{"id":3221,"date":"2018-04-24T16:11:20","date_gmt":"2018-04-24T14:11:20","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=3221"},"modified":"2019-01-10T16:28:39","modified_gmt":"2019-01-10T15:28:39","slug":"la-circulation-des-images-cinema-photographie-et-nouveaux-medias-die-zirkulation-der-bilder-film-fotografie-und-neue-medien","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/la-circulation-des-images-cinema-photographie-et-nouveaux-medias-die-zirkulation-der-bilder-film-fotografie-und-neue-medien\/","title":{"rendered":"La Circulation des images : cin\u00e9ma, photographie et nouveaux m\u00e9dias \/ Die Zirkulation der Bilder : Film, Fotografie und neue Medien"},"content":{"rendered":"
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Comment circulent les images \u00e0 l’\u00e8re moderne et post-moderne ?<\/strong><\/p>\n

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R\u00e9dig\u00e9 enti\u00e8rement par des doctorant\u00b7e\u00b7s, cet ouvrage examine une multitude d\u2019images en circulation, allant des photographies aux films, en passant par des personnages fictionnels multim\u00e9dia. Il offre l\u2019occasion de saisir le concept m\u00eame de \u00ab\u00a0circulation des images\u00a0\u00bb dans une perspective historique et d\u2019\u00e9valuer la pr\u00e9tendue nouveaut\u00e9 des ph\u00e9nom\u00e8nes de circulation, montrant par exemple que les m\u00e9dias num\u00e9riques g\u00e9n\u00e8rent moins des nouveaux flux de circulation qu\u2019ils ne les rendent surtout impr\u00e9visibles, difficiles \u00e0 contr\u00f4ler.<\/p>\n

Cet ouvrage bilingue, \u00e9dit\u00e9 par Mireille Berton (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>), Charlotte Bouchez et Susie Trenka, est le r\u00e9sultat d\u2019une r\u00e9flexion collective men\u00e9e au sein du programme doctoral national suisse \u00ab\u00a0Dispositifs de vision : cin\u00e9ma, photographie et autres m\u00e9dias\u00a0\u00bb<\/a> de l\u2019Universit\u00e9 de Lausanne (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>) et de l\u2019Universit\u00e9 de Zurich (Seminar f\u00fcr Filmwissenschaft). Ce programme a comme principe d’aborder le cin\u00e9ma, la photographie et les m\u00e9dias \u00e0 travers leur constitution en dispositifs<\/em>.<\/p>\n

Mireille Berton, Charlotte Bouchez, Susie Trenka (\u00c9d.\/Hg.), La Circulation des images : cin\u00e9ma, photographie et nouveaux m\u00e9dias \/ Die Zirkulation der Bilder : Film, Fotografie und neue Medien<\/em><\/a>, Marburg, Sch\u00fcren Verlag, Reihe\/Collection R\u00e9seau\/Netzwerk Cinema CH, 2018.<\/i><\/p>\n<\/div><\/div>\n

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TOUTES LES NOTICES DE<\/strong><\/h6>\n

Mireille Berton<\/b><\/a><\/p>\n\n\n

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

L’outre-humain. Automates, performances m\u00e9caniques et cultures spectaculaires<\/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\"2025<\/a>\n\t\t\t\t\t\t\t\t

Spectatrices du cin\u00e9ma. Aux origines d’un imaginaire<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
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Le m\u00e9dium (au) cin\u00e9ma. Le spiritisme \u00e0 l\u2019\u00e9cran<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
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Cinema, sogno e allucinazione dalle origini agli anni venti<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
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La Circulation des images : cin\u00e9ma, photographie et nouveaux m\u00e9dias \/ Die Zirkulation der Bilder : Film, Fotografie und neue Medien<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
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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
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Le Corps nerveux des spectateurs. Cin\u00e9ma et sciences du psychisme autour de 1900<\/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

La t\u00e9l\u00e9vision du T\u00e9l\u00e9phonoscope \u00e0 YouTube. Pour une arch\u00e9ologie de l\u2019audiovision<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

Comment circulent les images \u00e0 l’\u00e8re moderne et post-moderne ?<\/p>\n","protected":false},"author":1001615,"featured_media":3222,"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":[59,762,844,843,755,842,723,10,846,840,847,841,38,845,172,1233],"class_list":{"0":"post-3221","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"tag-cinema","9":"tag-circulation","10":"tag-diffusion","11":"tag-dispositif","12":"tag-epistemologie","13":"tag-exposition","14":"tag-film","15":"tag-histoire","16":"tag-internet","17":"tag-mage","18":"tag-mireille-berton","19":"tag-nouveaux-medias","20":"tag-photographie","21":"tag-production","22":"tag-reception","23":"tag-section-dhistoire-et-esthetique-du-cinema"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/3221","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\/1001615"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/comments?post=3221"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/3221\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/3222"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=3221"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=3221"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=3221"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}