{"id":13544,"date":"2025-03-03T09:01:05","date_gmt":"2025-03-03T08:01:05","guid":{"rendered":"https:\/\/wp.unil.ch\/labelettres\/?p=13544"},"modified":"2025-07-28T11:13:38","modified_gmt":"2025-07-28T09:13:38","slug":"celine-sciamma","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/celine-sciamma\/","title":{"rendered":"C\u00e9line Sciamma"},"content":{"rendered":"\n

Un dossier D\u00e9cadrages<\/em> consacr\u00e9 aux films de la r\u00e9alisatrice fran\u00e7aise C\u00e9line Sciamma.<\/strong><\/p>\n\n\n\n\n\n\n\n

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Ce num\u00e9ro de D\u00e9cadrages<\/em> s\u2019immerge dans l\u2019univers cin\u00e9matographique de C\u00e9line Sciamma, dont les cinq longs m\u00e9trages incarnent un engagement politique affirm\u00e9 et se distinguent par des r\u00e9cits et des repr\u00e9sentations d\u2019une tendresse bouleversante, r\u00e9v\u00e9lant des voix et des regards encore trop peu pr\u00e9sents sur nos \u00e9crans. Des \u00e9clairages nouveaux de Portrait de la jeune fille en feu<\/em>, Naissance des pieuvres<\/em>, Bande de filles<\/em>, Petite maman<\/em> et Tomboy<\/em> sont ainsi au menu de ce num\u00e9ro dirig\u00e9 par Coralie Lamotte et Achilleas Papakonstantis (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>).<\/p>\n\n\n\n

Au c\u0153ur de ce dossier, un entretien in\u00e9dit avec la cin\u00e9aste C\u00e9line Sciamma, enrichi de huit articles qui explorent les multiples facettes de son travail, parmi lesquelles les jeux d’enfants, le f\u00e9minisme, le regard ou encore la m\u00e9lancolie.<\/p>\n\n\n\n

Les articles de ce num\u00e9ro sont disponibles en version papier via le site de D\u00e9cadrages<\/a><\/em> ou en version num\u00e9rique int\u00e9grale sur OpenEdition Journals<\/a>.<\/p>\n\n\n\n

Coralie Lamotte, Achilleas Papakonstantis (dir.), C\u00e9line Sciamma<\/a><\/em>, D\u00e9cadrages. Cin\u00e9ma, \u00e0 travers champs<\/em>, n\u00b051-52, Lausanne, 2024.<\/p>\n<\/div>\n\n\n\n

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\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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TOUTES LES NOTICES DE <\/strong><\/h6>\n\n\n\n

Coralie Lamotte<\/strong><\/p>\n\n\n\n\n

\n\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

C\u00e9line Sciamma<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n\n\n\n

Achilleas Papakonstantis<\/strong><\/p>\n\n\n\n\n

\n\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

C\u00e9line Sciamma<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Godard. JE est un autre<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Abdellatif Kechiche<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n\n\n\n

D\u00e9cadrages<\/strong><\/p>\n\n\n\n\n

\n\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"2025<\/a>\n\t\t\t\t\t\t\t\t

Inach\u00e8vements<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

C\u00e9line Sciamma<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Sonimage. Les ann\u00e9es vid\u00e9o de Jean-Luc Godard et Anne-Marie Mi\u00e9ville<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Chantal Akerman<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Alexander Kluge<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Abdellatif Kechiche<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Cin\u00e9ma ethnographique<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Jeu vid\u00e9o et cin\u00e9ma<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Lionel Rogosin<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Cin\u00e9ma de re-montage<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

S\u00e9ries t\u00e9l\u00e9vis\u00e9es contemporaines<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

\u00c9ducation au cin\u00e9ma<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Ren\u00e9 Vautier<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Le doublage<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Arnaud Desplechin<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Drones, cartographie et images automatis\u00e9es<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Werner Herzog<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Cin\u00e9ma \u00e9largi<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Peter Watkins<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Autour d\u2019 \u00ab\u00a0Elephant\u00a0\u00bb de Gus Van Sant<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Les ab\u00eemes de l\u2019adaptation<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n\n\n\n
\n","protected":false},"excerpt":{"rendered":"

Un dossier D\u00e9cadrages consacr\u00e9 aux films de la r\u00e9alisatrice fran\u00e7aise C\u00e9line Sciamma.<\/p>\n","protected":false},"author":1002938,"featured_media":13545,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[2],"tags":[3692,2427,3940,59,3941,1849,566,723,1205,4093,2347,3352,1233,43],"class_list":{"0":"post-13544","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"tag-3692","9":"tag-achilleas-papakonstantis","10":"tag-celine-sciamma","11":"tag-cinema","12":"tag-coralie-lamotte","13":"tag-decadrages","14":"tag-feminisme","15":"tag-film","16":"tag-labelettres","17":"tag-lire-a-lausanne-2025","18":"tag-open-access","19":"tag-openaccess","20":"tag-section-dhistoire-et-esthetique-du-cinema","21":"tag-suisse"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/13544","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/users\/1002938"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/comments?post=13544"}],"version-history":[{"count":5,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/13544\/revisions"}],"predecessor-version":[{"id":13672,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/13544\/revisions\/13672"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/13545"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=13544"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=13544"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=13544"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}