{"id":4726,"date":"2018-11-26T09:01:37","date_gmt":"2018-11-26T08:01:37","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=4726"},"modified":"2019-01-10T16:27:11","modified_gmt":"2019-01-10T15:27:11","slug":"corporeality-in-early-cinema-viscera-skin-and-physical-form","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/corporeality-in-early-cinema-viscera-skin-and-physical-form\/","title":{"rendered":"Corporeality in Early Cinema : Viscera, Skin, and Physical Form"},"content":{"rendered":"
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Comment le cin\u00e9ma renouvelle-t-il le corps, ses repr\u00e9sentations, ses perceptions\u00a0?<\/strong><\/p>\n

<\/p>\n

Ce livre consacr\u00e9 aux liens entre le cin\u00e9ma des premiers temps et le corps r\u00e9v\u00e8le combien la culture cin\u00e9matographique \u00e9mergente, et toutes les pratiques de l’\u00e9cran autour de 1900, \u00e9taient fondamentalement \u00ab\u00a0incarn\u00e9es\u00a0\u00bb.\u00a0Les contributeurs arguent que sur et autour de l’\u00e9cran (ainsi que dans tous les m\u00e9dias et constellations technologiques associ\u00e9es), les corps ne renvoyaient pas simplement \u00e0 un spectateur abstrait ou \u00e0 un public collectif d’ordre statistique : ils \u00e9taient bel et bien faits de chair et d’os.\u00a0Allant de l’excitation au d\u00e9go\u00fbt, de l’identification au d\u00e9tachement, les r\u00e9actions du premier public de cin\u00e9ma nous offrent un moyen de comprendre ce que les spectateurs ont toujours retir\u00e9 de leur exp\u00e9rience filmique.<\/p>\n

Cet ouvrage, codirig\u00e9 par Valentine Robert (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>), propose de nombreux mod\u00e8les, tant th\u00e9oriques qu’analytiques, pour servir la recherche historique sur cette pr\u00e9sence du corps au cin\u00e9ma, en explorant les corps film\u00e9s, le seuil de leur m\u00e9canisation, et leurs connexions aux corps physiques devant l’\u00e9cran.<\/p>\n

Marina Dahlquist, Doron Galili, Jan Olsson, Valentine Robert (dir.), Corporeality in Early Cinema : Viscera, Skin, and Physical Form<\/em><\/a>, Bloomington, Indiana University Press, 2018.<\/p>\n<\/div><\/div>\n

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

Valentine Robert<\/strong><\/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

La r\u00e9appropriation des images dans l\u2019art et les m\u00e9dias contemporains<\/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

Crafts, Trades, and Techniques of Early Cinema<\/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

Corporeality in Early Cinema : Viscera, Skin, and Physical Form<\/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 film sur l’art : entre histoire de l’art et documentaire de cr\u00e9ation<\/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

J\u00e9sus en repr\u00e9sentations. De la Belle \u00c9poque \u00e0 la postmodernit\u00e9<\/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

Points de vue sur J\u00e9sus au XXe si\u00e8cle<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

Comment le cin\u00e9ma renouvelle-t-il le corps, ses repr\u00e9sentations, ses perceptions\u00a0?<\/p>\n","protected":false},"author":1001615,"featured_media":4729,"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":[1342,59,268,843,1205,1314,1344,724,942,1343,1330,1233,1156,497],"class_list":{"0":"post-4726","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-acteur","10":"tag-cinema","11":"tag-corps","12":"tag-dispositif","13":"tag-labelettres","14":"tag-newsletter-3","15":"tag-nudite","16":"tag-performance","17":"tag-physique","18":"tag-public","19":"tag-representation","20":"tag-section-dhistoire-et-esthetique-du-cinema","21":"tag-spectateur","22":"tag-valentine-robert"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/4726","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=4726"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/4726\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/4729"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=4726"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=4726"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=4726"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}