<\/p>\n
\n\t\t\t\t\t\tInformations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda<\/strong><\/a>.\t\t\t\t\t<\/p>\n\n\nTh\u00e9matiques<\/span><\/span><\/li>\nImages, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\n\n\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 03\/03\/2021<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue \u00ab Cultural Express \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni <\/span> Berjola <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, giovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni Berjola <\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tgiovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue “Cultural Express”<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nArgumentaire<\/h2>\nL\u2019horreur \u00e0 l\u2019\u00e9cran est un genre lucratif. Les r\u00e9cents triomphes commerciaux le confirment : les deux films consacr\u00e9s \u00e0 \u00c7a<\/em> (2017 et 2019) de Stephen King font partie des productions les plus rentables des derni\u00e8res ann\u00e9es et les s\u00e9ries horrifiques telles que The Haunting<\/em> (2018) ou American Horror Story <\/em>(2011), pour ne citer que les plus connues, sont l\u00e9gions. La culture populaire et les fictions pour la jeunesse t\u00e9moignent de la vitalit\u00e9 d\u2019un genre qui transcende les cat\u00e9gories, les m\u00e9dias et les modes \u00e9nonciatifs pour s\u2019\u00e9panouir sur les cha\u00eenes de t\u00e9l\u00e9vision comme HBO, FX ou AMC, \u00e0 travers le syst\u00e8me de replay<\/em> des cha\u00eenes virtuelles et plus encore sur les plates-formes de streaming comme Netflix, Hulu ou encore Shadows : cette derni\u00e8re est exclusivement consacr\u00e9e \u00e0 la fiction horrifique, signe que l\u2019industrie du divertissement a parfaitement cern\u00e9 les go\u00fbts du public actuel.<\/p>\nDans son article intitul\u00e9, \u00ab La tripe cin\u00e9matographique \u00bb, Christian Oddos rappelle que \u00ab le but essentiel des films d’horreur est de transmettre une horreur visuelle et sordide ou encore d’infliger au spectateur, par l’interm\u00e9diaire d’un personnage, une horreur intellectuelle et morale \u00bb[1]. Cette d\u00e9finition date de 1988 : \u00e0 cette \u00e9poque, le cin\u00e9ma reste une forme de divertissement majeure, mais d\u00e9j\u00e0 concurrenc\u00e9e par la t\u00e9l\u00e9vision et la vid\u00e9o. Si le cin\u00e9ma projette, ritualise et sacralise l\u2019exp\u00e9rience horrifique, la t\u00e9l\u00e9vision la diffuse et la vid\u00e9o la f\u00e9tichise. L\u2019av\u00e8nement des networks puis de l\u2019internet a depuis boulevers\u00e9 notre rapport \u00e0 la fiction cin\u00e9matographique et t\u00e9l\u00e9visuelle. Les films et les s\u00e9ries sont plus nombreux, plus imm\u00e9diatement disponibles ; les pratiques et les exp\u00e9riences se transforment. Ces changements \u00e0 la fois confortent et renforcent la place de l\u2019horreur dans le champ culturel tout en amor\u00e7ant des m\u00e9tamorphoses esth\u00e9tiques et formelles qu\u2019il serait int\u00e9ressant d\u2019\u00e9tudier dans le cadre pr\u00e9cis des plates-formes de streaming et des cha\u00eenes virtuelles.<\/p>\nLes contributeurs pourront explorer les axes de recherche suivants (la liste n\u2019est \u00e9videmment pas exhaustive) :<\/p>\nAxe esth\u00e9tique : l\u2019horreur \u00e0 l\u2019\u00e9cran<\/h3>\nAvant les ann\u00e9es 2000, l\u2019amateur de film d\u2019horreur fr\u00e9quentait les cin\u00e9clubs, collectionnait les cassettes vhs ou parcourait les programmes t\u00e9l\u00e9vis\u00e9s. Depuis, les cha\u00eenes th\u00e9matiques sont apparues et l\u2019usage de l\u2019internet s\u2019est g\u00e9n\u00e9ralis\u00e9. Le t\u00e9l\u00e9chargement et le streaming ont pris une ampleur telle que l\u2019on peut visionner un film ou un \u00e9pisode d\u2019une s\u00e9rie presqu\u2019\u00e0 tout moment, sur son ordinateur, sa tablette ou son t\u00e9l\u00e9phone portable. Dans quelle mesure ces nouveaux \u00e9crans et ces nouveaux modes \u00e9nonciatifs influencent-ils l\u2019esth\u00e9tique horrifique et la repr\u00e9sentation de l\u2019horreur ?<\/p>\nAxe g\u00e9n\u00e9tique : horreur et r\u00e9\u00e9criture<\/h3>\nDans le vaste champ de la culture de masse, la citation, l\u2019emprunt et la r\u00e9\u00e9criture sont de mise. L\u2019horreur n\u2019\u00e9chappe pas \u00e0 la r\u00e8gle et depuis des d\u00e9cennies, les adaptations, les remakes et autres r\u00e9-imaginations nourrissent le genre : entre la litt\u00e9rature, le cin\u00e9ma, la bande-dessin\u00e9e et la t\u00e9l\u00e9vision, les \u00e9changent sont nombreux et constants. Les nouvelles fictions horrifiques puisent \u00e0 cette source, multipliant les r\u00e9f\u00e9rences explicites ou les clins d\u2019\u0153il au spectateur. Quelles sont les tendances et les modalit\u00e9s de cette r\u00e9\u00e9criture dans l\u2019univers du streaming ?<\/p>\nAxe narratologique : horreur et s\u00e9rialit\u00e9<\/h3>\nLa s\u00e9rie est peut-\u00eatre la forme narrative dominante aujourd\u2019hui. Dans le domaine des longs m\u00e9trages, les diptyques, les trilogies ou les sagas foisonnent. Les s\u00e9ries d\u2019horreur, feuilletonnesques ou anthologiques, constituent une part importante du catalogue des cha\u00eenes virtuelles et des plates-formes de vid\u00e9o \u00e0 la demande. Les formats \u00e9voluent, les \u00e9pisodes se font plus longs et se rapprochent des films en termes de r\u00e9alisation, de rythme et de dur\u00e9e. On pourra se demander comment ce principe po\u00e9tique et \u00e9conomique de s\u00e9rialit\u00e9 informe la fiction horrifique.<\/p>\nAxe sociologique : horreur et soci\u00e9t\u00e9<\/h3>\nLe r\u00e9cit d\u2019horreur rev\u00eat tr\u00e8s souvent, on le sait, une dimension all\u00e9gorique. Mais on peut \u00e0 bon droit s\u2019interroger sur la port\u00e9e m\u00e9taphorique des fictions horrifiques contemporaines tant elles abordent de mani\u00e8re explicite, frontale, voire didactique, les questions qui animent nos soci\u00e9t\u00e9s. Il serait int\u00e9ressant de r\u00e9\u00e9valuer la forme et les fonctions de l\u2019argumentation dans ces \u0153uvres qui touchent d\u00e9sormais un tr\u00e8s vaste public.<\/p>\nAxe \u00e9pist\u00e9mique : de la fiction \u00e0 l\u2019objet critique<\/h3>\nDepuis un certain nombre d\u2019ann\u00e9es d\u00e9j\u00e0, le milieu universitaire et la critique journalistique s\u2019est empar\u00e9 des productions de la culture de masse. On remarquera que les approches sociologiques ou culturalistes dominent en la mati\u00e8re. L\u2019id\u00e9e selon laquelle les films ou les s\u00e9ries actuelles refl\u00e8teraient notre soci\u00e9t\u00e9 et ses tensions est en passe de devenir un lieu commun. Cet int\u00e9r\u00eat ne laisse pas d\u2019interroger les rapports d\u2019influence r\u00e9ciproque qui peuvent exister entre les cr\u00e9ateurs et ce public d\u2019experts et assimil\u00e9s : tout se passe comme si la reconnaissance de la fiction horrifique en tant qu\u2019objet critique valait pour une reconnaissance esth\u00e9tique, un gage de qualit\u00e9 et de r\u00e9ussite. Face \u00e0 l\u2019engouement universitaire et plus g\u00e9n\u00e9ralement m\u00e9diatique, les cr\u00e9ateurs ne sont-ils pas tent\u00e9s de produire et de diffuser de fa\u00e7on industrielle des \u0153uvres dans l\u2019air du temps, destin\u00e9es non seulement \u00e0 divertir, mais aussi \u00e0 \u00eatre comment\u00e9es par les critiques et les chercheurs\u00a0de tout bord ?<\/p>\n\u00c9ch\u00e9ances<\/h2>\nLes propositions (environ 250 \u00e0 300 mots<\/strong>) sont \u00e0 envoyer au responsable du num\u00e9ro avant le 3 mars 2021.\n<\/strong>Les articles retenus devront \u00eatre remis avant le 1er juillet 2021.<\/p>\nBibliographie s\u00e9lective<\/h2>\nArouimi, Michel, L\u2019\u00e9pouvante fondatrice, L\u2019effet miroir des films d’horreur<\/em>, Rosi\u00e8res-en-Haye, Camion noir, 2017.<\/p>\nAstic, Guy, Outrance et ravissement. Images et mots de l’horreur 1<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 03\/03\/2021<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue \u00ab Cultural Express \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni <\/span> Berjola <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, giovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni Berjola <\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tgiovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue “Cultural Express”<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nArgumentaire<\/h2>\nL\u2019horreur \u00e0 l\u2019\u00e9cran est un genre lucratif. Les r\u00e9cents triomphes commerciaux le confirment : les deux films consacr\u00e9s \u00e0 \u00c7a<\/em> (2017 et 2019) de Stephen King font partie des productions les plus rentables des derni\u00e8res ann\u00e9es et les s\u00e9ries horrifiques telles que The Haunting<\/em> (2018) ou American Horror Story <\/em>(2011), pour ne citer que les plus connues, sont l\u00e9gions. La culture populaire et les fictions pour la jeunesse t\u00e9moignent de la vitalit\u00e9 d\u2019un genre qui transcende les cat\u00e9gories, les m\u00e9dias et les modes \u00e9nonciatifs pour s\u2019\u00e9panouir sur les cha\u00eenes de t\u00e9l\u00e9vision comme HBO, FX ou AMC, \u00e0 travers le syst\u00e8me de replay<\/em> des cha\u00eenes virtuelles et plus encore sur les plates-formes de streaming comme Netflix, Hulu ou encore Shadows : cette derni\u00e8re est exclusivement consacr\u00e9e \u00e0 la fiction horrifique, signe que l\u2019industrie du divertissement a parfaitement cern\u00e9 les go\u00fbts du public actuel.<\/p>\nDans son article intitul\u00e9, \u00ab La tripe cin\u00e9matographique \u00bb, Christian Oddos rappelle que \u00ab le but essentiel des films d’horreur est de transmettre une horreur visuelle et sordide ou encore d’infliger au spectateur, par l’interm\u00e9diaire d’un personnage, une horreur intellectuelle et morale \u00bb[1]. Cette d\u00e9finition date de 1988 : \u00e0 cette \u00e9poque, le cin\u00e9ma reste une forme de divertissement majeure, mais d\u00e9j\u00e0 concurrenc\u00e9e par la t\u00e9l\u00e9vision et la vid\u00e9o. Si le cin\u00e9ma projette, ritualise et sacralise l\u2019exp\u00e9rience horrifique, la t\u00e9l\u00e9vision la diffuse et la vid\u00e9o la f\u00e9tichise. L\u2019av\u00e8nement des networks puis de l\u2019internet a depuis boulevers\u00e9 notre rapport \u00e0 la fiction cin\u00e9matographique et t\u00e9l\u00e9visuelle. Les films et les s\u00e9ries sont plus nombreux, plus imm\u00e9diatement disponibles ; les pratiques et les exp\u00e9riences se transforment. Ces changements \u00e0 la fois confortent et renforcent la place de l\u2019horreur dans le champ culturel tout en amor\u00e7ant des m\u00e9tamorphoses esth\u00e9tiques et formelles qu\u2019il serait int\u00e9ressant d\u2019\u00e9tudier dans le cadre pr\u00e9cis des plates-formes de streaming et des cha\u00eenes virtuelles.<\/p>\nLes contributeurs pourront explorer les axes de recherche suivants (la liste n\u2019est \u00e9videmment pas exhaustive) :<\/p>\nAxe esth\u00e9tique : l\u2019horreur \u00e0 l\u2019\u00e9cran<\/h3>\nAvant les ann\u00e9es 2000, l\u2019amateur de film d\u2019horreur fr\u00e9quentait les cin\u00e9clubs, collectionnait les cassettes vhs ou parcourait les programmes t\u00e9l\u00e9vis\u00e9s. Depuis, les cha\u00eenes th\u00e9matiques sont apparues et l\u2019usage de l\u2019internet s\u2019est g\u00e9n\u00e9ralis\u00e9. Le t\u00e9l\u00e9chargement et le streaming ont pris une ampleur telle que l\u2019on peut visionner un film ou un \u00e9pisode d\u2019une s\u00e9rie presqu\u2019\u00e0 tout moment, sur son ordinateur, sa tablette ou son t\u00e9l\u00e9phone portable. Dans quelle mesure ces nouveaux \u00e9crans et ces nouveaux modes \u00e9nonciatifs influencent-ils l\u2019esth\u00e9tique horrifique et la repr\u00e9sentation de l\u2019horreur ?<\/p>\nAxe g\u00e9n\u00e9tique : horreur et r\u00e9\u00e9criture<\/h3>\nDans le vaste champ de la culture de masse, la citation, l\u2019emprunt et la r\u00e9\u00e9criture sont de mise. L\u2019horreur n\u2019\u00e9chappe pas \u00e0 la r\u00e8gle et depuis des d\u00e9cennies, les adaptations, les remakes et autres r\u00e9-imaginations nourrissent le genre : entre la litt\u00e9rature, le cin\u00e9ma, la bande-dessin\u00e9e et la t\u00e9l\u00e9vision, les \u00e9changent sont nombreux et constants. Les nouvelles fictions horrifiques puisent \u00e0 cette source, multipliant les r\u00e9f\u00e9rences explicites ou les clins d\u2019\u0153il au spectateur. Quelles sont les tendances et les modalit\u00e9s de cette r\u00e9\u00e9criture dans l\u2019univers du streaming ?<\/p>\nAxe narratologique : horreur et s\u00e9rialit\u00e9<\/h3>\nLa s\u00e9rie est peut-\u00eatre la forme narrative dominante aujourd\u2019hui. Dans le domaine des longs m\u00e9trages, les diptyques, les trilogies ou les sagas foisonnent. Les s\u00e9ries d\u2019horreur, feuilletonnesques ou anthologiques, constituent une part importante du catalogue des cha\u00eenes virtuelles et des plates-formes de vid\u00e9o \u00e0 la demande. Les formats \u00e9voluent, les \u00e9pisodes se font plus longs et se rapprochent des films en termes de r\u00e9alisation, de rythme et de dur\u00e9e. On pourra se demander comment ce principe po\u00e9tique et \u00e9conomique de s\u00e9rialit\u00e9 informe la fiction horrifique.<\/p>\nAxe sociologique : horreur et soci\u00e9t\u00e9<\/h3>\nLe r\u00e9cit d\u2019horreur rev\u00eat tr\u00e8s souvent, on le sait, une dimension all\u00e9gorique. Mais on peut \u00e0 bon droit s\u2019interroger sur la port\u00e9e m\u00e9taphorique des fictions horrifiques contemporaines tant elles abordent de mani\u00e8re explicite, frontale, voire didactique, les questions qui animent nos soci\u00e9t\u00e9s. Il serait int\u00e9ressant de r\u00e9\u00e9valuer la forme et les fonctions de l\u2019argumentation dans ces \u0153uvres qui touchent d\u00e9sormais un tr\u00e8s vaste public.<\/p>\nAxe \u00e9pist\u00e9mique : de la fiction \u00e0 l\u2019objet critique<\/h3>\nDepuis un certain nombre d\u2019ann\u00e9es d\u00e9j\u00e0, le milieu universitaire et la critique journalistique s\u2019est empar\u00e9 des productions de la culture de masse. On remarquera que les approches sociologiques ou culturalistes dominent en la mati\u00e8re. L\u2019id\u00e9e selon laquelle les films ou les s\u00e9ries actuelles refl\u00e8teraient notre soci\u00e9t\u00e9 et ses tensions est en passe de devenir un lieu commun. Cet int\u00e9r\u00eat ne laisse pas d\u2019interroger les rapports d\u2019influence r\u00e9ciproque qui peuvent exister entre les cr\u00e9ateurs et ce public d\u2019experts et assimil\u00e9s : tout se passe comme si la reconnaissance de la fiction horrifique en tant qu\u2019objet critique valait pour une reconnaissance esth\u00e9tique, un gage de qualit\u00e9 et de r\u00e9ussite. Face \u00e0 l\u2019engouement universitaire et plus g\u00e9n\u00e9ralement m\u00e9diatique, les cr\u00e9ateurs ne sont-ils pas tent\u00e9s de produire et de diffuser de fa\u00e7on industrielle des \u0153uvres dans l\u2019air du temps, destin\u00e9es non seulement \u00e0 divertir, mais aussi \u00e0 \u00eatre comment\u00e9es par les critiques et les chercheurs\u00a0de tout bord ?<\/p>\n\u00c9ch\u00e9ances<\/h2>\nLes propositions (environ 250 \u00e0 300 mots<\/strong>) sont \u00e0 envoyer au responsable du num\u00e9ro avant le 3 mars 2021.\n<\/strong>Les articles retenus devront \u00eatre remis avant le 1er juillet 2021.<\/p>\nBibliographie s\u00e9lective<\/h2>\nArouimi, Michel, L\u2019\u00e9pouvante fondatrice, L\u2019effet miroir des films d’horreur<\/em>, Rosi\u00e8res-en-Haye, Camion noir, 2017.<\/p>\nAstic, Guy, Outrance et ravissement. Images et mots de l’horreur 1<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming\" \/>\n<meta property=\"og:description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2021-01-19T10:22:39+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" 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\n\t\t\t\t\tType de r\u00e9ponse<\/span><\/span> R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue \u00ab Cultural Express \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni <\/span> Berjola <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, giovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni Berjola <\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tgiovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue “Cultural Express”<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nArgumentaire<\/h2>\nL\u2019horreur \u00e0 l\u2019\u00e9cran est un genre lucratif. Les r\u00e9cents triomphes commerciaux le confirment : les deux films consacr\u00e9s \u00e0 \u00c7a<\/em> (2017 et 2019) de Stephen King font partie des productions les plus rentables des derni\u00e8res ann\u00e9es et les s\u00e9ries horrifiques telles que The Haunting<\/em> (2018) ou American Horror Story <\/em>(2011), pour ne citer que les plus connues, sont l\u00e9gions. La culture populaire et les fictions pour la jeunesse t\u00e9moignent de la vitalit\u00e9 d\u2019un genre qui transcende les cat\u00e9gories, les m\u00e9dias et les modes \u00e9nonciatifs pour s\u2019\u00e9panouir sur les cha\u00eenes de t\u00e9l\u00e9vision comme HBO, FX ou AMC, \u00e0 travers le syst\u00e8me de replay<\/em> des cha\u00eenes virtuelles et plus encore sur les plates-formes de streaming comme Netflix, Hulu ou encore Shadows : cette derni\u00e8re est exclusivement consacr\u00e9e \u00e0 la fiction horrifique, signe que l\u2019industrie du divertissement a parfaitement cern\u00e9 les go\u00fbts du public actuel.<\/p>\nDans son article intitul\u00e9, \u00ab La tripe cin\u00e9matographique \u00bb, Christian Oddos rappelle que \u00ab le but essentiel des films d’horreur est de transmettre une horreur visuelle et sordide ou encore d’infliger au spectateur, par l’interm\u00e9diaire d’un personnage, une horreur intellectuelle et morale \u00bb[1]. Cette d\u00e9finition date de 1988 : \u00e0 cette \u00e9poque, le cin\u00e9ma reste une forme de divertissement majeure, mais d\u00e9j\u00e0 concurrenc\u00e9e par la t\u00e9l\u00e9vision et la vid\u00e9o. Si le cin\u00e9ma projette, ritualise et sacralise l\u2019exp\u00e9rience horrifique, la t\u00e9l\u00e9vision la diffuse et la vid\u00e9o la f\u00e9tichise. L\u2019av\u00e8nement des networks puis de l\u2019internet a depuis boulevers\u00e9 notre rapport \u00e0 la fiction cin\u00e9matographique et t\u00e9l\u00e9visuelle. Les films et les s\u00e9ries sont plus nombreux, plus imm\u00e9diatement disponibles ; les pratiques et les exp\u00e9riences se transforment. Ces changements \u00e0 la fois confortent et renforcent la place de l\u2019horreur dans le champ culturel tout en amor\u00e7ant des m\u00e9tamorphoses esth\u00e9tiques et formelles qu\u2019il serait int\u00e9ressant d\u2019\u00e9tudier dans le cadre pr\u00e9cis des plates-formes de streaming et des cha\u00eenes virtuelles.<\/p>\nLes contributeurs pourront explorer les axes de recherche suivants (la liste n\u2019est \u00e9videmment pas exhaustive) :<\/p>\nAxe esth\u00e9tique : l\u2019horreur \u00e0 l\u2019\u00e9cran<\/h3>\nAvant les ann\u00e9es 2000, l\u2019amateur de film d\u2019horreur fr\u00e9quentait les cin\u00e9clubs, collectionnait les cassettes vhs ou parcourait les programmes t\u00e9l\u00e9vis\u00e9s. Depuis, les cha\u00eenes th\u00e9matiques sont apparues et l\u2019usage de l\u2019internet s\u2019est g\u00e9n\u00e9ralis\u00e9. Le t\u00e9l\u00e9chargement et le streaming ont pris une ampleur telle que l\u2019on peut visionner un film ou un \u00e9pisode d\u2019une s\u00e9rie presqu\u2019\u00e0 tout moment, sur son ordinateur, sa tablette ou son t\u00e9l\u00e9phone portable. Dans quelle mesure ces nouveaux \u00e9crans et ces nouveaux modes \u00e9nonciatifs influencent-ils l\u2019esth\u00e9tique horrifique et la repr\u00e9sentation de l\u2019horreur ?<\/p>\nAxe g\u00e9n\u00e9tique : horreur et r\u00e9\u00e9criture<\/h3>\nDans le vaste champ de la culture de masse, la citation, l\u2019emprunt et la r\u00e9\u00e9criture sont de mise. L\u2019horreur n\u2019\u00e9chappe pas \u00e0 la r\u00e8gle et depuis des d\u00e9cennies, les adaptations, les remakes et autres r\u00e9-imaginations nourrissent le genre : entre la litt\u00e9rature, le cin\u00e9ma, la bande-dessin\u00e9e et la t\u00e9l\u00e9vision, les \u00e9changent sont nombreux et constants. Les nouvelles fictions horrifiques puisent \u00e0 cette source, multipliant les r\u00e9f\u00e9rences explicites ou les clins d\u2019\u0153il au spectateur. Quelles sont les tendances et les modalit\u00e9s de cette r\u00e9\u00e9criture dans l\u2019univers du streaming ?<\/p>\nAxe narratologique : horreur et s\u00e9rialit\u00e9<\/h3>\nLa s\u00e9rie est peut-\u00eatre la forme narrative dominante aujourd\u2019hui. Dans le domaine des longs m\u00e9trages, les diptyques, les trilogies ou les sagas foisonnent. Les s\u00e9ries d\u2019horreur, feuilletonnesques ou anthologiques, constituent une part importante du catalogue des cha\u00eenes virtuelles et des plates-formes de vid\u00e9o \u00e0 la demande. Les formats \u00e9voluent, les \u00e9pisodes se font plus longs et se rapprochent des films en termes de r\u00e9alisation, de rythme et de dur\u00e9e. On pourra se demander comment ce principe po\u00e9tique et \u00e9conomique de s\u00e9rialit\u00e9 informe la fiction horrifique.<\/p>\nAxe sociologique : horreur et soci\u00e9t\u00e9<\/h3>\nLe r\u00e9cit d\u2019horreur rev\u00eat tr\u00e8s souvent, on le sait, une dimension all\u00e9gorique. Mais on peut \u00e0 bon droit s\u2019interroger sur la port\u00e9e m\u00e9taphorique des fictions horrifiques contemporaines tant elles abordent de mani\u00e8re explicite, frontale, voire didactique, les questions qui animent nos soci\u00e9t\u00e9s. Il serait int\u00e9ressant de r\u00e9\u00e9valuer la forme et les fonctions de l\u2019argumentation dans ces \u0153uvres qui touchent d\u00e9sormais un tr\u00e8s vaste public.<\/p>\nAxe \u00e9pist\u00e9mique : de la fiction \u00e0 l\u2019objet critique<\/h3>\nDepuis un certain nombre d\u2019ann\u00e9es d\u00e9j\u00e0, le milieu universitaire et la critique journalistique s\u2019est empar\u00e9 des productions de la culture de masse. On remarquera que les approches sociologiques ou culturalistes dominent en la mati\u00e8re. L\u2019id\u00e9e selon laquelle les films ou les s\u00e9ries actuelles refl\u00e8teraient notre soci\u00e9t\u00e9 et ses tensions est en passe de devenir un lieu commun. Cet int\u00e9r\u00eat ne laisse pas d\u2019interroger les rapports d\u2019influence r\u00e9ciproque qui peuvent exister entre les cr\u00e9ateurs et ce public d\u2019experts et assimil\u00e9s : tout se passe comme si la reconnaissance de la fiction horrifique en tant qu\u2019objet critique valait pour une reconnaissance esth\u00e9tique, un gage de qualit\u00e9 et de r\u00e9ussite. Face \u00e0 l\u2019engouement universitaire et plus g\u00e9n\u00e9ralement m\u00e9diatique, les cr\u00e9ateurs ne sont-ils pas tent\u00e9s de produire et de diffuser de fa\u00e7on industrielle des \u0153uvres dans l\u2019air du temps, destin\u00e9es non seulement \u00e0 divertir, mais aussi \u00e0 \u00eatre comment\u00e9es par les critiques et les chercheurs\u00a0de tout bord ?<\/p>\n\u00c9ch\u00e9ances<\/h2>\nLes propositions (environ 250 \u00e0 300 mots<\/strong>) sont \u00e0 envoyer au responsable du num\u00e9ro avant le 3 mars 2021.\n<\/strong>Les articles retenus devront \u00eatre remis avant le 1er juillet 2021.<\/p>\nBibliographie s\u00e9lective<\/h2>\nArouimi, Michel, L\u2019\u00e9pouvante fondatrice, L\u2019effet miroir des films d’horreur<\/em>, Rosi\u00e8res-en-Haye, Camion noir, 2017.<\/p>\nAstic, Guy, Outrance et ravissement. Images et mots de l’horreur 1<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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\n\t\t\t\t\t\t\tType de contribution attendue<\/span><\/span> Article<\/strong>\n\t\t\t\t\t<\/p>\n\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue \u00ab Cultural Express \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni <\/span> Berjola <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, giovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni Berjola <\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tgiovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue “Cultural Express”<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nArgumentaire<\/h2>\nL\u2019horreur \u00e0 l\u2019\u00e9cran est un genre lucratif. Les r\u00e9cents triomphes commerciaux le confirment : les deux films consacr\u00e9s \u00e0 \u00c7a<\/em> (2017 et 2019) de Stephen King font partie des productions les plus rentables des derni\u00e8res ann\u00e9es et les s\u00e9ries horrifiques telles que The Haunting<\/em> (2018) ou American Horror Story <\/em>(2011), pour ne citer que les plus connues, sont l\u00e9gions. La culture populaire et les fictions pour la jeunesse t\u00e9moignent de la vitalit\u00e9 d\u2019un genre qui transcende les cat\u00e9gories, les m\u00e9dias et les modes \u00e9nonciatifs pour s\u2019\u00e9panouir sur les cha\u00eenes de t\u00e9l\u00e9vision comme HBO, FX ou AMC, \u00e0 travers le syst\u00e8me de replay<\/em> des cha\u00eenes virtuelles et plus encore sur les plates-formes de streaming comme Netflix, Hulu ou encore Shadows : cette derni\u00e8re est exclusivement consacr\u00e9e \u00e0 la fiction horrifique, signe que l\u2019industrie du divertissement a parfaitement cern\u00e9 les go\u00fbts du public actuel.<\/p>\nDans son article intitul\u00e9, \u00ab La tripe cin\u00e9matographique \u00bb, Christian Oddos rappelle que \u00ab le but essentiel des films d’horreur est de transmettre une horreur visuelle et sordide ou encore d’infliger au spectateur, par l’interm\u00e9diaire d’un personnage, une horreur intellectuelle et morale \u00bb[1]. Cette d\u00e9finition date de 1988 : \u00e0 cette \u00e9poque, le cin\u00e9ma reste une forme de divertissement majeure, mais d\u00e9j\u00e0 concurrenc\u00e9e par la t\u00e9l\u00e9vision et la vid\u00e9o. Si le cin\u00e9ma projette, ritualise et sacralise l\u2019exp\u00e9rience horrifique, la t\u00e9l\u00e9vision la diffuse et la vid\u00e9o la f\u00e9tichise. L\u2019av\u00e8nement des networks puis de l\u2019internet a depuis boulevers\u00e9 notre rapport \u00e0 la fiction cin\u00e9matographique et t\u00e9l\u00e9visuelle. Les films et les s\u00e9ries sont plus nombreux, plus imm\u00e9diatement disponibles ; les pratiques et les exp\u00e9riences se transforment. Ces changements \u00e0 la fois confortent et renforcent la place de l\u2019horreur dans le champ culturel tout en amor\u00e7ant des m\u00e9tamorphoses esth\u00e9tiques et formelles qu\u2019il serait int\u00e9ressant d\u2019\u00e9tudier dans le cadre pr\u00e9cis des plates-formes de streaming et des cha\u00eenes virtuelles.<\/p>\nLes contributeurs pourront explorer les axes de recherche suivants (la liste n\u2019est \u00e9videmment pas exhaustive) :<\/p>\nAxe esth\u00e9tique : l\u2019horreur \u00e0 l\u2019\u00e9cran<\/h3>\nAvant les ann\u00e9es 2000, l\u2019amateur de film d\u2019horreur fr\u00e9quentait les cin\u00e9clubs, collectionnait les cassettes vhs ou parcourait les programmes t\u00e9l\u00e9vis\u00e9s. Depuis, les cha\u00eenes th\u00e9matiques sont apparues et l\u2019usage de l\u2019internet s\u2019est g\u00e9n\u00e9ralis\u00e9. Le t\u00e9l\u00e9chargement et le streaming ont pris une ampleur telle que l\u2019on peut visionner un film ou un \u00e9pisode d\u2019une s\u00e9rie presqu\u2019\u00e0 tout moment, sur son ordinateur, sa tablette ou son t\u00e9l\u00e9phone portable. Dans quelle mesure ces nouveaux \u00e9crans et ces nouveaux modes \u00e9nonciatifs influencent-ils l\u2019esth\u00e9tique horrifique et la repr\u00e9sentation de l\u2019horreur ?<\/p>\nAxe g\u00e9n\u00e9tique : horreur et r\u00e9\u00e9criture<\/h3>\nDans le vaste champ de la culture de masse, la citation, l\u2019emprunt et la r\u00e9\u00e9criture sont de mise. L\u2019horreur n\u2019\u00e9chappe pas \u00e0 la r\u00e8gle et depuis des d\u00e9cennies, les adaptations, les remakes et autres r\u00e9-imaginations nourrissent le genre : entre la litt\u00e9rature, le cin\u00e9ma, la bande-dessin\u00e9e et la t\u00e9l\u00e9vision, les \u00e9changent sont nombreux et constants. Les nouvelles fictions horrifiques puisent \u00e0 cette source, multipliant les r\u00e9f\u00e9rences explicites ou les clins d\u2019\u0153il au spectateur. Quelles sont les tendances et les modalit\u00e9s de cette r\u00e9\u00e9criture dans l\u2019univers du streaming ?<\/p>\nAxe narratologique : horreur et s\u00e9rialit\u00e9<\/h3>\nLa s\u00e9rie est peut-\u00eatre la forme narrative dominante aujourd\u2019hui. Dans le domaine des longs m\u00e9trages, les diptyques, les trilogies ou les sagas foisonnent. Les s\u00e9ries d\u2019horreur, feuilletonnesques ou anthologiques, constituent une part importante du catalogue des cha\u00eenes virtuelles et des plates-formes de vid\u00e9o \u00e0 la demande. Les formats \u00e9voluent, les \u00e9pisodes se font plus longs et se rapprochent des films en termes de r\u00e9alisation, de rythme et de dur\u00e9e. On pourra se demander comment ce principe po\u00e9tique et \u00e9conomique de s\u00e9rialit\u00e9 informe la fiction horrifique.<\/p>\nAxe sociologique : horreur et soci\u00e9t\u00e9<\/h3>\nLe r\u00e9cit d\u2019horreur rev\u00eat tr\u00e8s souvent, on le sait, une dimension all\u00e9gorique. Mais on peut \u00e0 bon droit s\u2019interroger sur la port\u00e9e m\u00e9taphorique des fictions horrifiques contemporaines tant elles abordent de mani\u00e8re explicite, frontale, voire didactique, les questions qui animent nos soci\u00e9t\u00e9s. Il serait int\u00e9ressant de r\u00e9\u00e9valuer la forme et les fonctions de l\u2019argumentation dans ces \u0153uvres qui touchent d\u00e9sormais un tr\u00e8s vaste public.<\/p>\nAxe \u00e9pist\u00e9mique : de la fiction \u00e0 l\u2019objet critique<\/h3>\nDepuis un certain nombre d\u2019ann\u00e9es d\u00e9j\u00e0, le milieu universitaire et la critique journalistique s\u2019est empar\u00e9 des productions de la culture de masse. On remarquera que les approches sociologiques ou culturalistes dominent en la mati\u00e8re. L\u2019id\u00e9e selon laquelle les films ou les s\u00e9ries actuelles refl\u00e8teraient notre soci\u00e9t\u00e9 et ses tensions est en passe de devenir un lieu commun. Cet int\u00e9r\u00eat ne laisse pas d\u2019interroger les rapports d\u2019influence r\u00e9ciproque qui peuvent exister entre les cr\u00e9ateurs et ce public d\u2019experts et assimil\u00e9s : tout se passe comme si la reconnaissance de la fiction horrifique en tant qu\u2019objet critique valait pour une reconnaissance esth\u00e9tique, un gage de qualit\u00e9 et de r\u00e9ussite. Face \u00e0 l\u2019engouement universitaire et plus g\u00e9n\u00e9ralement m\u00e9diatique, les cr\u00e9ateurs ne sont-ils pas tent\u00e9s de produire et de diffuser de fa\u00e7on industrielle des \u0153uvres dans l\u2019air du temps, destin\u00e9es non seulement \u00e0 divertir, mais aussi \u00e0 \u00eatre comment\u00e9es par les critiques et les chercheurs\u00a0de tout bord ?<\/p>\n\u00c9ch\u00e9ances<\/h2>\nLes propositions (environ 250 \u00e0 300 mots<\/strong>) sont \u00e0 envoyer au responsable du num\u00e9ro avant le 3 mars 2021.\n<\/strong>Les articles retenus devront \u00eatre remis avant le 1er juillet 2021.<\/p>\nBibliographie s\u00e9lective<\/h2>\nArouimi, Michel, L\u2019\u00e9pouvante fondatrice, L\u2019effet miroir des films d’horreur<\/em>, Rosi\u00e8res-en-Haye, Camion noir, 2017.<\/p>\nAstic, Guy, Outrance et ravissement. Images et mots de l’horreur 1<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Revue \u00ab Cultural Express \u00bb<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni <\/span> Berjola <\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, giovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nContacts<\/h3>\n\n\n\t\t\t\t\t\t\tGiovanni Berjola <\/span><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\tgiovanni.berjola@orange.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nSites internet de r\u00e9f\u00e9rence<\/h3>\n\n\n\t\t\t\t\t\t\tSite de la revue “Cultural Express”<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nArgumentaire<\/h2>\nL\u2019horreur \u00e0 l\u2019\u00e9cran est un genre lucratif. Les r\u00e9cents triomphes commerciaux le confirment : les deux films consacr\u00e9s \u00e0 \u00c7a<\/em> (2017 et 2019) de Stephen King font partie des productions les plus rentables des derni\u00e8res ann\u00e9es et les s\u00e9ries horrifiques telles que The Haunting<\/em> (2018) ou American Horror Story <\/em>(2011), pour ne citer que les plus connues, sont l\u00e9gions. La culture populaire et les fictions pour la jeunesse t\u00e9moignent de la vitalit\u00e9 d\u2019un genre qui transcende les cat\u00e9gories, les m\u00e9dias et les modes \u00e9nonciatifs pour s\u2019\u00e9panouir sur les cha\u00eenes de t\u00e9l\u00e9vision comme HBO, FX ou AMC, \u00e0 travers le syst\u00e8me de replay<\/em> des cha\u00eenes virtuelles et plus encore sur les plates-formes de streaming comme Netflix, Hulu ou encore Shadows : cette derni\u00e8re est exclusivement consacr\u00e9e \u00e0 la fiction horrifique, signe que l\u2019industrie du divertissement a parfaitement cern\u00e9 les go\u00fbts du public actuel.<\/p>\nDans son article intitul\u00e9, \u00ab La tripe cin\u00e9matographique \u00bb, Christian Oddos rappelle que \u00ab le but essentiel des films d’horreur est de transmettre une horreur visuelle et sordide ou encore d’infliger au spectateur, par l’interm\u00e9diaire d’un personnage, une horreur intellectuelle et morale \u00bb[1]. Cette d\u00e9finition date de 1988 : \u00e0 cette \u00e9poque, le cin\u00e9ma reste une forme de divertissement majeure, mais d\u00e9j\u00e0 concurrenc\u00e9e par la t\u00e9l\u00e9vision et la vid\u00e9o. Si le cin\u00e9ma projette, ritualise et sacralise l\u2019exp\u00e9rience horrifique, la t\u00e9l\u00e9vision la diffuse et la vid\u00e9o la f\u00e9tichise. L\u2019av\u00e8nement des networks puis de l\u2019internet a depuis boulevers\u00e9 notre rapport \u00e0 la fiction cin\u00e9matographique et t\u00e9l\u00e9visuelle. Les films et les s\u00e9ries sont plus nombreux, plus imm\u00e9diatement disponibles ; les pratiques et les exp\u00e9riences se transforment. Ces changements \u00e0 la fois confortent et renforcent la place de l\u2019horreur dans le champ culturel tout en amor\u00e7ant des m\u00e9tamorphoses esth\u00e9tiques et formelles qu\u2019il serait int\u00e9ressant d\u2019\u00e9tudier dans le cadre pr\u00e9cis des plates-formes de streaming et des cha\u00eenes virtuelles.<\/p>\nLes contributeurs pourront explorer les axes de recherche suivants (la liste n\u2019est \u00e9videmment pas exhaustive) :<\/p>\nAxe esth\u00e9tique : l\u2019horreur \u00e0 l\u2019\u00e9cran<\/h3>\nAvant les ann\u00e9es 2000, l\u2019amateur de film d\u2019horreur fr\u00e9quentait les cin\u00e9clubs, collectionnait les cassettes vhs ou parcourait les programmes t\u00e9l\u00e9vis\u00e9s. Depuis, les cha\u00eenes th\u00e9matiques sont apparues et l\u2019usage de l\u2019internet s\u2019est g\u00e9n\u00e9ralis\u00e9. Le t\u00e9l\u00e9chargement et le streaming ont pris une ampleur telle que l\u2019on peut visionner un film ou un \u00e9pisode d\u2019une s\u00e9rie presqu\u2019\u00e0 tout moment, sur son ordinateur, sa tablette ou son t\u00e9l\u00e9phone portable. Dans quelle mesure ces nouveaux \u00e9crans et ces nouveaux modes \u00e9nonciatifs influencent-ils l\u2019esth\u00e9tique horrifique et la repr\u00e9sentation de l\u2019horreur ?<\/p>\nAxe g\u00e9n\u00e9tique : horreur et r\u00e9\u00e9criture<\/h3>\nDans le vaste champ de la culture de masse, la citation, l\u2019emprunt et la r\u00e9\u00e9criture sont de mise. L\u2019horreur n\u2019\u00e9chappe pas \u00e0 la r\u00e8gle et depuis des d\u00e9cennies, les adaptations, les remakes et autres r\u00e9-imaginations nourrissent le genre : entre la litt\u00e9rature, le cin\u00e9ma, la bande-dessin\u00e9e et la t\u00e9l\u00e9vision, les \u00e9changent sont nombreux et constants. Les nouvelles fictions horrifiques puisent \u00e0 cette source, multipliant les r\u00e9f\u00e9rences explicites ou les clins d\u2019\u0153il au spectateur. Quelles sont les tendances et les modalit\u00e9s de cette r\u00e9\u00e9criture dans l\u2019univers du streaming ?<\/p>\nAxe narratologique : horreur et s\u00e9rialit\u00e9<\/h3>\nLa s\u00e9rie est peut-\u00eatre la forme narrative dominante aujourd\u2019hui. Dans le domaine des longs m\u00e9trages, les diptyques, les trilogies ou les sagas foisonnent. Les s\u00e9ries d\u2019horreur, feuilletonnesques ou anthologiques, constituent une part importante du catalogue des cha\u00eenes virtuelles et des plates-formes de vid\u00e9o \u00e0 la demande. Les formats \u00e9voluent, les \u00e9pisodes se font plus longs et se rapprochent des films en termes de r\u00e9alisation, de rythme et de dur\u00e9e. On pourra se demander comment ce principe po\u00e9tique et \u00e9conomique de s\u00e9rialit\u00e9 informe la fiction horrifique.<\/p>\nAxe sociologique : horreur et soci\u00e9t\u00e9<\/h3>\nLe r\u00e9cit d\u2019horreur rev\u00eat tr\u00e8s souvent, on le sait, une dimension all\u00e9gorique. Mais on peut \u00e0 bon droit s\u2019interroger sur la port\u00e9e m\u00e9taphorique des fictions horrifiques contemporaines tant elles abordent de mani\u00e8re explicite, frontale, voire didactique, les questions qui animent nos soci\u00e9t\u00e9s. Il serait int\u00e9ressant de r\u00e9\u00e9valuer la forme et les fonctions de l\u2019argumentation dans ces \u0153uvres qui touchent d\u00e9sormais un tr\u00e8s vaste public.<\/p>\nAxe \u00e9pist\u00e9mique : de la fiction \u00e0 l\u2019objet critique<\/h3>\nDepuis un certain nombre d\u2019ann\u00e9es d\u00e9j\u00e0, le milieu universitaire et la critique journalistique s\u2019est empar\u00e9 des productions de la culture de masse. On remarquera que les approches sociologiques ou culturalistes dominent en la mati\u00e8re. L\u2019id\u00e9e selon laquelle les films ou les s\u00e9ries actuelles refl\u00e8teraient notre soci\u00e9t\u00e9 et ses tensions est en passe de devenir un lieu commun. Cet int\u00e9r\u00eat ne laisse pas d\u2019interroger les rapports d\u2019influence r\u00e9ciproque qui peuvent exister entre les cr\u00e9ateurs et ce public d\u2019experts et assimil\u00e9s : tout se passe comme si la reconnaissance de la fiction horrifique en tant qu\u2019objet critique valait pour une reconnaissance esth\u00e9tique, un gage de qualit\u00e9 et de r\u00e9ussite. Face \u00e0 l\u2019engouement universitaire et plus g\u00e9n\u00e9ralement m\u00e9diatique, les cr\u00e9ateurs ne sont-ils pas tent\u00e9s de produire et de diffuser de fa\u00e7on industrielle des \u0153uvres dans l\u2019air du temps, destin\u00e9es non seulement \u00e0 divertir, mais aussi \u00e0 \u00eatre comment\u00e9es par les critiques et les chercheurs\u00a0de tout bord ?<\/p>\n\u00c9ch\u00e9ances<\/h2>\nLes propositions (environ 250 \u00e0 300 mots<\/strong>) sont \u00e0 envoyer au responsable du num\u00e9ro avant le 3 mars 2021.\n<\/strong>Les articles retenus devront \u00eatre remis avant le 1er juillet 2021.<\/p>\nBibliographie s\u00e9lective<\/h2>\nArouimi, Michel, L\u2019\u00e9pouvante fondatrice, L\u2019effet miroir des films d’horreur<\/em>, Rosi\u00e8res-en-Haye, Camion noir, 2017.<\/p>\nAstic, Guy, Outrance et ravissement. Images et mots de l’horreur 1<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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L\u2019horreur \u00e0 l\u2019\u00e9cran est un genre lucratif. Les r\u00e9cents triomphes commerciaux le confirment : les deux films consacr\u00e9s \u00e0 \u00c7a<\/em> (2017 et 2019) de Stephen King font partie des productions les plus rentables des derni\u00e8res ann\u00e9es et les s\u00e9ries horrifiques telles que The Haunting<\/em> (2018) ou American Horror Story <\/em>(2011), pour ne citer que les plus connues, sont l\u00e9gions. La culture populaire et les fictions pour la jeunesse t\u00e9moignent de la vitalit\u00e9 d\u2019un genre qui transcende les cat\u00e9gories, les m\u00e9dias et les modes \u00e9nonciatifs pour s\u2019\u00e9panouir sur les cha\u00eenes de t\u00e9l\u00e9vision comme HBO, FX ou AMC, \u00e0 travers le syst\u00e8me de replay<\/em> des cha\u00eenes virtuelles et plus encore sur les plates-formes de streaming comme Netflix, Hulu ou encore Shadows : cette derni\u00e8re est exclusivement consacr\u00e9e \u00e0 la fiction horrifique, signe que l\u2019industrie du divertissement a parfaitement cern\u00e9 les go\u00fbts du public actuel.<\/p>\nDans son article intitul\u00e9, \u00ab La tripe cin\u00e9matographique \u00bb, Christian Oddos rappelle que \u00ab le but essentiel des films d’horreur est de transmettre une horreur visuelle et sordide ou encore d’infliger au spectateur, par l’interm\u00e9diaire d’un personnage, une horreur intellectuelle et morale \u00bb[1]. Cette d\u00e9finition date de 1988 : \u00e0 cette \u00e9poque, le cin\u00e9ma reste une forme de divertissement majeure, mais d\u00e9j\u00e0 concurrenc\u00e9e par la t\u00e9l\u00e9vision et la vid\u00e9o. Si le cin\u00e9ma projette, ritualise et sacralise l\u2019exp\u00e9rience horrifique, la t\u00e9l\u00e9vision la diffuse et la vid\u00e9o la f\u00e9tichise. L\u2019av\u00e8nement des networks puis de l\u2019internet a depuis boulevers\u00e9 notre rapport \u00e0 la fiction cin\u00e9matographique et t\u00e9l\u00e9visuelle. Les films et les s\u00e9ries sont plus nombreux, plus imm\u00e9diatement disponibles ; les pratiques et les exp\u00e9riences se transforment. Ces changements \u00e0 la fois confortent et renforcent la place de l\u2019horreur dans le champ culturel tout en amor\u00e7ant des m\u00e9tamorphoses esth\u00e9tiques et formelles qu\u2019il serait int\u00e9ressant d\u2019\u00e9tudier dans le cadre pr\u00e9cis des plates-formes de streaming et des cha\u00eenes virtuelles.<\/p>\nLes contributeurs pourront explorer les axes de recherche suivants (la liste n\u2019est \u00e9videmment pas exhaustive) :<\/p>\nAxe esth\u00e9tique : l\u2019horreur \u00e0 l\u2019\u00e9cran<\/h3>\nAvant les ann\u00e9es 2000, l\u2019amateur de film d\u2019horreur fr\u00e9quentait les cin\u00e9clubs, collectionnait les cassettes vhs ou parcourait les programmes t\u00e9l\u00e9vis\u00e9s. Depuis, les cha\u00eenes th\u00e9matiques sont apparues et l\u2019usage de l\u2019internet s\u2019est g\u00e9n\u00e9ralis\u00e9. Le t\u00e9l\u00e9chargement et le streaming ont pris une ampleur telle que l\u2019on peut visionner un film ou un \u00e9pisode d\u2019une s\u00e9rie presqu\u2019\u00e0 tout moment, sur son ordinateur, sa tablette ou son t\u00e9l\u00e9phone portable. Dans quelle mesure ces nouveaux \u00e9crans et ces nouveaux modes \u00e9nonciatifs influencent-ils l\u2019esth\u00e9tique horrifique et la repr\u00e9sentation de l\u2019horreur ?<\/p>\nAxe g\u00e9n\u00e9tique : horreur et r\u00e9\u00e9criture<\/h3>\nDans le vaste champ de la culture de masse, la citation, l\u2019emprunt et la r\u00e9\u00e9criture sont de mise. L\u2019horreur n\u2019\u00e9chappe pas \u00e0 la r\u00e8gle et depuis des d\u00e9cennies, les adaptations, les remakes et autres r\u00e9-imaginations nourrissent le genre : entre la litt\u00e9rature, le cin\u00e9ma, la bande-dessin\u00e9e et la t\u00e9l\u00e9vision, les \u00e9changent sont nombreux et constants. Les nouvelles fictions horrifiques puisent \u00e0 cette source, multipliant les r\u00e9f\u00e9rences explicites ou les clins d\u2019\u0153il au spectateur. Quelles sont les tendances et les modalit\u00e9s de cette r\u00e9\u00e9criture dans l\u2019univers du streaming ?<\/p>\nAxe narratologique : horreur et s\u00e9rialit\u00e9<\/h3>\nLa s\u00e9rie est peut-\u00eatre la forme narrative dominante aujourd\u2019hui. Dans le domaine des longs m\u00e9trages, les diptyques, les trilogies ou les sagas foisonnent. Les s\u00e9ries d\u2019horreur, feuilletonnesques ou anthologiques, constituent une part importante du catalogue des cha\u00eenes virtuelles et des plates-formes de vid\u00e9o \u00e0 la demande. Les formats \u00e9voluent, les \u00e9pisodes se font plus longs et se rapprochent des films en termes de r\u00e9alisation, de rythme et de dur\u00e9e. On pourra se demander comment ce principe po\u00e9tique et \u00e9conomique de s\u00e9rialit\u00e9 informe la fiction horrifique.<\/p>\nAxe sociologique : horreur et soci\u00e9t\u00e9<\/h3>\nLe r\u00e9cit d\u2019horreur rev\u00eat tr\u00e8s souvent, on le sait, une dimension all\u00e9gorique. Mais on peut \u00e0 bon droit s\u2019interroger sur la port\u00e9e m\u00e9taphorique des fictions horrifiques contemporaines tant elles abordent de mani\u00e8re explicite, frontale, voire didactique, les questions qui animent nos soci\u00e9t\u00e9s. Il serait int\u00e9ressant de r\u00e9\u00e9valuer la forme et les fonctions de l\u2019argumentation dans ces \u0153uvres qui touchent d\u00e9sormais un tr\u00e8s vaste public.<\/p>\nAxe \u00e9pist\u00e9mique : de la fiction \u00e0 l\u2019objet critique<\/h3>\nDepuis un certain nombre d\u2019ann\u00e9es d\u00e9j\u00e0, le milieu universitaire et la critique journalistique s\u2019est empar\u00e9 des productions de la culture de masse. On remarquera que les approches sociologiques ou culturalistes dominent en la mati\u00e8re. L\u2019id\u00e9e selon laquelle les films ou les s\u00e9ries actuelles refl\u00e8teraient notre soci\u00e9t\u00e9 et ses tensions est en passe de devenir un lieu commun. Cet int\u00e9r\u00eat ne laisse pas d\u2019interroger les rapports d\u2019influence r\u00e9ciproque qui peuvent exister entre les cr\u00e9ateurs et ce public d\u2019experts et assimil\u00e9s : tout se passe comme si la reconnaissance de la fiction horrifique en tant qu\u2019objet critique valait pour une reconnaissance esth\u00e9tique, un gage de qualit\u00e9 et de r\u00e9ussite. Face \u00e0 l\u2019engouement universitaire et plus g\u00e9n\u00e9ralement m\u00e9diatique, les cr\u00e9ateurs ne sont-ils pas tent\u00e9s de produire et de diffuser de fa\u00e7on industrielle des \u0153uvres dans l\u2019air du temps, destin\u00e9es non seulement \u00e0 divertir, mais aussi \u00e0 \u00eatre comment\u00e9es par les critiques et les chercheurs\u00a0de tout bord ?<\/p>\n\u00c9ch\u00e9ances<\/h2>\nLes propositions (environ 250 \u00e0 300 mots<\/strong>) sont \u00e0 envoyer au responsable du num\u00e9ro avant le 3 mars 2021.\n<\/strong>Les articles retenus devront \u00eatre remis avant le 1er juillet 2021.<\/p>\nBibliographie s\u00e9lective<\/h2>\nArouimi, Michel, L\u2019\u00e9pouvante fondatrice, L\u2019effet miroir des films d’horreur<\/em>, Rosi\u00e8res-en-Haye, Camion noir, 2017.<\/p>\nAstic, Guy, Outrance et ravissement. Images et mots de l’horreur 1<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Dans son article intitul\u00e9, \u00ab La tripe cin\u00e9matographique \u00bb, Christian Oddos rappelle que \u00ab le but essentiel des films d’horreur est de transmettre une horreur visuelle et sordide ou encore d’infliger au spectateur, par l’interm\u00e9diaire d’un personnage, une horreur intellectuelle et morale \u00bb[1]. Cette d\u00e9finition date de 1988 : \u00e0 cette \u00e9poque, le cin\u00e9ma reste une forme de divertissement majeure, mais d\u00e9j\u00e0 concurrenc\u00e9e par la t\u00e9l\u00e9vision et la vid\u00e9o. Si le cin\u00e9ma projette, ritualise et sacralise l\u2019exp\u00e9rience horrifique, la t\u00e9l\u00e9vision la diffuse et la vid\u00e9o la f\u00e9tichise. L\u2019av\u00e8nement des networks puis de l\u2019internet a depuis boulevers\u00e9 notre rapport \u00e0 la fiction cin\u00e9matographique et t\u00e9l\u00e9visuelle. Les films et les s\u00e9ries sont plus nombreux, plus imm\u00e9diatement disponibles ; les pratiques et les exp\u00e9riences se transforment. Ces changements \u00e0 la fois confortent et renforcent la place de l\u2019horreur dans le champ culturel tout en amor\u00e7ant des m\u00e9tamorphoses esth\u00e9tiques et formelles qu\u2019il serait int\u00e9ressant d\u2019\u00e9tudier dans le cadre pr\u00e9cis des plates-formes de streaming et des cha\u00eenes virtuelles.<\/p>\n
Les contributeurs pourront explorer les axes de recherche suivants (la liste n\u2019est \u00e9videmment pas exhaustive) :<\/p>\n
Avant les ann\u00e9es 2000, l\u2019amateur de film d\u2019horreur fr\u00e9quentait les cin\u00e9clubs, collectionnait les cassettes vhs ou parcourait les programmes t\u00e9l\u00e9vis\u00e9s. Depuis, les cha\u00eenes th\u00e9matiques sont apparues et l\u2019usage de l\u2019internet s\u2019est g\u00e9n\u00e9ralis\u00e9. Le t\u00e9l\u00e9chargement et le streaming ont pris une ampleur telle que l\u2019on peut visionner un film ou un \u00e9pisode d\u2019une s\u00e9rie presqu\u2019\u00e0 tout moment, sur son ordinateur, sa tablette ou son t\u00e9l\u00e9phone portable. Dans quelle mesure ces nouveaux \u00e9crans et ces nouveaux modes \u00e9nonciatifs influencent-ils l\u2019esth\u00e9tique horrifique et la repr\u00e9sentation de l\u2019horreur ?<\/p>\n
Dans le vaste champ de la culture de masse, la citation, l\u2019emprunt et la r\u00e9\u00e9criture sont de mise. L\u2019horreur n\u2019\u00e9chappe pas \u00e0 la r\u00e8gle et depuis des d\u00e9cennies, les adaptations, les remakes et autres r\u00e9-imaginations nourrissent le genre : entre la litt\u00e9rature, le cin\u00e9ma, la bande-dessin\u00e9e et la t\u00e9l\u00e9vision, les \u00e9changent sont nombreux et constants. Les nouvelles fictions horrifiques puisent \u00e0 cette source, multipliant les r\u00e9f\u00e9rences explicites ou les clins d\u2019\u0153il au spectateur. Quelles sont les tendances et les modalit\u00e9s de cette r\u00e9\u00e9criture dans l\u2019univers du streaming ?<\/p>\n
La s\u00e9rie est peut-\u00eatre la forme narrative dominante aujourd\u2019hui. Dans le domaine des longs m\u00e9trages, les diptyques, les trilogies ou les sagas foisonnent. Les s\u00e9ries d\u2019horreur, feuilletonnesques ou anthologiques, constituent une part importante du catalogue des cha\u00eenes virtuelles et des plates-formes de vid\u00e9o \u00e0 la demande. Les formats \u00e9voluent, les \u00e9pisodes se font plus longs et se rapprochent des films en termes de r\u00e9alisation, de rythme et de dur\u00e9e. On pourra se demander comment ce principe po\u00e9tique et \u00e9conomique de s\u00e9rialit\u00e9 informe la fiction horrifique.<\/p>\n
Le r\u00e9cit d\u2019horreur rev\u00eat tr\u00e8s souvent, on le sait, une dimension all\u00e9gorique. Mais on peut \u00e0 bon droit s\u2019interroger sur la port\u00e9e m\u00e9taphorique des fictions horrifiques contemporaines tant elles abordent de mani\u00e8re explicite, frontale, voire didactique, les questions qui animent nos soci\u00e9t\u00e9s. Il serait int\u00e9ressant de r\u00e9\u00e9valuer la forme et les fonctions de l\u2019argumentation dans ces \u0153uvres qui touchent d\u00e9sormais un tr\u00e8s vaste public.<\/p>\n
Depuis un certain nombre d\u2019ann\u00e9es d\u00e9j\u00e0, le milieu universitaire et la critique journalistique s\u2019est empar\u00e9 des productions de la culture de masse. On remarquera que les approches sociologiques ou culturalistes dominent en la mati\u00e8re. L\u2019id\u00e9e selon laquelle les films ou les s\u00e9ries actuelles refl\u00e8teraient notre soci\u00e9t\u00e9 et ses tensions est en passe de devenir un lieu commun. Cet int\u00e9r\u00eat ne laisse pas d\u2019interroger les rapports d\u2019influence r\u00e9ciproque qui peuvent exister entre les cr\u00e9ateurs et ce public d\u2019experts et assimil\u00e9s : tout se passe comme si la reconnaissance de la fiction horrifique en tant qu\u2019objet critique valait pour une reconnaissance esth\u00e9tique, un gage de qualit\u00e9 et de r\u00e9ussite. Face \u00e0 l\u2019engouement universitaire et plus g\u00e9n\u00e9ralement m\u00e9diatique, les cr\u00e9ateurs ne sont-ils pas tent\u00e9s de produire et de diffuser de fa\u00e7on industrielle des \u0153uvres dans l\u2019air du temps, destin\u00e9es non seulement \u00e0 divertir, mais aussi \u00e0 \u00eatre comment\u00e9es par les critiques et les chercheurs\u00a0de tout bord ?<\/p>\n
Les propositions (environ 250 \u00e0 300 mots<\/strong>) sont \u00e0 envoyer au responsable du num\u00e9ro avant le 3 mars 2021.\n<\/strong>Les articles retenus devront \u00eatre remis avant le 1er juillet 2021.<\/p>\nBibliographie s\u00e9lective<\/h2>\nArouimi, Michel, L\u2019\u00e9pouvante fondatrice, L\u2019effet miroir des films d’horreur<\/em>, Rosi\u00e8res-en-Haye, Camion noir, 2017.<\/p>\nAstic, Guy, Outrance et ravissement. Images et mots de l’horreur 1<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Arouimi, Michel, L\u2019\u00e9pouvante fondatrice, L\u2019effet miroir des films d’horreur<\/em>, Rosi\u00e8res-en-Haye, Camion noir, 2017.<\/p>\nAstic, Guy, Outrance et ravissement. Images et mots de l’horreur 1<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Astic, Guy, Outrance et ravissement. Images et mots de l’horreur 1<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Astic, Guy, Territoires de l\u2019effroi. Images et mots de l’horreur 2<\/em>, Aix-en-Provence, Rouge Profond, 2017.<\/p>\nAstruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Astruc, Fr\u00e9d\u00e9ric (dir.),\u00a0<\/a>Repr\u00e9senter l\u2019horreur<\/em>, Aix-en-Provence, Rouge Profond, 2015.<\/p>\nBordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Bordas, Arnaud, De chair et de sang. Les plus grandes figures du cin\u00e9ma d\u2019horreur<\/em>, Paris, Huginn & Muninn, 2013.<\/p>\nChevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. 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Chevalier-Chandeigne, Olivia, La Philosophie du cin\u00e9ma d\u2019horreur. Effroi, \u00e9thique et beaut\u00e9<\/em>, Paris, Ellipses, 2014.<\/p>\nDessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Dessinges\u00a0Catherine,\u00a0Perticoz,\u00a0Lucien, \u00ab Les consommations de s\u00e9ries t\u00e9l\u00e9vis\u00e9es des publics \u00e9tudiants face \u00e0 Netflix : une autonomie en question \u00bb,\u00a0in Les Enjeux de l\u2019information et de la communication<\/em>, n\u00b0 20\/1, 2019\/1, pp. 5-23<\/p>\nDufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming\" \/>\n<meta property=\"og:description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2021-01-19T10:22:39+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" 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Dufour, Eric, Le Cin\u00e9ma d’horreur et ses figures<\/em>, Paris, Presses universitaires de France, 2006<\/p>\nEsquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming\" \/>\n<meta property=\"og:description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2021-01-19T10:22:39+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" 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Esquenazi, Jean-Pierre,\u00a0Les S\u00e9ries t\u00e9l\u00e9vis\u00e9es : L\u2019Avenir du cin\u00e9ma ?,<\/em>\u00a0Paris, Armand Colin, 2010.<\/p>\nFavard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming\" \/>\n<meta property=\"og:description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2021-01-19T10:22:39+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" 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Favard, Florent,\u00a0\u00c9crire une s\u00e9rie TV : La Promesse d\u2019un d\u00e9nouement<\/em>, Tours, PUFR, 2019.<\/p>\nFlorent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Florent, Favard, \u00ab S\u00e9ries et genres de l\u2019imaginaire \u00bb, in Revue de la BNF<\/em>, n\u00b059, 2019\/2, pp. 97-103<\/p>\nGodin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. 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Godin Marc, Gore, autopsie d\u2019un cin\u00e9ma<\/em>, Paris, \u00c9dition du Collectionneur, 1994.<\/p>\nJeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Jeannot, \u00c9tienne, Les strat\u00e9gies de la peur dans le cin\u00e9ma d’horreur<\/em>, Paris, L’Harmattan, 2019.<\/p>\nJenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Jenner, Mareike,\u00a0Netflix and the Re-invention of Television<\/em>, Palgrave MacMillan, 2018.<\/p>\nJost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Jost, Fran\u00e7ois, \u00ab Repenser le futur avec les s\u00e9ries. Essai de narratologie compar\u00e9e \u00bb,\u00a0in T\u00e9l\u00e9vision<\/em>, n\u00b07, 2016, pp. 13-30.<\/p>\nLafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming\" \/>\n<meta property=\"og:description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2021-01-19T10:22:39+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" 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Lafond, Frank (dir.), Cauchemars am\u00e9ricains. Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, Li\u00e8ge, \u00c9dition du C\u00e9fal, 2003.<\/p>\nLaroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Laroche, Robert, L\u2019enfer du cin\u00e9ma 2. Dictionnaire du cin\u00e9ma d’\u00e9pouvante<\/em>, Paris, Scali, 2007.<\/p>\nLenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming\" \/>\n<meta property=\"og:description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/les-fictions-horrifiques-a-lere-du-streaming\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2021-01-19T10:22:39+00:00\" \/>\n<meta name=\"author\" content=\"Axelle Martin\" \/>\n<meta name=\"twitter:card\" 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Lenne, G\u00e9rard, Cela s\u2019appelle l’horror<\/em>, Paris, Librairie Seguier, 1989.<\/p>\nLetourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Letourneux, Matthieu,\u00a0Fictions \u00e0 la cha\u00eene. Litt\u00e9ratures s\u00e9rielles et culture m\u00e9diatique<\/em>, Paris, Le Seuil, collection \u00ab Po\u00e9tique \u00bb, 2017.<\/p>\nLipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Lipovetsky, Gilles, Serroy, Jean,\u00a0L\u2019\u00c9cran global<\/em>, Paris, Seuil, 2007.<\/p>\nPaquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Paquet-Deyris, Anne-Marie (dir.), Les cin\u00e9mas de l’horreur. Les mal\u00e9fiques<\/em>, Cond\u00e9-sur-Noireau, Charles Corlet, 2010.<\/p>\nRouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Rouyer, Philippe, Le Cin\u00e9ma gore. Une esth\u00e9tique du sang<\/em>, Paris, \u00c9dition du Cerf, 1997.<\/p>\nTriollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Triollet, Christophe (dir.), Gore & violence<\/em>, collection \u00ab Darkness. Censure & Cin\u00e9ma \u00bb, La Madeleine, \u00c9ditions LettMotif, 2017.<\/p>\nNote<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Note<\/strong><\/p>\n[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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[1]<\/a> Christian Oddos, \u00ab La tripe cin\u00e9matographique \u00bb, Solaris<\/em><\/a>, no<\/sup>\u00a081,\u200e 1988, p.\u00a041.<\/p>\n<\/p><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nimage<\/span><\/a><\/li>\nRepr\u00e9sentation<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\nLes fictions horrifiques \u00e0 l\u2019\u00e8re du streaming<\/title>\n<meta name=\"description\" content=\"La revue "Cultural Express" lance son appel \u00e0 article sur le th\u00e8me "Les fictions horrifiques \u00e0 l\u2019\u00e8re du streaming".\" \/>\n<meta name=\"robots\" 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Mis en ligne le 12 janvier 2021 Informations \u00e9dit\u00e9es \u00e0 partir d\u2019une annonce Calenda. Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles R\u00e9ponse attendue pour le 03\/03\/2021 Type de r\u00e9ponse […]<\/p>\n","protected":false},"author":781,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,165,86],"thematique":[35],"sfsic":[],"class_list":["post-15407","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-image","tag-representation","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","wp-sticky"],"acf":[],"yoast_head":"\n