{"id":15435,"date":"2025-09-03T14:29:32","date_gmt":"2025-09-03T12:29:32","guid":{"rendered":"https:\/\/wp.unil.ch\/labelettres\/?p=15435"},"modified":"2025-09-03T14:29:35","modified_gmt":"2025-09-03T12:29:35","slug":"inachevements","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/inachevements\/","title":{"rendered":"Inach\u00e8vements"},"content":{"rendered":"\n

Un dossier D\u00e9cadrages<\/em> consacr\u00e9 \u00e0 des<\/strong> \u00e9tudes de cas portant sur des films et objets m\u00e9diatiques inachev\u00e9s<\/strong>.<\/p>\n\n\n\n\n\n\n\n

\n
\n

Le dossier du num\u00e9ro 53-54 de la revue D\u00e9cadrages. Cin\u00e9ma, \u00e0 travers champs<\/em>, dirig\u00e9 par No\u00e9 Maggetti (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a> et Centre d’\u00e9tudes cin\u00e9matographiques<\/a>), se penche sur la probl\u00e9matique de l\u2019inach\u00e8vement. Films partiellement tourn\u00e9s et abandonn\u00e9s pendant le tournage, projets demeur\u00e9s \u00e0 l\u2019\u00e9tat de sc\u00e9narios, de notes d\u2019intention ou de continuit\u00e9s dialogu\u00e9es, s\u00e9ries interrompues en cours de production ou encore univers di\u00e9g\u00e9tiques repr\u00e9sent\u00e9s de mani\u00e8re partielle constituent autant de cas de figure possibles, qui appellent chacun leur d\u00e9finition du concept. Les \u00e9tudes de cas r\u00e9unies ici refl\u00e8tent cette diversit\u00e9, avec le commentaire d\u2019\u0153uvres inachev\u00e9es de cin\u00e9astes comme Ra\u00fal Ruiz, Hollis Frampton, Federico Fellini, Mirentxu Loyarte et Michel Soutter, mais aussi une ouverture \u00e0 d\u2019autres m\u00e9dias, comme le jeu vid\u00e9o, la t\u00e9l\u00e9vision et la litt\u00e9rature. <\/p>\n\n\n\n

Le num\u00e9ro propose \u00e9galement une rubrique suisse, dirig\u00e9e par Chlo\u00e9 Hofmann (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a> et Centre d’\u00e9tudes cin\u00e9matographiques<\/a>) et Sylvain Portmann (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a> et Centre d’\u00e9tudes cin\u00e9matographiques<\/a>), qui s’int\u00e9resse \u00e0 l’histoire et \u00e0 l’actualit\u00e9 du cin\u00e9ma helv\u00e9tique. Parmi les chapitres, on peut citer, par exemple, un entretien avec Joanne Giger sur le m\u00e9tier de sc\u00e9nariste et un autre avec Antonin Niclass sur le film d’animation.<\/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

No\u00e9 Maggetti (dir.), Inach\u00e8vements<\/em>, D\u00e9cadrages. Cin\u00e9ma, \u00e0 travers champs<\/em><\/a>, n\u00b053-54, Lausanne, 2025.<\/p>\n<\/div>\n\n\n\n

\n
\"De\u0301cadrages<\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n
TOUTES LES NOTICES DE<\/strong><\/h6>\n\n\n\n

No\u00e9 Maggetti<\/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\n<\/div>\n\n\n\n\n

Chlo\u00e9 Hofmann<\/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

Gis\u00e8le Ansorge, la cam\u00e9ra, le pinceau et la plume<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n\n\n\n

Sylvain Portmann<\/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

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

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

Werner Herzog<\/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 \u00e0 des \u00e9tudes de cas portant sur des films et objets m\u00e9diatiques inachev\u00e9s.<\/p>\n","protected":false},"author":1002938,"featured_media":15436,"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":[2,4],"tags":[3918,3838,3847,59,1849,4127,4130,723,2424,4128,4125,1205,4093,11,4131,4126,4129,1233,1232],"class_list":{"0":"post-15435","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"category-sciences-historiques","9":"tag-3918","10":"tag-centre-detudes-cinematographiques","11":"tag-chloe-hofmann","12":"tag-cinema","13":"tag-decadrages","14":"tag-etudes-de-cas","15":"tag-federico-fellini","16":"tag-film","17":"tag-films","18":"tag-hollis-frampton","19":"tag-inachevement","20":"tag-labelettres","21":"tag-lire-a-lausanne-2025","22":"tag-medias","23":"tag-mirentxu-loyarte-et-michel-soutter","24":"tag-noe-maggetti","25":"tag-raul-ruiz","26":"tag-section-dhistoire-et-esthetique-du-cinema","27":"tag-sylvain-portmann"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/15435","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=15435"}],"version-history":[{"count":5,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/15435\/revisions"}],"predecessor-version":[{"id":15468,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/15435\/revisions\/15468"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/15436"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=15435"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=15435"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=15435"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}