{"id":2146,"date":"2016-09-26T15:44:00","date_gmt":"2016-09-26T19:44:00","guid":{"rendered":"https:\/\/www.yorku.ca\/glendon\/communications\/?p=2146"},"modified":"2024-05-30T14:12:18","modified_gmt":"2024-05-30T18:12:18","slug":"conference-cinema-et-medias-identites-transitives","status":"publish","type":"post","link":"https:\/\/www.yorku.ca\/glendon\/communications\/2016\/09\/26\/conference-cinema-et-medias-identites-transitives\/?lang=fr","title":{"rendered":"Conf\u00e9rence \u00ab Cin\u00e9ma et m\u00e9dias. Identit\u00e9s transitives \u00bb"},"content":{"rendered":"\n<p>Le 24 et 25 septembre dernier s\u2019est tenue \u00e0 l\u2019Universit\u00e9 de Montr\u00e9al la deuxi\u00e8me \u00e9dition du colloque doctoral du GRAFICS (<a href=\"http:\/\/grafics.ca\/\">Groupe de recherche sur l\u2019av\u00e8nement et la formation des institutions cin\u00e9matographiques et sc\u00e9niques<\/a>). Le colloque doctoral du GRAFICS offre annuellement la possibilit\u00e9 pour les \u00e9tudiantes et \u00e9tudiants dirig\u00e9es par les membres r\u00e9guliers du GRAFICS de pr\u00e9senter leurs recherches et d\u2019\u00e9changer avec d\u2019autres chercheurs, aussi bien \u00e9tudiants que professeurs.<\/p>\n\n\n\n<p>Cette ann\u00e9e, le colloque \u00e9tait codirig\u00e9 par&nbsp;<a href=\"http:\/\/remybesson.blogspot.ca\/\">R\u00e9my Besson<\/a>&nbsp;(postdoctorant, Universit\u00e9 de Montr\u00e9al),&nbsp;<a href=\"http:\/\/crccm.ca\/equipe\/\">Santiago Hidalgo<\/a>&nbsp;(postdoctorant, Universit\u00e9 de Montr\u00e9al) et Philippe Theophanidis, assistant professeur au Programme de communications du Coll\u00e8ge universitaire Glendon. Cette \u00e9dition du colloque avait pour titre \u00abCin\u00e9ma et m\u00e9dias. Identit\u00e9s transitives\u00bb. Elle proposait d\u2019examiner ce que devient aujourd\u2019hui le \u00abcin\u00e9ma\u00bb. C\u2019est-\u00e0-dire qu\u2019il entendait r\u00e9fl\u00e9chir \u00e0 ce dont le \u00abcin\u00e9ma\u00bb est encore le nom, ce que ce nom de \u00abcin\u00e9ma\u00bb tente et parvient (ou ne parvient plus) \u00e0 nommer \u00e0 ce moment sp\u00e9cifique o\u00f9 son histoire rencontre celle de l\u2019\u00e9mergence et de la diffusion croissante des technologies num\u00e9riques. Que d\u00e9signe le \u00abcin\u00e9ma\u00bb lorsque le support analogique que l\u2019on nomme aussi \u00abfilm\u00bb ne s\u2019offre plus au spectateur que comme une raret\u00e9? Qu\u2019est-ce que le \u00abcin\u00e9ma\u00bb lorsque le site m\u00eame de l\u2019exp\u00e9rience cin\u00e9matographique est d\u00e9localis\u00e9 vers de nouvelles plateformes de visionnement?<\/p>\n\n\n\n<p>Afin d\u2019explorer les modalit\u00e9s et les effets de ces mutations, le colloque invitait \u00e0 penser ces questions dans la perspective des mutations \u2013peut-\u00eatre similaires\u2013 que traverse aussi la notion de \u00abm\u00e9dia\u00bb. Si le \u00abcin\u00e9ma\u00bb mutant de l\u2019\u00e8re num\u00e9rique appelle une r\u00e9flexion m\u00e9diatique, il le fait avec d\u2019autant plus de pertinence et d\u2019ad\u00e9quation que ce pr\u00e9dicat \u00abm\u00e9diatique\u00bb conna\u00eet lui-m\u00eame un d\u00e9veloppement significatif. En effet, le nom \u00abm\u00e9dia\u00bb ne peut plus \u00eatre confin\u00e9 au sens, maintenant dat\u00e9, de \u00abm\u00e9dias de masse\u00bb. Certes, \u00abm\u00e9dias\u00bb d\u00e9signe encore commun\u00e9ment ces technologies de diffusion de masse que sont la radio et la t\u00e9l\u00e9vision, mais il ne le fait plus avec la m\u00eame assurance. Les \u00abm\u00e9dias sociaux\u00bb par exemple, d\u00e9signe un mode de diffusion qui n\u2019est pas n\u00e9cessairement aussi centralis\u00e9 et qui expose plut\u00f4t l\u2019int\u00e9r\u00eat de penser la technique dans le r\u00e9seau sociotechnique qui la constitue. Le \u00ab<em>medium<\/em>\u00bb, dans son sens plus large, ne d\u00e9signe plus ainsi seulement un dispositif ou un syst\u00e8me technique, mais ouvre depuis quelque temps d\u00e9j\u00e0 aux th\u00e8mes d\u2019espace et d\u2019environnement, notamment sous le courant d\u2019\u00e9tudes des \u00ab\u00e9cologies m\u00e9diatiques\u00bb. Ces mutations accompagnent les pr\u00e9occupations grandissantes que suscitent nos milieux de vie et nos mani\u00e8res de vivre (in\u00e9galit\u00e9s \u00e9conomiques, r\u00e9chauffement climatique, exploitation technocapitaliste des ressources).<\/p>\n\n\n\n<p>Dans le cadre du colloque, certains de ces enjeux ont \u00e9t\u00e9 examin\u00e9s \u00e0 l\u2019aune d\u2019une riche vari\u00e9t\u00e9 d\u2019interventions rassembl\u00e9es en quatre panels th\u00e9matiques: \u00abTechnique\u00bb, \u00abEspace\u00bb, \u00abRegard\u00bb et \u00abGenre \u00bb. Il a ainsi \u00e9t\u00e9 question du m\u00e9tier d\u2019\u00e9talonneur, de plateformes de visionnement en ligne, de la repr\u00e9sentation d\u2019espaces \u00abexo-centr\u00e9s\u00bb, du cin\u00e9ma comme itin\u00e9raire apor\u00e9tique, du train comme dispositif m\u00e9diatique et cin\u00e9matographique, de la repr\u00e9sentation du corps noir dans le vid\u00e9oclip, du d\u00e9sir mim\u00e9tique, de ballet, de para-documentaire et de la nouvelle t\u00e9l\u00e9vision s\u00e9rielle. L\u2019\u00e9v\u00e9nement r\u00e9parti sur deux journ\u00e9es enti\u00e8res a rassembl\u00e9 une trentaine de participants et participantes et donn\u00e9 lieu \u00e0 des \u00e9changes riches. Surtout, cette \u00e9dition du colloque doctoral du GRAFICS a pu servir d\u2019indicateur sur les tendances les plus r\u00e9centes de la recherche en \u00e9tudes cin\u00e9matographiques et m\u00e9diatiques et, par la m\u00eame occasion, donner \u00e0 voir l\u2019avenir de ces disciplines.<\/p>\n\n\n\n<p>Pour en savoir davantage, visitez&nbsp;<a href=\"http:\/\/grafics.ca\/activites\/#cinema-et-media-identites-transitives\">le site officiel du GRAFICS<\/a>&nbsp;et&nbsp;<a href=\"http:\/\/grafics.ca\/wp-content\/uploads\/2016\/09\/Programme-du-colloque-doctoral-du-GRAFICS.pdf\">consultez le programme<\/a>.<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.glendon.yorku.ca\/communications\/wp-content\/uploads\/sites\/174\/GRAFICS_2016_2e_Colloque_Doctoral.png\" alt=\"Photos: Philippe Theophanidis (CC BY-NC-SA 4.0)\" width=\"815\" height=\"518\" srcset=\"https:\/\/www.glendon.yorku.ca\/communications\/wp-content\/uploads\/sites\/174\/GRAFICS_2016_2e_Colloque_Doctoral.png 815w, https:\/\/www.glendon.yorku.ca\/communications\/wp-content\/uploads\/sites\/174\/GRAFICS_2016_2e_Colloque_Doctoral-300x191.png 300w, https:\/\/www.glendon.yorku.ca\/communications\/wp-content\/uploads\/sites\/174\/GRAFICS_2016_2e_Colloque_Doctoral-724x460.png 724w\"><\/p>\n\n\n\n<p id=\"caption-attachment-358\">Photos: Philippe Theophanidis (<a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0\/\">CC BY-NC-SA 4.0)<\/a><\/p>\n\n\n\n<h5 class=\"wp-block-heading\">Publi\u00e9 par<\/h5>\n\n\n\n<p>Philippe Theophanidis<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Le 24 et 25 septembre dernier s\u2019est tenue \u00e0 l\u2019Universit\u00e9 de Montr\u00e9al la deuxi\u00e8me \u00e9dition du colloque doctoral du GRAFICS (Groupe de recherche sur l\u2019av\u00e8nement et la formation des institutions cin\u00e9matographiques et sc\u00e9niques). Le colloque doctoral du GRAFICS offre annuellement la possibilit\u00e9 pour les \u00e9tudiantes et \u00e9tudiants dirig\u00e9es par les membres r\u00e9guliers du GRAFICS de [&hellip;]<\/p>\n","protected":false},"author":1243,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-2146","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Campus Glendon | Conf\u00e9rence \u00ab Cin\u00e9ma et m\u00e9dias. Identit\u00e9s transitives \u00bb | Universit\u00e9 York<\/title>\n<meta name=\"description\" content=\"Colloque doctoral \u00ab Cin\u00e9ma et m\u00e9dias. 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