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<Text textformat="02" language="fre">&#60;p&#62;&#60;em&#62;Voyages et exils au cinéma, rencontres de l'altérité&#60;/em&#62; s'intéresse aux phénomènes d'hybridation entre cultures tels qu&#8217;ils se traduisent à l&#8217;écran, sans restriction géographique (cinémas américain, italien, africain, libanais, indien, taïwanais, japonais etc.). Si le voyage et l&#8217;exil des cinéastes sont sources de &#60;em&#62;transferts culturels&#60;/em&#62; et esthétiques, le thème du voyage et de l&#8217;exil représenté au cinéma questionne la notion d&#8217;&#60;em&#62;altérité&#60;/em&#62; en proposant une vision diversifiée de la rencontre entre autochtones et nouveaux arrivants.&#60;br /&#62;
Dans un monde globalisé, mais qui continue de s&#8217;interroger à la fois sur la mixité culturelle et le sens de la nation, le cinéma reflète ainsi les cultures plurielles dans leur richesse et leur vivacité, mais aussi les replis communautaires, les phénomènes d&#8217;imprégnation et bien entendu de domination culturelle. La caméra se désigne alors comme acteur, témoin et exégète de ces processus qui, s&#8217;ils ont une longue histoire et se développent tout au long du XX&#60;sup&#62;e&#60;/sup&#62; siècle, culminent dans notre temps présent.&#60;/p&#62;</Text>
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<Text language="fre">s'intéresse aux phénomènes d'hybridation entre cultures tels qu&#8217;ils se traduisent à l&#8217;écran, sans restriction géographique (cinémas américain, italien, africain, libanais, indien, japonais...). Dans un monde globalisé, le cinéma reflète les cultures plurielles mais aussi les replis communautaires et les phénomènes de domination culturelle.</Text>
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<Text language="eng">Travels and exiles in the movies, meeting alterity concerns cultural hybridization, as translated through the screen, with no geographical restriction (American, Italian, African, Lebanese, Taiwanese, Japanese movies and so on). Beyond directors' travels and exiles, as sources of cultural and esthetical transfers, travel and exile as a movies'...</Text>
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<Text textformat="02">&#60;p&#62;Remerciements&#60;br /&#62;
Introduction. Voyages et exils au cinéma. Au c&#339;ur des transferts culturels&#60;br /&#62;
&#60;em&#62;Patricia-Laure Thivat&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;L'Occident et « le reste du monde »&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Passer entre les mondes. L&#8217;aventure (post)coloniale dans le cinéma de David Lean&#60;br /&#62;
&#60;em&#62;Mehdi Derfoufi&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;L&#8217;exil circulaire. &#60;em&#62;Profession : reporter&#60;/em&#62; de Michelangelo Antonioni&#60;br /&#62;
&#60;em&#62;Nicolas Droin&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Nobuhiro Suwa, entre le Japon et la France : l&#8217;expérience de la distance&#60;br /&#62;
&#60;em&#62;Arnaud Duquesne, Sarah Leperchey&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;Les Amériques. Le rêve à l&#8217;épreuve du réel&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Les Indiens du Brésil, une irréductible altérité ?&#60;br /&#62;
&#60;em&#62;Bertrand Ficamos&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Sociologie d&#8217;un Nouveau Monde : Fievel Mousekewitz en exil, une histoire de l&#8217;Amérique&#60;br /&#62;
&#60;em&#62;Chloé Delaporte&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;De Cinecittà à Hollywood, l&#8217;apprentissage d&#8217;un autre réel.&#60;br /&#62;
Le cheminement du néo-réalisme dans le classicisme hollywoodien&#60;br /&#62;
&#60;em&#62;Christian Viviani&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Le versant invisible de la « montagne d&#8217;or » : l&#8217;émigration chinoise aux États-Unis vue par les cinéastes hongkongais&#60;br /&#62;
&#60;em&#62;Jean-Étienne Pieri&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;Entre l&#8217;Afrique et l&#8217;Occident, regards croisés&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Identités et chocs des représentations dans les cinémas africains de l&#8217;exil&#60;br /&#62;
&#60;em&#62;Thierno Ibrahima Dia, Daniela Ricci&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Cinémas africains, hybridation culturelle et nomadisme : le parcours d&#8217;une reconnaissance&#60;br /&#62;
&#60;em&#62;Samuel Lelièvre&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;Penser l&#8217;Inde, entre diaspora et mondialisation&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Désancrer le regard : sur quelques films de la diaspora sud-asiatique&#60;br /&#62;
&#60;em&#62;Jean-François Baillon&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Voyages bollywoodiens : conscience (trans)nationale et identité à l&#8217;ère de la mondialisation&#60;br /&#62;
&#60;em&#62;Clelia Clini&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;Le Moyen-Orient, carrefour d&#8217;identités et transferts culturels&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;À propos d&#8217;&#60;em&#62;Exodus&#60;/em&#62; d&#8217;Otto Preminger. &#60;br /&#62;
« Nous nous sommes compris et aimés toute notre vie »&#60;br /&#62;
&#60;em&#62;Fabien Delmas&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;em&#62;Va, vis et deviens&#60;/em&#62; de Radu Mihaileanu (2005) : un exil qui colle à la peau. &#60;br /&#62;
Le déracinement à l&#8217;&#339;uvre&#60;br /&#62;
&#60;em&#62;Ada Ackerman&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;L&#8217;exil intérieur ou l&#8217;identité perdue dans l&#8217;&#339;uvre de Ghassan Salhab&#60;br /&#62;
&#60;em&#62;Dima El-Horr&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;Pour une cartographie imaginaire : au-delà des frontières&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Exils et voyages : de la nostalgie à la reconquête du passé dans le cinéma taïwanais&#60;br /&#62;
&#60;em&#62;Wafa Ghermani&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;L&#8217;identité transfrontière des Kurdes : &#60;em&#62;Un temps pour l&#8217;ivresse des chevaux&#60;/em&#62;&#60;br /&#62;
&#60;em&#62;Kristian Feigelson&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Voyage sensible : &#60;em&#62;Bird People of China&#60;/em&#62; (1998) de Takashi Miike&#60;br /&#62;
&#60;em&#62;Benjamin Thomas&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;br /&#62;
Bibliographie sélective&#60;br /&#62;
Index des réalisateurs&#60;br /&#62;
Index des films&#60;br /&#62;
Les auteurs de ce volume&#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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