{"id":5798,"date":"2016-07-22T18:03:56","date_gmt":"2016-07-22T16:03:56","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=5798"},"modified":"2019-07-22T18:04:23","modified_gmt":"2019-07-22T16:04:23","slug":"cine-dispositifs-spectacles-cinema-television-litterature","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/cine-dispositifs-spectacles-cinema-television-litterature\/","title":{"rendered":"Cin\u00e9-dispositifs. Spectacles, cin\u00e9ma, t\u00e9l\u00e9vision, litt\u00e9rature"},"content":{"rendered":"
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Le point sur les dispositifs de vision et d’audition : \u00e9pist\u00e9mologie et histoire.<\/strong><\/p>\n

<\/p>\n

Cet ouvrage discute de la notion de \u00ab\u00a0dispositif\u00a0\u00bb, de son \u00e9mergence dans le champ des \u00e9tudes cin\u00e9matographiques \u00e0 l\u2019usage plus restreint, plus technique, plus descriptif qui lui a succ\u00e9d\u00e9, et \u00e0 celui, \u00e0 l\u2019inverse, d\u2019une tout autre ampleur qu\u2019a \u00e9labor\u00e9, de son c\u00f4t\u00e9, Michel Foucault \u00e0 partir de\u00a0<\/span>Surveiller et punir<\/em>, jusqu\u2019\u00e0 son \u00ab\u00a0d\u00e9placement\u00a0\u00bb en litt\u00e9rature et dans l\u2019art (celui des installations notamment).<\/p>\n

L\u2019approche \u00ab\u00a0en dispositif\u00a0\u00bb est examin\u00e9e dans le contexte de la g\u00e9n\u00e9ralisation des nouvelles technologies num\u00e9riques et des th\u00e9ories des m\u00e9dias : loin de la rendre caduque, l’ouvrage lui assigne de se complexifier \u00e0 son tour dans ses analyses et ses m\u00e9thodes.<\/p>\n

Les quinze contributions de chercheurs internationaux, historiens, philosophes, narratologues r\u00e9unies dans ce volume \u00e9dit\u00e9 par Fran\u00e7ois Albera et Maria Tortajada (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>) proposent une r\u00e9flexion sur la question des dispositifs de vision et d\u2019audition.<\/p>\n

L\u2019ouvrage s\u2019inscrit dans le cadre des recherches men\u00e9es au Centre d’\u00e9tudes cin\u00e9matographiques (CEC)<\/a> et au Centre des sciences historiques de la culture (SHC)<\/a>. Il est paru en anglais sous le titre\u00a0<\/span>Cine-Dispositives. Essays in Epistemology Across Media <\/i><\/a>(Amsterdam, Amsterdam University Press).<\/p>\n

Fran\u00e7ois Albera, Maria Tortajada (\u00e9d.), Cin\u00e9-dispositifs. Spectacles, cin\u00e9ma, t\u00e9l\u00e9vision, litt\u00e9rature<\/em><\/a>, Lausanne, L\u2019\u00c2ge d\u2019homme, 2011.<\/p>\n<\/div><\/div>\n

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

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

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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
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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
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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
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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
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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
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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":"

Le point sur les dispositifs de vision et d’audition : \u00e9pist\u00e9mologie et histoire.<\/p>\n","protected":false},"author":1001615,"featured_media":5799,"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":[2,4,5],"tags":[1076,1374,1373,59,1698,755,70,10,1642,1659,38,1233,1159],"class_list":{"0":"post-5798","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"category-sciences-historiques","9":"category-sciences-theoriques","10":"tag-1076","11":"tag-centre-detudes-cinematographiques-cec","12":"tag-centre-des-sciences-historiques-de-la-culture-shc","13":"tag-cinema","14":"tag-dispositif-de-vision-et-audition","15":"tag-epistemologie","16":"tag-francois-albera","17":"tag-histoire","18":"tag-maria-tortajada","19":"tag-media","20":"tag-photographie","21":"tag-section-dhistoire-et-esthetique-du-cinema","22":"tag-spectacle"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/5798","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=5798"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/5798\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/5799"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=5798"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=5798"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=5798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}