{"id":33,"date":"2023-06-23T09:06:00","date_gmt":"2023-06-23T07:06:00","guid":{"rendered":"http:\/\/2r3f.fr\/?page_id=33"},"modified":"2026-05-18T10:45:10","modified_gmt":"2026-05-18T08:45:10","slug":"actualites","status":"publish","type":"page","link":"https:\/\/2r3f.fr\/index.php\/actualites\/","title":{"rendered":"Actualit\u00e9s"},"content":{"rendered":"\n
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Nous avons le plaisir de vous annoncer la parution des deux num\u00e9ros 27 et 28 de Cahiers des Champs visuels<\/em> d\u00e9di\u00e9s aux festivals des films.<\/p>\n\n\n\n

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  1. Festivals et dynamiques cin\u00e9matographiques transnationales<\/strong>, Cahiers des Champs visuels <\/em>n\u00b0 27<\/strong><\/li>\n<\/ol>\n\n\n\n
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    <\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n

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    https:\/\/www.editions-harmattan.fr\/catalogue\/livre\/festivals-et-dynamiques-cinematographiques-transnationales\/77311<\/a><\/p>\n\n\n\n

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    Organis\u00e9 en deux volumes, le dossier de la revue Cahiers de<\/em> Champs visuels<\/em> issu du colloque \u00ab Festivals et dynamiques cin\u00e9matographiques transnationales. Formes de production, de circulation et de repr\u00e9sentation \u00bb, qui a eu lieu \u00e0 Toulouse en 2022, entend poser un jalon important dans la structuration des Film Festival Studies<\/em> en France. Il offre des travaux qui multiplient les cadres d\u2019analyse au service de l’interdisciplinarit\u00e9 et de la transculturalit\u00e9 de la recherche sur les festivals de cin\u00e9ma tout en contribuant \u00e0 contribuer \u00e0 la dynamisation du champ des \u00e9tudes sur les festivals de films en France et \u00e0 l\u2019international. En croisant des approches micros et des approches plus globales, ce premier volume soul\u00e8ve des probl\u00e9matiques articul\u00e9es autour des th\u00e8mes suivants : le rapport entre festivals et march\u00e9, la circulation des films et les rapports complexes que les festivals de films entretiennent entre ancrage local et national et ouverture internationale, la l\u00e9gitimation et la canonisation des films et des cin\u00e9astes, la question des acteurs multiples qui participent des dynamiques festivali\u00e8res et de processus de l\u00e9gitimation des films et des cin\u00e9astes et, enfin, le questionnement m\u00e9thodologique et \u00e9pist\u00e9mologique propre aux \u00e9tudes sur les festivals de films.<\/p>\n\n\n\n

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    INTRODUCTION
    Amanda Rueda, Christel Taillibert<\/strong>. 9<\/p>\n\n\n\n

    LE \u00ab FILM DE FESTIVAL \u00bb AU PRISME DU MARCH\u00c9
    Ana Vinuela<\/strong>. 25<\/p>\n\n\n\n

    ENTRE INFLUENCE ET DIVERSIT\u00c9 CULTURELLE. L’\u00c9COSYSTEME DES FESTIVALS DE FILMS DOCUMENTAIRES EN IB\u00c9RO-AM\u00c9RIQUE : LA CARTE, LA CHRONOLOGIE ET LE R\u00c9SEAU
    Aida Vallejo<\/strong>. 53<\/p>\n\n\n\n

    LES \u00c9CHANGES TRANSNATIONAUX DANS LES CIRCUITS DE FESTIVALS ETHNOGRAPHIQUES : MOSTRA INTERNACIONAL DO FILME ETNOGR\u00c0FICO
    Juliana Muylaert<\/strong>. 83<\/p>\n\n\n\n

    QUAND LES CIN\u00c9ASTES, PUBLICS ET INDUSTRIES LOCALES P\u00c8SENT SUR LE CIRCUIT INTERNATIONAL DES FILMS
    Minerva Campos Rabad\u00e1n<\/strong>. 115<\/p>\n\n\n\n

    R\u00c9SEAU CULTUREL, UN ACTEUR DE LA CIRCULATION CIN\u00c9MATOGRAPHIQUE TRANSNATIONALE
    Nicolas Peyre<\/strong>. 135<\/p>\n\n\n\n

    CURATION, COPRODUCTION ET POUVOIR : LES FESTIVALS DE CIN\u00c9MA EUROP\u00c9ENS ET LA CR\u00c9ATION MONDIALE
    Cindy Hing-Yuk Wong et Gary McDonogh<\/strong>. 161<\/p>\n\n\n\n

    CR\u00c9ATIONS COLLECTIVES ET TRANSNATIONALES EN FESTIVAL : LA FACTORY, UNE EXP\u00c9RIMENTATION POUR FAIRE DIALOGUER LES CIN\u00c9MATOGRAPHIES DU SUD
    Caroline Guigay<\/strong>. 189<\/p>\n\n\n\n

    NATION, FILM ET FESTIVAL TRANSNATIONAUX : LES FESTIVALS DE FILMS KURDES EN EUROPE ET LA D\u00c9FINITION DU CIN\u00c9MA KURDE
    Fatma Edemen<\/strong>. 217<\/p>\n\n\n\n

    LES AUTEURS<\/strong>. 237<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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    2. Cin\u00e9mas nationaux et dynamiques transnationales<\/em><\/strong>, Cahiers des Champs visuels <\/em>n\u00b0 28<\/strong><\/p>\n\n\n\n

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    https:\/\/www.editions-harmattan.fr\/catalogue\/livre\/cinemas-nationaux-et-dynamiques-transnationales\/79598<\/a><\/p>\n\n\n\n

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    Si le num\u00e9ro 27 des Cahiers de<\/em> Champs visuels<\/em> a r\u00e9uni des contributions qui d\u00e9cryptent les enjeux \u00e9conomiques, culturels, g\u00e9opolitiques et diplomatiques propres aux circuits des festivals de films, tout en croisant la question des \u00ab dynamiques transnationales \u00bb, ce num\u00e9ro rassemble des recherches r\u00e9alis\u00e9es en France et dans des universit\u00e9s \u00e9trang\u00e8res sur des cin\u00e9mas nationaux de plusieurs pays. La tentative de r\u00e9unir plusieurs dynamiques nationales dans une perspective transnationale rend compte des aspects communs \u00e0 la production cin\u00e9matographique contemporaine \u00e0 vis\u00e9e internationale dans des pays comme la Colombie, le Chili, le Liban, la Tunisie, le Maroc, la Syrie et le Rwanda. Les diff\u00e9rentes contributions permettent de voir, d\u2019une part, combien la question transnationale dans le champ des \u00e9tudes sur les cin\u00e9mas contemporains peut \u00eatre reli\u00e9e \u00e0 celle des dynamiques de production \u00e0 la fois des cin\u00e9mas nationaux et du cin\u00e9ma d\u2019auteur au sein du Sud global ; d\u2019autre part, de saisir cet espace transnational complexe o\u00f9 se jouent \u00e0 la fois la communication interculturelle, des conventions esth\u00e9tiques, des r\u00e9seaux de relations de coop\u00e9ration et des rapports asym\u00e9triques entre des nations.<\/p>\n\n\n\n

    INTRODUCTION
    Amanda Rueda<\/strong>. 9<\/p>\n\n\n\n

    EXPLORATION DE NOUVELLES FRONTI\u00c8RES : L’ANIMATION CHILIENNE DANS LE CIRCUIT INTERNATIONAL
    Mar\u00eca Paz Peirano<\/strong>. 25<\/p>\n\n\n\n

    DIALOGUE ENTRE LE FONDS SUD CIN\u00c9MA FRAN\u00c7AIS ET LE FONDS POUR LE D\u00c9VELOPPEMENT DE LA CIN\u00c9MATOGRAPHIE COLOMBIENNE : LES ORIGINES
    D’UN CANON AUTEURISTE DANS LE CIN\u00c9MA COLOMBIEN
    Gloria Pineda-Moncada<\/strong>. 53<\/p>\n\n\n\n

    LES ENJEUX CULTURELS ET \u00c9CONOMIQUE DE LA RECONNAISSANCE EUROP\u00c9ENNE DES FILMS MAGHR\u00c9BINS : LE CAS DES COPRODUCTIONS FRANCO-TUNISIENNES
    Amal Trabelsi<\/strong>. 83<\/p>\n\n\n\n

    ENJEUX DE LA CR\u00c9ATION CIN\u00c9MATOGRAPHIQUE EN AFRIQUE(S). LE CAS DE NAMELESS<\/em> (LES ANONYMES<\/em>) DE MUTIGANDA WA NKUDA (RWANDA)
    Azza Chaabouni<\/strong>. 109<\/p>\n\n\n\n

    DYNAMIQUES D\u00c9TERRITORIALISANTES ET TRANSNATIONALISATION DU CIN\u00c9MA MAROCAIN. ANALYSE CRITIQUE DU TRAITEMENT DE LA LANGUE DANS ADAM<\/em> DE MARYEM TOUZANI ET SOFIA<\/em> DE MERIEM BEN’MBAREK
    Samia Charkaoui<\/strong>. 133<\/p>\n\n\n\n

    ENTRE EXIL ET MIGRATION, LES R\u00c9INVENTIONS DU CIN\u00c9MA LIBANAIS
    Thomas Richard<\/strong>. 165<\/p>\n\n\n\n

    STILL RECORDING<\/em> (2018) : REGARD SUR LA PRODUCTION D’UN DOCUMENTAIRE \u00ab\u00a0SYRIEN\u00a0\u00bb CONTEMPORAIN QUI (R\u00c9)INTERROGE SON RAPPORT AU NATIONAL
    Justine Pignato<\/strong>. 191<\/p>\n\n\n\n

    Varia
    Recension de l’ouvrage Films, Festivals et mondes contemporains : pour une anthropologie du visuel<\/em> (J. AmiotGuillouet, P. Feenstra ; J. Savelli)
    Christian De Moor<\/strong>. 213<\/p>\n\n\n\n

    LES AUTEUR.ES<\/strong>. 233<\/p>\n\n\n\n

    * * * * *<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Mars 2024 : parution de Films, festivals et mondes contemporains. Pour une anthropologie du visuel<\/em>, aux \u00c9ditions Peter Lang. L’ouvrage est dirig\u00e9 par Julie Amiot-Guillouet, Pietsie Feenstra et Julie Savelli. <\/p>\n","protected":false},"excerpt":{"rendered":"

    Nous avons le plaisir de vous annoncer la parution des deux num\u00e9ros 27 et 28 de Cahiers des Champs visuels d\u00e9di\u00e9s aux festivals des films. https:\/\/www.editions-harmattan.fr\/catalogue\/livre\/festivals-et-dynamiques-cinematographiques-transnationales\/77311 Organis\u00e9 en deux volumes, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-33","page","type-page","status-publish","hentry"],"yoast_head":"\nActualit\u00e9s - 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