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<TitleText textcase="01">From &#60;i&#62;Ciné-goûters&#60;/i&#62; to Screenings for Cinephilie</TitleText> 
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<BiographicalNote textformat="02" language="fre">&#60;p&#62;Giusy Pisano est professeure des Universités à l'ENS Louis Lumière et directrice de recherche à l'Université Sorbonne Nouvelle Paris 3/IRCAV. Parmi ses dernières publications : &#60;em&#62;Magie numérique&#60;/em&#62;, codirection avec M. Almiron et S. Bazou, Presses universitaires du Septentrion, Villeneuve-d&#8217;Ascq, 2020, &#60;em&#62;Le Panorama, un art trompeur&#60;/em&#62;, codirection avec J.-R. Bouiller, S. Le Men, L. Madeline, Presses universitaires du Septentrion, Villeneuve-d&#8217;Ascq, 2019, &#60;em&#62;Dispositifs sonores : corps, scènes, atmosphère&#60;/em&#62;, codirection avec J.-M. Larrue et J.-P. Quéinnec, Presses universitaires de Montréal, 2019, &#60;em&#62;Stéréoscopie et illusion&#60;/em&#62;, codirection avec M. Almiron, E. Jacopin, Presses universitaires du Septentrion, Villeneuve-d&#8217;Ascq, 2018, &#60;em&#62;Machines. Magie. Médias&#60;/em&#62;, codirection avec F. Kessler, J.-M. Larrue, Presses universitaires du Septentrion/Cerisy, Villeneuve-d&#8217;Ascq, 2018, &#60;em&#62;Le Triomphe de la scène intermédiale&#60;/em&#62;, codirection avec J.-M. Larrue, Montréal, Presses universitaires de Montréal, 2017, etc. Elle a dirigé les projets de recherche : &#60;em&#62;Exporter et soutenir le cinéma dans le contexte des films dans le contexte des Instituts français et des Alliances françaises&#60;/em&#62; (2017-2019), &#60;em&#62;Les arts trompeurs. Machines. Magie. Médias&#60;/em&#62; (2015-2018), &#60;em&#62;Mise en scène théâtrale et dispositifs sonores et visuels&#60;/em&#62; (2011-2014). Elle participe aux programmes internationaux : TECHNES et BEAUVIATECH. Elle prépare actuellement le projet An Aesthetics of Sound in Sub-Saharan African Cinema.&#60;br /&#62;  &#60;/p&#62;</BiographicalNote> 
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<PersonName>Sophia Kornitsky</PersonName> 
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<SubjectHeadingText>Institut français; Alliance française; diplomatie culturelle; cinéma; cinéphilie; film francophone; histoire du cinéma; diplomatie culturelle française; film; projection; diffusion cinéma; économie industrie culturelle; histoire culturelle; diplomatie; diversité culturelle</SubjectHeadingText>
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<Text textformat="02" language="fre">&#60;p&#62;Though the number of works on cultural diplomacy is in general quite substantial, very few concern the production and distribution of films. The cinemas established by French cultural institutions are likewise virtually absent from many studies on the history of cinema, and notably from those on its theaters. By analyzing the distribution systems of French and world cinema which promote local production, and their audiences, all the analyses presented in the book establish an initial assessment on the life of cinemas belonging to the Instituts français and the Alliances françaises. First spaces of French culture's unilateral influence, then windows onto "cultural diversity," the history of these theaters is certainly complex. We preferred to approach it and render it with all of its contradictions.&#60;/p&#62;</Text>
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<Text language="fre">In the book establish an initial assessment on the life of cinemas belonging to the &#60;i&#62;Instituts français&#60;/i&#62; and the &#60;i&#62;Alliances françaises&#60;/i&#62;.</Text>
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<Text language="eng">In the book establish an initial assessment on the life of cinemas belonging to the Instituts français and the Alliances françaises.</Text>
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<Text textformat="02">&#60;p&#62;Theaters of Shadow&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Giusy Pisano&#60;/em&#62;&#60;/p&#62;
&#60;p align="center"&#62;&#60;strong&#62;French Cultural diplomacy and influence in the field of cinema&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;French cultural activities in the world: 150 years of experience&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;François Chaubet&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Cinema in the projection rooms of the &#60;em&#62;Instituts français &#60;/em&#62;and &#60;em&#62;Alliances françaises&#60;/em&#62;&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Département cinéma de l'Institut français&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;The &#60;em&#62;Alliance française &#60;/em&#62;and Cinema: A Little-Known Story&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Alexandre Labruffe &amp; Nicolas Peyre&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;French cinema towards other lands: experience feedback&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Jean-Jacques Beucler&#60;/em&#62;&#60;/p&#62;
&#60;p align="center"&#62;&#60;strong&#62;Support and disseminate: beyond Europe&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;The French Cultural network: theaters at the service of French and World Cinema&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Fanny Aubert Malaurie&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Focus 1: MyFrenchFilmFestival&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;UniFrance, Paris&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;The Role of Franco-Lebanese Cooperation in the Structuring of Lebanese Cinema: Reflections and Perspectives on French Culture&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Gaëlle Fayad &#60;/em&#62;&#60;/p&#62;
&#60;p&#62;West African cinema, in the decades after Independences. French Cultural Centres as West African Cinematic Institutions, 1961&#8211;1981&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Vincent Bouchard&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;The Promotion of French Cinema at the &#60;em&#62;Institut français &#60;/em&#62;of Morocco: A Network of Nine Cinemas&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Antoine Le Bihan&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;The Distribution of Films by the &#60;em&#62;Institut français &#60;/em&#62;of Lomé (Togo): Challenges of Acting in a Country without a Cinematic Past&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Claude Forest&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Contribution of the &#60;em&#62;Institut français &#60;/em&#62;of Ouagadougou to Fespaco and to the consolidation of the film culture in Burkina Faso&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Justin Ouoro&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Developing Cinephilia and Promoting French and Local Cinemas: The Contributions of the &#60;em&#62;Instituts français &#60;/em&#62;in Tunisia&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Emna Mrabet&#60;/em&#62;&#60;/p&#62;
&#60;p align="center"&#62;&#60;strong&#62;Programs and Audiences&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Representations of Cinephiles at the &#60;em&#62;Institut français &#60;/em&#62;of Dakar&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Daddy Dibinga&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;A Cine-club for Promoting and Teaching French Language and Culture&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Dhurata Hoxha&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Festinema Junior: Study and Analysis of a Film Education Program's Success in the United States&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Marylin Marignan&#60;/em&#62;&#60;/p&#62;
&#60;p align="center"&#62;&#60;strong&#62;Alternative Screens&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Cultural diplomacy in tune with the market: The &#60;em&#62;Young French Cinema &#60;/em&#62;program&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Ana Vinuela&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Bucharest Institut français: a framework facilitating cultural diversity screening&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Raluca Calin&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Focus 2. A brief focus on how French cinema is publicised in the south of Portugal. From an interview with Aurélie Quintanilha Martins, Director of &#60;em&#62;Alliance française &#60;/em&#62;in the Algarve (Faro)&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Erika Thomas&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Alternative screenings and &#60;em&#62;komunitas film &#60;/em&#62;in Indonesia&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Aurélien Michon &#60;/em&#62;&#60;/p&#62;
&#60;p&#62;The &#60;em&#62;Munhwawon sedae &#60;/em&#62;and the French Cultural Center of Seoul: The Birth of the &#60;em&#62;Korean New Wave &#60;/em&#62;and New South Korean Cinema from 1980 to 1990&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Sora Hong&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;A New Generation of Algerian Filmmakers: Between Obstacle and Opportunity&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Narimene Laouadi&#60;/em&#62;&#60;/p&#62;
&#60;p align="center"&#62;&#60;strong&#62;The development of the audience: the example of Turkish cinema&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Evolution of Turkey&#8217;s Cinematic Landscape and the Role of the &#60;em&#62;Institut français&#60;/em&#62;&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Ece Vitrinel&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;The &#60;em&#62;Institut français &#60;/em&#62;of &#304;stanbul&#8217;s Cinema Activity: A Preliminary Historical Analysis&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Ay&#351;e Toy Par&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;The Role of Cinemas at "French Cultural Centers" in Developing Cinephile Circles in Turkey&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Hülya U&#287;ur Tanriöver&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Co-Productions: A Study on the Collaboration between Istanbul &#60;em&#62;Institut français &#60;/em&#62;and the Meetings on the Bridge Industry Platform&#60;/p&#62;
&#60;p style="margin-left:14.0pt;"&#62;&#60;em&#62;Sezen Kayhan&#60;/em&#62;&#60;/p&#62;</Text>
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<Text language="fre">Cette collection a comme ambition de placer les médias au c&#339;ur d'une histoire du regard et de l'écoute par laquelle les images et les sons sont envisagés en termes d'expérience et de mémoire, mais également de connaissances et de techniques.</Text>
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<Text language="eng">This collection apprehends artistic media as visual and auditory experiences and memories but it also considers images and sounds as knowledge and techniques. This articulation between thoughts and techniques invites the reader to contemplate images...</Text>
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<Text language="fre">&#60;p&#62;Fondée en 2007 par Giusy Pisano (École nationale supérieure Louis-Lumière), la collection est toujours dirigée par elle aujourd'hui.&#60;/p&#62;  &#60;p style="text-align: justify;"&#62;Cette collection a comme ambition de placer les médias au c&#339;ur d'une histoire du regard et de l'écoute par laquelle les images et les sons sont envisagés en termes d'&#60;em&#62;expérience&#60;/em&#62; et de&#60;em&#62; mémoire&#60;/em&#62;, mais également de &#60;em&#62;connaissances&#60;/em&#62; et de &#60;em&#62;techniques&#60;/em&#62;. Cette articulation entre pensées et techniques invite à appréhender les images et les sons sur un mode interdisciplinaire et intermédiale ouvert à une temporalité qui prend en son compte la double histoire de leur production : &#60;em&#62;matérielle&#60;/em&#62; et &#60;em&#62;mentale&#60;/em&#62;. La collection s&#8217;ouvre aux études sur leurs représentations en relation avec les expériences du regard et de l&#8217;écoute ainsi qu&#8217;avec les usages sociaux et politiques ; sur « l&#8217;&#339;il et l&#8217;ouï esthétiques » en termes de « modèles » propres à chaque période ; sur l&#8217;interdépendance entre phénomènes culturels, ou encore sur les tensions entre art et technique par l&#8217;introduction des nouvelles technologies. Créée comme un espace permettant la circulation d&#8217;ouvrages et d&#8217;idées, « Images et sons » travaille en étroite collaboration avec les universités et institutions patrimoniales françaises et d&#8217;Amérique du Nord.&#60;/p&#62;  &#60;p style="text-align: justify;"&#62;• ISSN : 2780-528X (en ligne)&#60;/p&#62;</Text>
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<Text language="eng">&#60;p&#62;Series created in 2007 and supervised by Giusy Pisano.&#60;/p&#62;  &#60;p&#62;This series apprehends artistic media as visual and auditory &#60;i&#62;experiences&#60;/i&#62; and &#60;i&#62;memories&#60;/i&#62; but it also considers images and sounds as &#60;i&#62;knowledge&#60;/i&#62; and &#60;i&#62;techniques&#60;/i&#62;. This articulation between thoughts and techniques invites the reader to contemplate images and sounds with an interdisciplinary and inter-mediatic approach, an approach considering temporality as the two-folded history of the &#60;i&#62;material&#60;/i&#62;, as well as the &#60;i&#62;mental&#60;/i&#62;, production of images and sounds. The representations of the latter, in relation to visual and auditory experiences but also in their social and political applications are explored by works within this series, as are the notions of "aesthetic eye and ear" as "models" idiosyncratic to each era, the interdependence between various cultural phenomena or the tensions between art and technique created by the introduction of novel technologies. Designed as a space enabling the circulation of works and ideas, "Images et sons" works in close collaboration with French and Northern American universities and heritage institutions.&#60;/p&#62;  &#60;p&#62;&#8226; ISSN : 2780-528X (online)&#60;/p&#62;</Text>
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