{"id":5666,"date":"2013-04-01T17:41:03","date_gmt":"2013-04-01T15:41:03","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=5666"},"modified":"2019-04-01T17:41:53","modified_gmt":"2019-04-01T15:41:53","slug":"cinema-beyond-film-media-epistemology-in-the-modern-era","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/cinema-beyond-film-media-epistemology-in-the-modern-era\/","title":{"rendered":"Cinema Beyond Film. Media Epistemology in the Modern Era"},"content":{"rendered":"
\n
\u00c9tudes sur le dispositif au cin\u00e9ma.<\/strong><\/p>\n

<\/p>\n

Cet ouvrage traite de deux termes cl\u00e9s de la th\u00e9orie du cin\u00e9ma, qui trouvent leur origine dans les \u00e9crits de Michel Foucault, dispositif et \u00e9pist\u00e9m\u00e8 (\u00ab\u00a0savoir\u00a0\u00bb, \u00ab\u00a0connaissance\u00a0\u00bb), afin d’examiner leur relation ainsi que leurs liens plus larges avec le cin\u00e9ma, la technologie et la modernit\u00e9.\u00a0<\/span><\/p>\n

Le volume aborde des questions th\u00e9oriques li\u00e9es aux relations entre image et son, aux premi\u00e8res manifestations de l\u2019image en mouvement et aux nouveaux rapports entre la voix et l’utilisation du corps dans le cin\u00e9ma contemporain.<\/p>\n

Les diff\u00e9rentes \u00e9tudes r\u00e9unies dans cet ouvrage \u00e9dit\u00e9 par Fran\u00e7ois Albera et Maria Tortajada (<\/u>Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>) discutent, entre autres, de la p\u00e9riode de la fin du XIXe si\u00e8cle, avec l’exploration de discours m\u00e9dicaux li\u00e9s \u00e0 l’apparition du cin\u00e9ma; l’approche arch\u00e9ologique du voyeurisme qui deviendra l’un des concepts r\u00e9currents des \u00e9tudes cin\u00e9matographiques; l\u2019introduction des technologies audiovisuelles dans le th\u00e9\u00e2tre contemporain et la mani\u00e8re dont elles ont affect\u00e9 le corps de l\u2019acteur.<\/p>\n

Fran\u00e7ois Albera, Maria Tortajada (eds),\u00a0Cinema Beyond Film. Media Epistemology in the Modern Era<\/i><\/a><\/i>,\u00a0Amsterdam, Amsterdam University Press, 2010.<\/p>\n<\/div><\/div>\n

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

Fran\u00e7ois Albera<\/strong><\/a><\/p>\n\n\n

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

Puissances du cin\u00e9ma. \u00c9criture et parole – Espace et regard – 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

Cin\u00e9-dispositifs. Spectacles, cin\u00e9ma, t\u00e9l\u00e9vision, litt\u00e9rature<\/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

Cinema Beyond Film. Media Epistemology in the Modern Era<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n

Maria Tortajada<\/strong><\/a><\/p>\n\n\n

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\u00c9ric Rohmer\u00a0: Le spectateur s\u00e9duit. De la repr\u00e9sentation<\/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\u00e9-dispositifs. Spectacles, cin\u00e9ma, t\u00e9l\u00e9vision, litt\u00e9rature<\/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

Cinema Beyond Film. Media Epistemology in the Modern Era<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u00c9tudes sur le dispositif au cin\u00e9ma.<\/p>\n","protected":false},"author":1001615,"featured_media":5670,"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":[1076,59,1294,843,755,1660,70,8,1642,1659,38,1233,141],"class_list":{"0":"post-5666","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"tag-1076","9":"tag-cinema","10":"tag-danse","11":"tag-dispositif","12":"tag-epistemologie","13":"tag-exhibition","14":"tag-francois-albera","15":"tag-litterature","16":"tag-maria-tortajada","17":"tag-media","18":"tag-photographie","19":"tag-section-dhistoire-et-esthetique-du-cinema","20":"tag-television"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/5666","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=5666"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/5666\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/5670"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=5666"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=5666"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=5666"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}