiques sociales \u00bb, Conserveries M\u00e9morielles, n\u00b0 12, 2012.<\/p>\n KOPPES Clayton R. et BLACK Gregory D., Hollywood Goes to War. How Politics, Profits and Propaganda Shaped World War II Movies, Berkeley\/LosAngeles, University of California Press, 1990 (1987).<\/p>\n LAGNY Mich\u00e8le, De l\u2019Histoire du cin\u00e9ma. M\u00e9thode historique et histoire du cin\u00e9ma, Paris, Armand Colin, 1992.LEVERATTO Jean-Marc, Cin\u00e9ma, spaghettis, classe ouvri\u00e8re et immigration, Paris, La Dispute, 2010.<\/p>\n LINDEPERG Sylvie, Les \u00c9crans de l\u2019ombre. La Seconde Guerre mondiale dans le cin\u00e9ma fran\u00e7ais (1944-1969), Paris, Points Histoire, 2014 (CNRS 1997).<\/p>\n MONTEBELLO Fabrice, \u00ab De la r\u00e9ception des films au cin\u00e9ma des ouvriers \u00bb, Cin\u00e9mas, 2(2-3), 1992, p. 123-147.<\/p>\n MULLER Rapha\u00ebl, WIEDER Thomas (dir.), Cin\u00e9ma et r\u00e9gimes autoritaires au XXe si\u00e8cle. \u00c9crans sous influence, Presses universitaires de France, 2008.<\/p>\n POZNER Val\u00e9rie et TCHERNEVA Irina (dir.), Le Cin\u00e9ma s\u2019en va-t-en guerre. \u00c9crans et propagande en URSS (1939-1949), revue Conserveries m\u00e9morielles, n\u00b0 24, 2020, en ligne : https:\/\/journals.openedition.org\/cm\/3710<\/a><\/p>\n PUGET Cl\u00e9ment. Verdun, le cin\u00e9ma, l\u2019\u00e9v\u00e9nement, Paris, Nouveau Monde \/ Minist\u00e8re de la D\u00e9fense, 2016.<\/p>\n RESCIGNO Anthony, \u00ab La popularit\u00e9 des films musicaux allemands en France pendant l\u2019Occupation : des salles de cin\u00e9ma aux bals interdits \u00bb, in GONIN Philippe et ROSSI J\u00e9r\u00f4me (dir.), Le Cin\u00e9ma populaire et ses musiciens, Dijon, \u00c9ditions universitaires de Dijon, 2020, p. 189-200.<\/p>\n ROBIC-DIAZ Delphine, La Guerre d\u2019Indochine dans le cin\u00e9ma fran\u00e7ais. Images d\u2019un trou de m\u00e9moire, Rennes, PUR, coll. \u00ab Histoire \u00bb, 2015.<\/p>\n SCHENK Irmbert, TR\u00d6HLER Margrit, ZIMMERMANN Yvon (dir.), Film, Kino, Zuschauer: Filmrezeption. Film, Cinema, Spectator: Film Reception, Marburg, Sch\u00fcren Verlag, 2010.<\/p>\n SLOCUM J. David (dir.), Hollywood and War. The Film Reader, New York, Routledge, 2006.<\/p>\n STAIGER Janet, Perverse Spectators: The Practices of Film Reception, New York, New York University Press, 2000.<\/p>\n V\u00c9RAY Laurent, Av\u00e8nement d\u2019une culture visuelle de guerre. Le cin\u00e9ma en France de 1914 \u00e0 1928, Nouvelles \u00c9ditions Place \/ Minist\u00e8re des arm\u00e9es, 2019.<\/p>\n Daniel Biltereyst (Universit\u00e9 de Gand), Gaspard Delon (Universit\u00e9 Paris Cit\u00e9), Val\u00e9rie Pozner (CNRS), Anthony Rescigno (Universit\u00e9 Paris<\/p>\n Cit\u00e9), Delphine Robic-Diaz (Universit\u00e9 de Tours), Laurent V\u00e9ray (Sorbonne Nouvelle)<\/p>\n \u00a0<\/p>\n Les propositions de communication (en une page en fran\u00e7ais ou en anglais, accompagn\u00e9e d\u2019une notice bio-bibliographique) sont \u00e0 envoyer d\u2019ici au 15 juillet 2023 \u00e0 <gaspard.delon@gmail.com<\/a>> et <anthony.rescigno@wordpress-test.app.u-pariscite.fr<\/a>>.<\/p>\n Les retours seront transmis d\u2019ici au 25 juillet.<\/p>\n Les communications pourront \u00eatre pr\u00e9sent\u00e9es en fran\u00e7ais ou en anglais.<\/p>\n Date de la journ\u00e9e : Lundi 11 d\u00e9cembre 2023<\/p>\n Lieu : Universit\u00e9 Paris Cit\u00e9, campus des Grands Moulins, Paris 13e<\/p>\n Laboratoire : Centre d\u2019\u00e9tudes et de recherches interdisciplinaires en Lettres, Arts et Cin\u00e9ma (CERILAC – URP 441)<\/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":" Journ\u00e9e d’\u00e9tudes organis\u00e9e par Gaspard Delon et Anthony Rescigno (CERILAC) le 11 d\u00e9cembre 2023 \u00e0 l’Universit\u00e9 Paris Cit\u00e9. <\/p>\n Pr\u00e9sentationAAC t\u00e9l\u00e9chargeableDans le cadre d\u2019un projet sur les cin\u00e9mas en \u00ab contexte sensible \u00bb, cette journ\u00e9e s\u2019int\u00e9ressera \u00e0 une situation a priori bien identifi\u00e9e, celle des guerres des XXe et XXIe si\u00e8cles, informant en profondeur… Lire la suite A\u00e0C : \u00ab\u00a0Cin\u00e9mas en contexte de guerre : cr\u00e9ation, diffusion, r\u00e9ception\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":73,"featured_media":46,"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":[1],"tags":[],"class_list":["post-3773","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cerilac"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/3773","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=3773"}],"version-history":[{"count":6,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/3773\/revisions"}],"predecessor-version":[{"id":3785,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/posts\/3773\/revisions\/3785"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media\/46"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=3773"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=3773"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=3773"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\u00a0<\/h3>\n
Indications bibliographiques<\/h3>\n
\u00a0<\/h3>\n
Comit\u00e9 scientifique\u00a0<\/h3>\n
Modalit\u00e9s d\u2019envoi et informations pratiques<\/h3>\n
\u00c0<\/span> lire aussi<\/h2>\n