{"id":7107,"date":"2019-12-16T15:33:13","date_gmt":"2019-12-16T14:33:13","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=7107"},"modified":"2019-12-16T15:51:19","modified_gmt":"2019-12-16T14:51:19","slug":"medium-format-configuration-the-displacements-of-film","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/medium-format-configuration-the-displacements-of-film\/","title":{"rendered":"Medium, Format, Configuration: The Displacements of Film"},"content":{"rendered":"
\n
Pour une g\u00e9opolitique des m\u00e9dias.<\/strong><\/p>\n

Les \u00e9tudes cin\u00e9matographiques puis la culture num\u00e9rique ont construit l’id\u00e9e qu’un m\u00e9dium constitue un vaste ensemble homog\u00e8ne, ontologiquement coh\u00e9rent, non localis\u00e9. Or ces entit\u00e9s abstraites ne permettent pas de comprendre la mani\u00e8re concr\u00e8te dont les images et les sons circulent dans et entre les soci\u00e9t\u00e9s et dont ils sont produits par diff\u00e9rentes cultures, dans des espaces historiques, g\u00e9ographiques et environnementaux pr\u00e9cis.<\/p>\n

Les m\u00e9dias, en fait, n’ont d’existence que structur\u00e9s par des formats, des standards, des normes, et donc des \u00ab\u00a0r\u00e9seaux techniques\u00a0\u00bb (Simondon). Ceux-ci ont toujours structur\u00e9 l’espace m\u00e9diatique de mani\u00e8re rigide. Si les outils num\u00e9riques semblent avoir boulevers\u00e9 cette structure, ils en ont en fait prolong\u00e9 de plusieurs mani\u00e8res les hi\u00e9rarchies \u2013 coloniales notamment.<\/p>\n

Issu du projet \u00c9pist\u00e9mologie des m\u00e9dias num\u00e9riques<\/a> au sein de la Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>, cet ouvrage de Beno\u00eet Turquety (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>, Centre d’\u00e9tudes cin\u00e9matographiques<\/a>) s’inscrit dans les travaux du Groupe de recherches Dispositifs<\/a>.\u00a0Le volume est accessible en int\u00e9gralit\u00e9 en Open Access ici<\/a>.<\/p>\n

Beno\u00eet Turquety, Medium, Format, Configuration: The Displacements of Film<\/em><\/a>, L\u00fcneburg, Meson Press, 2019.
\n<\/div><\/div>\n

\"\"<\/div><\/div>\n<\/div>\n
Aller en haut<\/a><\/div>\n
TOUTES LES NOTICES DE<\/strong><\/h6>\n

Beno\u00eet Turquety<\/a><\/strong><\/p>\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\"\"<\/a>\n\t\t\t\t\t\t\t\t

Politiques de la technicit\u00e9. Corps, monde et m\u00e9dias avec Gilbert Simondon<\/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 \u00ab Direct \u00bb et le num\u00e9rique. Techniques et politiques des m\u00e9dias d\u00e9centralis\u00e9s<\/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

Techniques et machines de cin\u00e9ma, objets, gestes, discours<\/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

Des avant-derni\u00e8res machines. Cin\u00e9ma, techniques, histoire<\/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

Dani\u00e8le Huillet, Jean-Marie Straub: \u00ab\u00a0Objectivists\u00a0\u00bb in 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

Medium, Format, Configuration: The Displacements of Film<\/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

Inventing Cinema: Machines, Gestures and Media History<\/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

Des je (prononc\u00e9 yeux) \/ Apr\u00e8s des je<\/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

L’amateur en cin\u00e9ma. Un autre paradigme<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

Pour une g\u00e9opolitique des m\u00e9dias.<\/p>\n","protected":false},"author":1001615,"featured_media":7111,"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":[1647,1374,1373,2091,2090,11,2089,1233,549],"class_list":{"0":"post-7107","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"tag-benoit-turquety","9":"tag-centre-detudes-cinematographiques-cec","10":"tag-centre-des-sciences-historiques-de-la-culture-shc","11":"tag-cinema-numerique","12":"tag-format","13":"tag-medias","14":"tag-newsletter-15","15":"tag-section-dhistoire-et-esthetique-du-cinema","16":"tag-technologie"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/7107","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=7107"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/7107\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/7111"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=7107"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=7107"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=7107"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}