Réponses du cinéma japonais contemporain (French Edition)

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In the age of a transnational turn of film studies as historical studies, how can we adapt the historical approach to this methodological challenge? Does cinema provide cultural history with a textbook case on this issue? Cultural history is a form of social history and, as such, particular attention will be paid to studies on the women and men who, from film workers to ordinary spectators and more famous personalities, make cinema.

For example, we could look upstream at film professions, professional organizations, speeches and their social representations. Special emphasis will also be paid to the case of the screening context attraction cinema, ordinary commercial cinema screenings, film clubs, heritage screenings, festivals, etc.

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More broadly, the question arises as to what it means to attend a collective screening. How is the film performance experience organized materially and socially?

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But with which tools quantitative, qualitative , which methods? We would also like to reexamine a criticism sometimes levelled at the cultural history of cinema. If it is a history that goes beyond that of films, is there not a risk that it will not make room, or not enough room, for cinematic forms? Unlike classical art history, which considered the analysis of the work almost as a compulsory exercise, the cultural history of cinema sometimes seems to approach the cinematographic fact without studying its form.

This choice actually depends on the subjects being studied. The question of the place devoted to film as an object of cultural history nevertheless arises: can there be a cultural history of film forms? Proposals — in French or English, maximum characters with a bio-bibliographic presentation of characters — must be sent before 15 December Site web. Souvenirs, souvenirs Robert Laffont Arts et spectacles. Un e secte Albin Michel Policier et suspense. Cauchemar Sonatine Policier et suspense.

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