{"id":8315,"date":"2012-11-01T09:57:31","date_gmt":"2012-11-01T08:57:31","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=8315"},"modified":"2020-07-01T09:57:41","modified_gmt":"2020-07-01T07:57:41","slug":"cinema-elargi","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/cinema-elargi\/","title":{"rendered":"Cin\u00e9ma \u00e9largi"},"content":{"rendered":"
\n
Qu’est-ce que le cin\u00e9ma \u00e9largi?<\/strong><\/p>\n

<\/p>\n

Le dossier de ce num\u00e9ro de\u00a0D\u00e9cadrages<\/em>,\u00a0revue\u00a0associ\u00e9e \u00e0 la\u00a0Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>\u00a0de la Facult\u00e9 des lettres,\u00a0<\/span>est consacr\u00e9 au ph\u00e9nom\u00e8ne du cin\u00e9ma \u00e9largi, pratique interm\u00e9diatique par excellence. Il\u00a0s\u2019attache \u00e0 circonscrire les principaux dispositifs \u00e0 travers lesquels se d\u00e9ploie ces manifestations, depuis les ann\u00e9es 1960 jusqu\u2019\u00e0 la p\u00e9riode contemporaine.<\/p>\n

Soulignant l\u2019h\u00e9t\u00e9rog\u00e9n\u00e9it\u00e9 du cin\u00e9ma \u00e9largi, qui met en crise l\u2019id\u00e9ologie moderniste de la sp\u00e9cificit\u00e9 des supports d\u2019expression, les \u00e9tudes r\u00e9unies dans ce num\u00e9ro,\u00a0codirig\u00e9 par Fran\u00e7ois Bovier (Section d’histoire et esth\u00e9tique du cin\u00e9ma<\/a>), se concentrent sur des \u00e9tudes de cas, mettant en \u00e9vidence l\u2019hybridation du cin\u00e9ma avec la sc\u00e8ne musicale underground<\/em> (les performances de l\u2019Exploding Plastic Inevitable de Warhol, la manifestation itin\u00e9rante \u00ab\u00a0Underground Explosion\u00a0\u00bb), le happening<\/em> ou les events<\/em> (autour de Fluxus), l\u2019art contemporain (\u00e0 travers les \u0153uvres de Barba, Borinski et Maljkovic), la conf\u00e9rence illustr\u00e9e (par le biais de Frampton) ou encore la photographie (ou plut\u00f4t l\u2019absence d\u2019une prise en compte de la \u00ab\u00a0paraphotographie\u00a0\u00bb dans les \u00e9tudes photographiques).<\/p>\n

Les articles sont\u00a0disponibles en int\u00e9gralit\u00e9 en libre acc\u00e8s sur OpenEditionJournals<\/a>.<\/p>\n

Fran\u00e7ois Bovier, Adeena Mey (\u00e9ds.),\u00a0Cin\u00e9ma \u00e9largi<\/span><\/em><\/a>,\u00a0D\u00e9cadrages. Cin\u00e9ma, \u00e0 travers champs<\/em>, n\u00b021-22, hiver 2012.<\/p>\n<\/div><\/div>\n

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

Fran\u00e7ois Bovier<\/strong><\/a><\/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

Sonimage. Les ann\u00e9es vid\u00e9o de Jean-Luc Godard et Anne-Marie Mi\u00e9ville<\/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

Chantal Akerman<\/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

Alexander Kluge<\/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

Minor Cinema. Experimental Film in Switzerland<\/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\u00e9ma ethnographique<\/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

Early Video Art and Experimental Films Networks<\/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

Happenings & Events. \u00ab\u00a0Tulane Drama Review\u00a0\u00bb hiver 1965<\/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\u00e9ma de re-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

Ren\u00e9 Vautier<\/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

Ren\u00e9 Berger: L’art vid\u00e9o<\/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\u00e9ma \u00e9largi<\/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

Peter Watkins<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n

D\u00e9cadrages<\/strong><\/a><\/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\"2025<\/a>\n\t\t\t\t\t\t\t\t

Inach\u00e8vements<\/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

C\u00e9line Sciamma<\/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

Sonimage. Les ann\u00e9es vid\u00e9o de Jean-Luc Godard et Anne-Marie Mi\u00e9ville<\/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

Chantal Akerman<\/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

Alexander Kluge<\/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

Abdellatif Kechiche<\/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\u00e9ma ethnographique<\/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

Jeu vid\u00e9o et cin\u00e9ma<\/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

Lionel Rogosin<\/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\u00e9ma de re-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

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

\u00c9ducation au cin\u00e9ma<\/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

Ren\u00e9 Vautier<\/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 doublage<\/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

Arnaud Desplechin<\/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

Drones, cartographie et images automatis\u00e9es<\/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

Werner Herzog<\/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\u00e9ma \u00e9largi<\/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

Peter Watkins<\/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

Autour d\u2019 \u00ab\u00a0Elephant\u00a0\u00bb de Gus Van Sant<\/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

Les ab\u00eemes de l\u2019adaptation<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

Qu’est-ce que le cin\u00e9ma \u00e9largi?<\/p>\n","protected":false},"author":1001615,"featured_media":8320,"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":[1374,1849,106,2347,1233],"class_list":{"0":"post-8315","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"tag-centre-detudes-cinematographiques-cec","9":"tag-decadrages","10":"tag-francois-bovier","11":"tag-open-access","12":"tag-section-dhistoire-et-esthetique-du-cinema"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/8315","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=8315"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/8315\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/8320"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=8315"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=8315"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=8315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}