{"id":7696,"date":"2019-11-07T14:46:50","date_gmt":"2019-11-07T13:46:50","guid":{"rendered":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/martine-beugnet-indefinite-visions-cinema-and-the-attractions-of-uncertainty\/"},"modified":"2021-12-03T11:12:50","modified_gmt":"2021-12-03T10:12:50","slug":"martine-beugnet-indefinite-visions-cinema-and-the-attractions-of-uncertainty","status":"publish","type":"post","link":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/martine-beugnet-indefinite-visions-cinema-and-the-attractions-of-uncertainty\/","title":{"rendered":"Martine Beugnet &#8211; Indefinite Visions : Cinema and the Attractions of Uncertainty"},"content":{"rendered":"<p>[et_pb_section bb_built=\u00a0\u00bb1&Prime; next_background_color=\u00a0\u00bb#000000&Prime; inner_width=\u00a0\u00bbauto\u00a0\u00bb inner_max_width=\u00a0\u00bbnone\u00a0\u00bb][et_pb_row _builder_version=\u00a0\u00bb3.19.11&Prime; 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&Prime;][et_pb_image admin_label=\u00a0\u00bbImage 1920 x 1080&Prime; 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module_id=\u00a0\u00bbcontenu\u00a0\u00bb text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93&Prime; text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93&Prime; text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93&Prime; link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93&Prime; link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93&Prime; link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93&Prime; ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93&Prime; ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93&Prime; ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93&Prime; ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93&Prime; ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93&Prime; ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93&Prime; quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93&Prime; quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93&Prime; quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93&Prime; header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93&Prime; header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93&Prime; header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93&Prime; header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93&Prime; header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93&Prime; header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93&Prime; header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93&Prime; header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93&Prime; header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93&Prime; header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93&Prime; header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93&Prime; header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93&Prime; header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93&Prime; header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93&Prime; header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93&Prime; header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93&Prime; header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93&Prime; header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93&Prime; z_index_tablet=\u00a0\u00bb500&Prime;]<\/p>\n<p>Sous la direction de Martine Beugnet, Allan Cameron, Arild Fetveit. (Edinburgh University Press, 2017).<\/p>\n<p>Cette collection d\u2019essais sur l\u2019image en mouvement s\u2019int\u00e9resse aux formes, figures et \u00e0 la politique de l\u2019incertain et de l\u2019obscur telles qu\u2019elles se manifestent dans la mat\u00e9rialit\u00e9, l\u2019\u00e9vanescence ou le flux des images de film. Mettant en \u0153uvre une diversit\u00e9 d\u2019approches historiques et th\u00e9oriques, les auteurs explorent techniques, effets et th\u00e9matiques caract\u00e9ristiques d\u2019une esth\u00e9tique de l\u2019incertitude au cin\u00e9ma.<\/p>\n<p><strong>Contributeurs<\/strong><\/p>\n<p>Emmanuelle Andr\u00e9, Universit\u00e9 Paris Diderot\u00a0; Jacques Aumont, Universit\u00e9 Sorbonne Nouvelle &#8211; Paris 3\u00a0; Erika Balsom, King\u2019s College London\u00a0; Raymond Bellour, French National Center for Scientific Research\u00a0; Martine Beugnet, Universit\u00e9 Paris 7 Diderot\u00a0; Christa Bl\u00fcmlinger, Universit\u00e9 Sorbonne Nouvelle &#8211; Paris 3\u00a0; Allan Cameron, University of Auckland\u00a0; Michel Chion, Composer, Filmmaker and Essay Writer\u00a0; Sean Cubitt, Goldsmiths, University of London\u00a0; Catherine Fowler, University of Otago\u00a0; Tom Gunning, University of Chicago\u00a0; Julian Hanich, University of Groningen\u00a0; Martin Jay, University of California, Berkley\u00a0; Kim Knowles, Aberystwyth University\u00a0; Richard Misek, University of Kent;Giusy Pisano, Ecole Nationale Sup\u00e9rieure Louis Lumi\u00e8re\u00a0; Kriss Ravetto-Biagioli, University of California, Davis\u00a0; D. N. Rodowick, University of Chicago\u00a0; Steven Shaviro, Wayne State University\u00a0; Carol Vernallis, Stanford University<\/p>\n<p><strong>Auteurs<\/strong><\/p>\n<p>ALLAN CAMERON est Ma\u00eetre de conf\u00e9rences en Media, Film et T\u00e9l\u00e9vision \u00e0 l\u2019universit\u00e9 d\u2019Auckland.<\/p>\n<p>ARID FETVEIT est Ma\u00eetre de conf\u00e9rences au d\u00e9partement de Media, Cognition et Communication de l\u2019universit\u00e9 de Copenhague.<\/p>\n<p>MARTINE BEUGNET est Professeure en \u00e9tudes visuelles \u00e0 l\u2019universit\u00e9 Paris Diderot.<\/p>\n<p>Publications r\u00e9centes :<\/p>\n<ul>\n<li><em>L\u2019attrait du flou<\/em>, Yellow Now, 2017<\/li>\n<li><em>The reflexive turn\u00a0: mediating and remediating Hollywood<\/em>, avec Jane Sillars, Screen num\u00e9ro sp\u00e9cial 58, 2017<\/li>\n<li><em>Cinema and Sensation \u2013 French Film and the Art of Transgression,<\/em> Edinburgh University Press, 2007 and 2012<\/li>\n<\/ul>\n<p>Son parcours :<\/p>\n<ul>\n<li>Depuis septembre 2012\u00a0: Professor in Visual Studies, University of Paris Diderot<\/li>\n<li>2008 &#8211; 2012\u00a0: Professor in Visual Studies, Universit\u00e9 d\u2019Edimbourg<\/li>\n<li>2005 &#8211; 2008\u00a0: Reader, Universit\u00e9 d\u2019Edimbourg<\/li>\n<li>1999 &#8211; 2005\u00a0: Lecturer (Ma\u00eetre de Conf\u00e9rences avec habilitation \u00e0 diriger des th\u00e8ses en 2002), Universit\u00e9 d\u2019Edimbourg<\/li>\n<li>1997-1999\u00a0: Lecturer, Universit\u00e9 de Northumbrie, Newcastle<\/li>\n<li>1989-1996\u00a0: Responsable du programme culturel, Institut fran\u00e7ais d\u2019Ecosse, Edimbourg<\/li>\n<\/ul>\n<p><a href=\"http:\/\/www.larca.univ-paris-diderot.fr\/membres\/enseignants-chercheurs\/article\/martine-beugnet\">&gt; Biographie compl\u00e8te de Martine Beugnet<\/a><br \/>\u00a0<\/p>\n<p>\u274c9&Prime;,\u00a0\u00bbview_mode\u00a0\u00bb:\u00a0\u00bbrte_25&Prime;,\u00a0\u00bbfields\u00a0\u00bb:{\u00ab\u00a0format\u00a0\u00bb:\u00a0\u00bbrte_25&Prime;,\u00a0\u00bbfield_file_image_alt_text[und][0][value]\u00a0\u00bb:\u00a0\u00bb Indefinite Visions Cinema and the Attractions of Uncertainty &#8211; Martine Beugnet\u00a0\u00bb,\u00a0\u00bbfield_file_image_title_text[und][0][value]\u00a0\u00bb:\u00a0\u00bbIndefinite Visions Cinema and the Attractions of Uncertainty &#8211; Martine Beugnet\u00a0\u00bb,\u00a0\u00bbfield_legend[und][0][value]\u00a0\u00bb:\u00a0\u00bb\u00a0\u00bb,\u00a0\u00bbfield_legend[und][0][format]\u00a0\u00bb:\u00a0\u00bbfull_html\u00a0\u00bb,\u00a0\u00bbmedia_title[und][0][value]\u00a0\u00bb:\u00a0\u00bbIndefinite Visions Cinema and the Attractions of Uncertainty &#8211; Martine Beugnet\u00a0\u00bb,\u00a0\u00bbmedia_description[und][0][value]\u00a0\u00bb:\u00a0\u00bb\u00a0\u00bb,\u00a0\u00bbmedia_description[und][0][format]\u00a0\u00bb:\u00a0\u00bbfull_html\u00a0\u00bb,\u00a0\u00bbfield_tags[und]\u00a0\u00bb:\u00a0\u00bbPublications\u00a0\u00bb,\u00a0\u00bbfield_license[und]\u00a0\u00bb:\u00a0\u00bbnone\u00a0\u00bb},\u00a0\u00bbtype\u00a0\u00bb:\u00a0\u00bbmedia\u00a0\u00bb,\u00a0\u00bbattributes\u00a0\u00bb:{\u00ab\u00a0alt\u00a0\u00bb:\u00a0\u00bb Indefinite Visions Cinema and the Attractions of Uncertainty &#8211; Martine Beugnet\u00a0\u00bb,\u00a0\u00bbtitle\u00a0\u00bb:\u00a0\u00bbIndefinite Visions Cinema and the Attractions of Uncertainty &#8211; Martine Beugnet\u00a0\u00bb,\u00a0\u00bbheight\u00a0\u00bb:\u00a0\u00bb375&Prime;,\u00a0\u00bbwidth\u00a0\u00bb:\u00a0\u00bb250&Prime;,\u00a0\u00bbstyle\u00a0\u00bb:\u00a0\u00bbwidth: 250px; height: 375px; margin-left: 10px; margin-right: 10px; float: left;\u00a0\u00bb,\u00a0\u00bbclass\u00a0\u00bb:\u00a0\u00bbrte-25 media-element file-rte-25&Prime;}}]]<\/p>\n<p>\u00a0<\/p>\n<p><a href=\"https:\/\/edinburghuniversitypress.com\/book-indefinite-visions.html\">Indefinite Visions : Cinema and the Attractions of Uncertainty<\/a><br \/>Edited by Martine Beugnet, Allan Cameron, Arild Fetveit<br \/>Edinburgh University Press<br \/>384 pages &#8211; \u00a317.49<br \/>Parution : 08\/2017<\/p>\n<p>[\/et_pb_text][\/et_pb_column][et_pb_column type=\u00a0\u00bb1_4&Prime;][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\u00a0\u00bb1&Prime; specialty=\u00a0\u00bboff\u00a0\u00bb prev_background_color=\u00a0\u00bb#000000&Prime; _builder_version=\u00a0\u00bb3.19.11&Prime; 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&Prime; width=\u00a0\u00bb80%\u00a0\u00bb max_width=\u00a0\u00bb1080px\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4&Prime;][et_pb_text admin_label=\u00a0\u00bbArticles similaires\u00a0\u00bb _builder_version=\u00a0\u00bb3.16.1&Prime;]<\/p>\n<h2><span class=\"st\">\u00c0<\/span> lire aussi<\/h2>\n<p>[\/et_pb_text][et_pb_blog _builder_version=\u00a0\u00bb3.21&Prime; posts_number=\u00a0\u00bb4&Prime; include_categories=\u00a0\u00bb38,45,14,12,11,15,1,13&Prime; 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&Prime; \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<div class=\"et_pb_row et_pb_row_0 et_pb_row_empty\"><\/div>\n<p> \u00a9 Tous droits r\u00e9serv\u00e9s <\/p>\n<div class=\"et_pb_row et_pb_row_1 et_pb_row_empty\"><\/div>\n<p> Sous la direction de Martine Beugnet, Allan Cameron, Arild Fetveit. (Edinburgh University Press, 2017).Cette collection d\u2019essais sur l\u2019image en mouvement s\u2019int\u00e9resse aux formes, figures et \u00e0 la politique de l\u2019incertain et de l\u2019obscur telles qu\u2019elles se manifestent dans la mat\u00e9rialit\u00e9, l\u2019\u00e9vanescence ou le flux des images de film. Mettant&hellip; <a class=\"continue\" href=\"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/martine-beugnet-indefinite-visions-cinema-and-the-attractions-of-uncertainty\/\">Lire la suite<span> Martine Beugnet &#8211; Indefinite Visions : Cinema and the Attractions of Uncertainty<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":7078,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"[et_pb_section bb_built=\"1\" next_background_color=\"#000000\"][et_pb_row _builder_version=\"3.19.11\" module_id=\"image-page-type\"][et_pb_column type=\"3_4\"][et_pb_image admin_label=\"Image 1920 x 1080\" _builder_version=\"3.19.11\" src=\"http:\/\/localhost\/wp-content\/uploads\/2019\/05\/maple-leaves-background.jpg\" module_id=\"image-page\" \/][\/et_pb_column][et_pb_column type=\"1_4\"][et_pb_text admin_label=\"Texte image\" _builder_version=\"3.16.1\" module_id=\"texte-image\" background_color=\"rgba(242,242,242,0)\" custom_margin=\"|-15px||\"]\r\n<div class=\"page\" title=\"Page 1\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\">\r\n<h4>titre texte image<\/h4>\r\ntexte image\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text admin_label=\"l\u00c8gende\" _builder_version=\"3.16.1\" module_id=\"legende\"]\r\n<div class=\"page\" title=\"Page 1\">\r\n<div class=\"layoutArea\">\r\n<div class=\"column\">\r\n\r\n\u00a9 Tous droits r\u00e9serv\u00e9s\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\"3_4\"][et_pb_text _builder_version=\"3.16.1\" module_id=\"contenu\"]\r\n\r\n<p>Sous la direction de Martine Beugnet, Allan Cameron, Arild Fetveit. (Edinburgh University Press, 2017).<\/p>\r\n\r\n<p>Cette collection d\u2019essais sur l\u2019image en mouvement s\u2019int\u00e9resse aux formes, figures et \u00e0 la politique de l\u2019incertain et de l\u2019obscur telles qu\u2019elles se manifestent dans la mat\u00e9rialit\u00e9, l\u2019\u00e9vanescence ou le flux des images de film. Mettant en \u0153uvre une diversit\u00e9 d\u2019approches historiques et th\u00e9oriques, les auteurs explorent techniques, effets et th\u00e9matiques caract\u00e9ristiques d\u2019une esth\u00e9tique de l\u2019incertitude au cin\u00e9ma.<\/p>\r\n\r\n<p><br>\r\n\t<strong>Contributeurs<\/strong><br>\r\n\t<br>\r\n\tEmmanuelle Andr\u00e9, Universit\u00e9 Paris Diderot\u00a0; Jacques Aumont, Universit\u00e9 Sorbonne Nouvelle - Paris 3\u00a0; Erika Balsom, King\u2019s College London\u00a0; Raymond Bellour, French National Center for Scientific Research\u00a0; Martine Beugnet, Universit\u00e9 Paris 7 Diderot\u00a0; Christa Bl\u00fcmlinger, Universit\u00e9 Sorbonne Nouvelle - Paris 3\u00a0; Allan Cameron, University of Auckland\u00a0; Michel Chion, Composer, Filmmaker and Essay Writer\u00a0; Sean Cubitt, Goldsmiths, University of London\u00a0; Catherine Fowler, University of Otago\u00a0; Tom Gunning, University of Chicago\u00a0; Julian Hanich, University of Groningen\u00a0; Martin Jay, University of California, Berkley\u00a0; Kim Knowles, Aberystwyth University\u00a0; Richard Misek, University of Kent;Giusy Pisano, Ecole Nationale Sup\u00e9rieure Louis Lumi\u00e8re\u00a0; Kriss Ravetto-Biagioli, University of California, Davis\u00a0; D. N. Rodowick, University of Chicago\u00a0; Steven Shaviro, Wayne State University\u00a0; Carol Vernallis, Stanford University<\/p>\r\n\r\n<p><br>\r\n\t<strong>Auteurs<\/strong><br>\r\n\t<br>\r\n\tALLAN CAMERON est Ma\u00eetre de conf\u00e9rences en Media, Film et T\u00e9l\u00e9vision \u00e0 l\u2019universit\u00e9 d\u2019Auckland.<\/p>\r\n\r\n<p>ARID FETVEIT est Ma\u00eetre de conf\u00e9rences au d\u00e9partement de Media, Cognition et Communication de l\u2019universit\u00e9 de Copenhague.<\/p>\r\n\r\n<p>MARTINE BEUGNET est Professeure en \u00e9tudes visuelles \u00e0 l\u2019universit\u00e9 Paris Diderot.<\/p>\r\n\r\n<p>Publications r\u00e9centes :<\/p>\r\n\r\n<ul>\r\n\t<li><em>L\u2019attrait du flou<\/em>, Yellow Now, 2017<\/li>\r\n\t<li><em>The reflexive turn\u00a0: mediating and remediating Hollywood<\/em>, avec Jane Sillars, Screen num\u00e9ro sp\u00e9cial 58, 2017<\/li>\r\n\t<li><em>Cinema and Sensation \u2013 French Film and the Art of Transgression,<\/em> Edinburgh University Press, 2007 and 2012<\/li>\r\n<\/ul>\r\n\r\n<p>Son parcours :<\/p>\r\n\r\n<ul>\r\n\t<li>Depuis septembre 2012\u00a0: Professor in Visual Studies, University of Paris Diderot<\/li>\r\n\t<li>2008 - 2012\u00a0: Professor in Visual Studies, Universit\u00e9 d\u2019Edimbourg<\/li>\r\n\t<li>2005 - 2008\u00a0: Reader, Universit\u00e9 d\u2019Edimbourg<\/li>\r\n\t<li>1999 - 2005\u00a0: Lecturer (Ma\u00eetre de Conf\u00e9rences avec habilitation \u00e0 diriger des th\u00e8ses en 2002), Universit\u00e9 d\u2019Edimbourg<\/li>\r\n\t<li>1997-1999\u00a0: Lecturer, Universit\u00e9 de Northumbrie, Newcastle<\/li>\r\n\t<li>1989-1996\u00a0: Responsable du programme culturel, Institut fran\u00e7ais d\u2019Ecosse, Edimbourg<\/li>\r\n<\/ul>\r\n\r\n<p><br>\r\n\t<a href=\"http:\/\/www.larca.univ-paris-diderot.fr\/membres\/enseignants-chercheurs\/article\/martine-beugnet\">> Biographie compl\u00e8te de Martine Beugnet<\/a><br>\r\n\t\u00a0<\/p>\r\n\r\n<p>\u274c9\",\"view_mode\":\"rte_25\",\"fields\":{\"format\":\"rte_25\",\"field_file_image_alt_text[und][0][value]\":\" Indefinite Visions Cinema and the Attractions of Uncertainty - Martine Beugnet\",\"field_file_image_title_text[und][0][value]\":\"Indefinite Visions Cinema and the Attractions of Uncertainty - Martine Beugnet\",\"field_legend[und][0][value]\":\"\",\"field_legend[und][0][format]\":\"full_html\",\"media_title[und][0][value]\":\"Indefinite Visions Cinema and the Attractions of Uncertainty - Martine Beugnet\",\"media_description[und][0][value]\":\"\",\"media_description[und][0][format]\":\"full_html\",\"field_tags[und]\":\"Publications\",\"field_license[und]\":\"none\"},\"type\":\"media\",\"attributes\":{\"alt\":\" Indefinite Visions Cinema and the Attractions of Uncertainty - Martine Beugnet\",\"title\":\"Indefinite Visions Cinema and the Attractions of Uncertainty - Martine Beugnet\",\"height\":\"375\",\"width\":\"250\",\"style\":\"width: 250px; height: 375px; margin-left: 10px; margin-right: 10px; float: left;\",\"class\":\"rte-25 media-element file-rte-25\"}}]]<\/p>\r\n\r\n<p>\u00a0<\/p>\r\n\r\n<p>\u00a0<\/p>\r\n\r\n<p>\u00a0<\/p>\r\n\r\n<p>\u00a0<\/p>\r\n\r\n<p>\u00a0<\/p>\r\n\r\n<p>\u00a0<\/p>\r\n\r\n<p>\u00a0<\/p>\r\n\r\n<p>\u00a0<\/p>\r\n\r\n<h3><a href=\"https:\/\/edinburghuniversitypress.com\/book-indefinite-visions.html\">Indefinite Visions : Cinema and the Attractions of Uncertainty<\/a><br>\r\n\tEdited by Martine Beugnet, Allan Cameron, Arild Fetveit<br>\r\n\tEdinburgh University Press<br>\r\n\t384 pages - \u00a317.49<br>\r\n\tParution : 08\/2017<\/h3>\r\n\r\n[\/et_pb_text][\/et_pb_column][et_pb_column type=\"1_4\"][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\"1\" specialty=\"off\" prev_background_color=\"#000000\" _builder_version=\"3.19.11\" custom_padding=\"0px||0px|\"][et_pb_row _builder_version=\"3.19.11\"][et_pb_column type=\"4_4\"][et_pb_text admin_label=\"Articles similaires\" _builder_version=\"3.16.1\"]\r\n<h2><span class=\"st\">\u00c0<\/span> lire aussi<\/h2>\r\n[\/et_pb_text][et_pb_blog _builder_version=\"3.21\" posts_number=\"4\" include_categories=\"38,45,14,12,11,15,1,13\" show_author=\"off\" show_date=\"off\" show_pagination=\"off\" border_width_bottom_fullwidth=\"1px\" border_color_bottom_fullwidth=\"rgba(51,51,51,0.18)\" custom_padding=\"||50px|\" module_id=\"page_type_blog\" header_level=\"h4\" \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]","_et_gb_content_width":"","footnotes":""},"categories":[1,37],"tags":[26],"class_list":["post-7696","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-etudes-anglophones","category-publication","tag-bandeau-actualite"],"_links":{"self":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/posts\/7696","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/comments?post=7696"}],"version-history":[{"count":4,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/posts\/7696\/revisions"}],"predecessor-version":[{"id":9774,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/posts\/7696\/revisions\/9774"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/media\/7078"}],"wp:attachment":[{"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/media?parent=7696"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/categories?post=7696"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wordpress-test.app.u-pariscite.fr\/etudes-anglophones\/wp-json\/wp\/v2\/tags?post=7696"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}