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<Text textformat="02" language="fre">&#60;p&#62;L'audiovisuel turcophone fait preuve depuis quelques années d'un certain dynamisme et connaît un succès important au niveau national, régional et international avec plus de 200 millions de spectateurs. Le cinéma turc des années 2000-2020 est l'un des rares cinémas qui fait plus d'entrées que le cinéma américain au niveau national. En analysant ce tournant d&#8217;une industrialisation des images et son régime audiovisuel en Turquie après les années 2000, tant dans le cinéma de fiction qu&#8217;à la télévision ou dans les nouveaux médias, l&#8217;ouvrage se propose de montrer les spécificités de cette production tant en Turquie qu&#8217;en diaspora comme dans les principales aires turcophones d&#8217;Asie centrale et du Caucase. Cette industrie nouvelle des images se déploie à la fois dans son rapport à l&#8217;histoire et aux minorités comme dans ses relations à des questions tabous. Cette production filmique est aujourd&#8217;hui très diversifiée de la propagande audiovisuelle aux documentaires alternatifs, du cinéma des femmes aux séries ottomanes. Mais quelles sont les limites de ces écrans devenus dominants ? Il s&#8217;agit d&#8217;aborder ici sous un angle critique et dans une approche pluridisciplinaire, la vitalité de cette industrie des images et ses limites lorsqu&#8217;elle fait écran à certaines questions pour prétendre réécrire l&#8217;histoire. Dans un contexte de globalisation au Proche-Orient, il s&#8217;agit de montrer la qualité esthétique d&#8217;un cinéma turcophone et pluriel, sa circulation toujours plus partagée aujourd&#8217;hui entre un cinéma d&#8217;auteur et un cinéma commercial, redevable d&#8217;une histoire et d&#8217;une véritable tradition filmique.&#60;/p&#62;</Text>
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<Text language="fre">Un ouvrage inédit sur l'évolution depuis 20 ans de l'audiovisuel turcophone au Proche-Orient.</Text>
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<Text language="eng">Turkish Screens : Plurality of Images (2000-2020).</Text>
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<Text textformat="02">&#60;p&#62;En mémoire de Patrick Chapus (1956-2020)&#60;/p&#62;
&#60;p&#62;La pluralité des images &#8211; &#60;em&#62;Kristian Feigelson et Mehmet Oztürk&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;1. Un paysage audiovisuel innovant&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Une nouvelle économie du cinéma &#8211; &#60;em&#62;Ece Vitrinel&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Politiques du cinéma &#8211; &#60;em&#62;Serhat Yetimova&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Usages de la propagande audiovisuelle : les figures du chef &#8211; &#60;em&#62;Ece Nirun&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Les mutations du paysage audiovisuel &#8211; &#60;em&#62;Burak Özçetin&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Thèmes et genres : l'interaction cinéma et télévision &#8211; &#60;em&#62;Ay&#351;e Toy Par&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;L'ère post-télévision &#8211; &#60;em&#62;Nilay Ulusoy&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;2. Regards pluriels&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Influences artistiques, filiations intellectuelles &#8211; &#60;em&#62;Mehmet Öztürk&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;La réécriture visuelle de l&#8217;histoire : la construction d&#8217;un récit national &#8211; &#60;em&#62;Deniz Inceoglu&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Fetih 1453 ou « Conquête 1453 » : un succès historique ? &#8211; &#60;em&#62;Jean-François Pérouse&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Filmer un tabou ? &#8211; &#60;em&#62;Kristian Feigelson&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;L&#8217;espace visuel turcophone en Asie Centrale et au Caucase &#8211; &#60;em&#62;Fariza Zhakhanova&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;3. Questions de société&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Les comédies contemporaines &#8211; &#60;em&#62;&#350;irin Fulya Erensoy&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Le cinéma des Femmes &#8211; &#60;em&#62;Hülya Ugur Tanriöver&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Le cinéma de diaspora en Allemagne &#8211; &#60;em&#62;Gülsenem Gün&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;La « Kurdicité » dans le cinéma turc &#8211; &#60;em&#62;Y&#305;lmaz Özdil&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Le cinéma documentaire indépendant en quête d&#8217;une autre Turquie &#8211; &#60;em&#62;Sibil Çekmen&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;4. Auteurs et thèmes&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Le mouvement d&#8217;un « nouveau cinéma indépendant » : mythe ou réalité ? &#8211; &#60;em&#62;Asl&#305; Daldal&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Nuri Bilge Ceylan, cinéaste de la contemplation &#8211; &#60;em&#62;Nicolas Monceau&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Semih Kaplano&#287;lu : la nature dans la trilogie de Yusuf &#8211; &#60;em&#62;Damien Ziegler&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;L&#8217;imaginaire du Kurdistan : cinéastes kurdes irakiens, iraniens et turcs &#8211; &#60;em&#62;Sebahattin &#350;en (traduit par Merve Iraz Turaç)&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Istanbul au cinéma &#8211; &#60;em&#62;Do&#287;u&#351;can Göker (traduit par Banu Gür)&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Regards sur l&#8217;Anatolie rurale &#8211; &#60;em&#62;Bar&#305;&#351; Saydam (traduit par Esther Pedarros)&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;&#60;strong&#62;5. Postface&#60;/strong&#62;&#60;/p&#62;
&#60;p&#62;Des paradoxes féconds &#8211; &#60;em&#62;Mehmet Basutçu&#60;/em&#62;&#60;/p&#62;
&#60;p&#62;Auteurs / Authors&#60;/p&#62;
&#60;p&#62;Résumés / Abstracts&#60;/p&#62;
&#60;p&#62;Cartes de l&#8217;espace turcophone&#60;/p&#62;
&#60;p&#62;Chronologie / 1980-2021&#60;/p&#62;
&#60;p&#62;Politique, cinéma et culture&#60;/p&#62;
&#60;p&#62;Bibliographie indicative&#60;/p&#62;
&#60;p&#62;Remerciements&#60;/p&#62;
&#60;p&#62;Crédits photos / Regards sur le Bosphore&#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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