<\/p>\n
\n\t\t\t\t\t\tR\u00e9ponse attendue pour le<\/span><\/span> 06\/01\/2023<\/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> Culture et mus\u00e9es<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tBarbara<\/span> Le Ma\u00eetre<\/span>, Universit\u00e9 Paris Nanterre<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, barbara.lemaitre@parisnanterre.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tSt\u00e9phanie-Emmanuelle<\/span> Louis<\/span>, Ecole nationale des chartes<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, stephanie.louis@chartes.psl.eu<\/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<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nCulture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique \u00ab Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines \u00bb.<\/p>\nR\u00e9sum\u00e9<\/h2>\nDepuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique.\u00a0Afin d’explorer les diff\u00e9rentes approches th\u00e9oriques et analytiques au prisme desquelles ces relations peuvent \u00eatre \u00e9tudi\u00e9es, ce num\u00e9ro se structurera autour de trois axes :\u00a0l\u2019histoire des mus\u00e9es et des expositions de cin\u00e9ma (1), les f<\/span>ormes contemporaines de l\u2019exposition de ce dernier (2), l\u2019analyse de la mus\u00e9alit\u00e9 gr\u00e2ce aux fictions filmiques (3). Dans leurs propositions, les auteurs sont encourag\u00e9s \u00e0 mettre en lumi\u00e8re de nouveaux corpus, en traitant des multiples aspects du ph\u00e9nom\u00e8ne mus\u00e9al, de films rarement abord\u00e9s ou d\u2019aires g\u00e9ographiques moins trait\u00e9es dans la bibliographie sp\u00e9cifique au th\u00e8me du num\u00e9ro.<\/p>\nAppel \u00e0 proposition d\u2019articles pour le num\u00e9ro th\u00e9matique<\/h2>\nDepuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique \u2014 toutes relations constituant par ailleurs une pr\u00e9occupation constante pour de nombreuses institutions patrimoniales et culturelles. Alors que les mus\u00e9es et les expositions du cin\u00e9ma se multiplient \u00e0 l\u2019\u00e9chelle mondiale \u2014 non sans renouveler les premi\u00e8res formes de l\u2019expographie \u2014, et que les programmations de films au mus\u00e9e se font aussi r\u00e9guli\u00e8res que le recours aux images anim\u00e9es (artistiques ou didactiques) dans le parcours de l\u2019exposition ; alors que des documentaires sur les mus\u00e9es sont projet\u00e9s dans les salles obscures (exemplairement, National Gallery<\/em>, F. Wiseman, 2013), quand les films de fiction (de tous bords : du cin\u00e9ma d\u2019auteur jusqu\u2019au blockbuster<\/em>) se sont empar\u00e9s de \u00ab l\u2019objet mus\u00e9al \u00bb depuis bien longtemps, comment ressaisir aujourd\u2019hui ces relations entre le cin\u00e9ma et le mus\u00e9e ? Nous partirons en l\u2019occurrence de l\u2019interrogation suivante : au moyen de quelles approches\u00a0(th\u00e9oriques et analytiques) ces relations peuvent-elles \u00eatre \u00e9tudi\u00e9es ?<\/p>\nAxe 1 \u2013 <\/strong>Histoire des mus\u00e9es et des expositions de cin\u00e9ma<\/span><\/strong><\/h3>\nLes travaux relatifs \u00e0 la patrimonialisation du cin\u00e9ma se sont faits plus nombreux au cours de la seconde moiti\u00e9 des ann\u00e9es 2000. Le plus souvent, ils adoptent la forme d\u2019une histoire institutionnelle : celle d\u2019une cin\u00e9math\u00e8que ou d\u2019une archive du film, comme l\u2019attestent les ouvrages de Laurent Mannoni (2006), Haidee Wasson (2005) ou Bregt Lameris (2017), par exemple. Ant\u00e9rieurement, des recherches pionni\u00e8res (\u00e0 l\u2019instar de celles de Donata Pesenti ou de Christophe Gauthier) avaient pos\u00e9 le probl\u00e8me de la patrimonialisation du cin\u00e9ma. Des travaux r\u00e9cents l\u2019ont remis sur le m\u00e9tier (cf. Louis 2013, 2020 ; Cere, 2021), invitant \u00e0 une approche compar\u00e9e de diff\u00e9rentes propositions mus\u00e9ographiques, fond\u00e9e tout \u00e0 la fois sur la confrontation des dispositifs, et des r\u00e9seaux et politiques culturels dont ils r\u00e9sultent.<\/p>\nDans ce contexte, ce premier axe propose de se pencher sur l\u2019histoire des mus\u00e9es de cin\u00e9ma en tant qu\u2019ils suscitent des probl\u00e9matiques mus\u00e9ales distinctes ; ainsi que sur l\u2019histoire des expositions, en s\u2019interrogeant particuli\u00e8rement sur la mani\u00e8re dont ces derni\u00e8res ont pu r\u00e9fl\u00e9chir le processus de \u00ab l\u2019entr\u00e9e du cin\u00e9ma au mus\u00e9e \u00bb et, par cons\u00e9quent, la transformation du statut de ses objets. Si une telle r\u00e9flexion a pu \u00eatre engag\u00e9e au sujet des appareils cin\u00e9matographiques (Mannoni, 2003), on souhaiterait qu\u2019elle puisse \u00eatre \u00e9tendue \u00e0 d\u2019autres cat\u00e9gories d\u2019objets patrimoniaux du cin\u00e9ma. En outre, une dimension comparative et internationale serait bienvenue pour mettre en \u00e9vidence des singularit\u00e9s et des points de recoupements entre les pratiques institutionnelles. \u00c0 cet \u00e9gard, on sera sensible aux propositions mettant en lumi\u00e8re de nouveaux corpus, notamment en contexte post-colonial.<\/p>\nAxe 2 \u2013 <\/strong>Formes contemporaines de l\u2019exposition du cin\u00e9ma : th\u00e9orie, esth\u00e9tique<\/span><\/strong><\/h3>\nA ce premier axe travaillant la dimension historique des mus\u00e9es et des expositions, viendront s\u2019articuler des r\u00e9flexions centr\u00e9es sur les diff\u00e9rentes formes de la \u00ab mise en exposition \u00bb du cin\u00e9ma, croisant approches esth\u00e9tiques, th\u00e9oriques, et analyses de dispositifs actuels. Il s\u2019agira d\u00e8s lors d\u2019entrer dans le d\u00e9tail des dispositifs. Si le Mus\u00e9e du cin\u00e9ma d\u2019Henri Langlois au Palais de Chaillot \u2014 avec ses multiples projecteurs 16mm jalonnant le circuit \u2014 peut faire embl\u00e8me, les trois derni\u00e8res d\u00e9cennies ont \u00e9t\u00e9 celles d\u2019une redynamisation des pratiques aussi bien que de la r\u00e9flexion sur l\u2019exposition du cin\u00e9ma (cf. Pa\u00efni, 1992 ; Michaud, 2006). Sans doute, cette analyse peut s\u2019\u00e9laborer en concertation avec l\u2019histoire de l\u2019art, comme elle est susceptible de se rattacher aux \u00e9tudes de m\u00e9diation culturelle, ou encore aux sciences de l\u2019information et de la communication (cf. Crenn, 2011).<\/p>\nQuels que soient les cas soumis \u00e0 l\u2019\u00e9tude et les approches \u00e9lues, l\u2019enjeu consistera \u00e0 se demander ce qui, du cin\u00e9ma, se voit (ou s\u2019est vu) exposer, et comment ? En d\u2019autres termes : quels sont les exp\u00f4ts <\/em>du cin\u00e9ma ? Une telle question engage la nature des s\u00e9miophores ainsi que les discours expographiques qu\u2019ils\u00a0\u00e9tayent. On comprendra que l\u2019approche de la mise en exposition du cin\u00e9ma ne se limite pas \u00e0 la pratique des expositions dites \u00ab extra-film \u00bb, mais implique globalement la pr\u00e9sentation voire l\u2019installation de tout ou partie du dispositif cin\u00e9matographique (film inclus) au sein de l\u2019espace mus\u00e9al.<\/p>\nAxe 3\u00a0\u2013<\/strong> Analyse de la mus\u00e9alit\u00e9 par fictions filmiques interpos\u00e9es<\/span><\/strong><\/h3>\nDans le prolongement d\u2019un ouvrage r\u00e9cemment consacr\u00e9 aux \u00ab fictions du mus\u00e9e au cin\u00e9ma \u00bb (voir infra : Jibokji, Le Ma\u00eetre, Pernac, Verraes, 2016), le troisi\u00e8me axe de cet appel invite \u00e0 interroger les repr\u00e9sentations cin\u00e9matographiques de la mus\u00e9alit\u00e9 en se fondant, tout sp\u00e9cialement, sur l\u2019analyse de fictions filmiques. \u00c0 cet endroit, notre hypoth\u00e8se est, en substance, que le r\u00e9cit de fiction constitue possiblement l\u2019instrument d\u2019une perception critique de la r\u00e9alit\u00e9 mus\u00e9ale \u2014 de ses grandes logiques comme de ses gestes princeps.<\/p>\nException faite de la pr\u00e9s\u00e9ance accord\u00e9e aux r\u00e9cits de fiction, aucun cin\u00e9aste, aucun corpus ne s\u2019impose a priori<\/em>. Cependant on privil\u00e9giera les propositions, tant\u00f4t focalis\u00e9es sur des mus\u00e9es moins consid\u00e9r\u00e9s que ceux li\u00e9s aux Beaux-Arts, par exemple, le Mus\u00e9um d\u2019histoire naturelle, ou le Mus\u00e9e ethnographique ; tant\u00f4t mettant l\u2019accent sur des aspects du ph\u00e9nom\u00e8ne mus\u00e9al aussi bien que sur des films rarement abord\u00e9s.<\/p>\nR\u00e9f\u00e9rences bibliographiques<\/h2>\nALBERA Fran\u00e7ois, \u00ab Exposer le cin\u00e9ma \u00bb, dans Art Press, <\/em>n\u00b0 213, mai 1993.<\/p>\nCERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\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\/museologie-et-cinema-perspectives-contemporaines\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines\" \/>\n<meta property=\"og:description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/museologie-et-cinema-perspectives-contemporaines\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2022-11-14T15:05:46+00:00\" \/>\n<meta name=\"author\" content=\"Fabien Bonnet\" \/>\n<meta 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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> Culture et mus\u00e9es<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tBarbara<\/span> Le Ma\u00eetre<\/span>, Universit\u00e9 Paris Nanterre<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, barbara.lemaitre@parisnanterre.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tSt\u00e9phanie-Emmanuelle<\/span> Louis<\/span>, Ecole nationale des chartes<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, stephanie.louis@chartes.psl.eu<\/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<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nCulture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique \u00ab Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines \u00bb.<\/p>\nR\u00e9sum\u00e9<\/h2>\nDepuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique.\u00a0Afin d’explorer les diff\u00e9rentes approches th\u00e9oriques et analytiques au prisme desquelles ces relations peuvent \u00eatre \u00e9tudi\u00e9es, ce num\u00e9ro se structurera autour de trois axes :\u00a0l\u2019histoire des mus\u00e9es et des expositions de cin\u00e9ma (1), les f<\/span>ormes contemporaines de l\u2019exposition de ce dernier (2), l\u2019analyse de la mus\u00e9alit\u00e9 gr\u00e2ce aux fictions filmiques (3). Dans leurs propositions, les auteurs sont encourag\u00e9s \u00e0 mettre en lumi\u00e8re de nouveaux corpus, en traitant des multiples aspects du ph\u00e9nom\u00e8ne mus\u00e9al, de films rarement abord\u00e9s ou d\u2019aires g\u00e9ographiques moins trait\u00e9es dans la bibliographie sp\u00e9cifique au th\u00e8me du num\u00e9ro.<\/p>\nAppel \u00e0 proposition d\u2019articles pour le num\u00e9ro th\u00e9matique<\/h2>\nDepuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique \u2014 toutes relations constituant par ailleurs une pr\u00e9occupation constante pour de nombreuses institutions patrimoniales et culturelles. Alors que les mus\u00e9es et les expositions du cin\u00e9ma se multiplient \u00e0 l\u2019\u00e9chelle mondiale \u2014 non sans renouveler les premi\u00e8res formes de l\u2019expographie \u2014, et que les programmations de films au mus\u00e9e se font aussi r\u00e9guli\u00e8res que le recours aux images anim\u00e9es (artistiques ou didactiques) dans le parcours de l\u2019exposition ; alors que des documentaires sur les mus\u00e9es sont projet\u00e9s dans les salles obscures (exemplairement, National Gallery<\/em>, F. Wiseman, 2013), quand les films de fiction (de tous bords : du cin\u00e9ma d\u2019auteur jusqu\u2019au blockbuster<\/em>) se sont empar\u00e9s de \u00ab l\u2019objet mus\u00e9al \u00bb depuis bien longtemps, comment ressaisir aujourd\u2019hui ces relations entre le cin\u00e9ma et le mus\u00e9e ? Nous partirons en l\u2019occurrence de l\u2019interrogation suivante : au moyen de quelles approches\u00a0(th\u00e9oriques et analytiques) ces relations peuvent-elles \u00eatre \u00e9tudi\u00e9es ?<\/p>\nAxe 1 \u2013 <\/strong>Histoire des mus\u00e9es et des expositions de cin\u00e9ma<\/span><\/strong><\/h3>\nLes travaux relatifs \u00e0 la patrimonialisation du cin\u00e9ma se sont faits plus nombreux au cours de la seconde moiti\u00e9 des ann\u00e9es 2000. Le plus souvent, ils adoptent la forme d\u2019une histoire institutionnelle : celle d\u2019une cin\u00e9math\u00e8que ou d\u2019une archive du film, comme l\u2019attestent les ouvrages de Laurent Mannoni (2006), Haidee Wasson (2005) ou Bregt Lameris (2017), par exemple. Ant\u00e9rieurement, des recherches pionni\u00e8res (\u00e0 l\u2019instar de celles de Donata Pesenti ou de Christophe Gauthier) avaient pos\u00e9 le probl\u00e8me de la patrimonialisation du cin\u00e9ma. Des travaux r\u00e9cents l\u2019ont remis sur le m\u00e9tier (cf. Louis 2013, 2020 ; Cere, 2021), invitant \u00e0 une approche compar\u00e9e de diff\u00e9rentes propositions mus\u00e9ographiques, fond\u00e9e tout \u00e0 la fois sur la confrontation des dispositifs, et des r\u00e9seaux et politiques culturels dont ils r\u00e9sultent.<\/p>\nDans ce contexte, ce premier axe propose de se pencher sur l\u2019histoire des mus\u00e9es de cin\u00e9ma en tant qu\u2019ils suscitent des probl\u00e9matiques mus\u00e9ales distinctes ; ainsi que sur l\u2019histoire des expositions, en s\u2019interrogeant particuli\u00e8rement sur la mani\u00e8re dont ces derni\u00e8res ont pu r\u00e9fl\u00e9chir le processus de \u00ab l\u2019entr\u00e9e du cin\u00e9ma au mus\u00e9e \u00bb et, par cons\u00e9quent, la transformation du statut de ses objets. Si une telle r\u00e9flexion a pu \u00eatre engag\u00e9e au sujet des appareils cin\u00e9matographiques (Mannoni, 2003), on souhaiterait qu\u2019elle puisse \u00eatre \u00e9tendue \u00e0 d\u2019autres cat\u00e9gories d\u2019objets patrimoniaux du cin\u00e9ma. En outre, une dimension comparative et internationale serait bienvenue pour mettre en \u00e9vidence des singularit\u00e9s et des points de recoupements entre les pratiques institutionnelles. \u00c0 cet \u00e9gard, on sera sensible aux propositions mettant en lumi\u00e8re de nouveaux corpus, notamment en contexte post-colonial.<\/p>\nAxe 2 \u2013 <\/strong>Formes contemporaines de l\u2019exposition du cin\u00e9ma : th\u00e9orie, esth\u00e9tique<\/span><\/strong><\/h3>\nA ce premier axe travaillant la dimension historique des mus\u00e9es et des expositions, viendront s\u2019articuler des r\u00e9flexions centr\u00e9es sur les diff\u00e9rentes formes de la \u00ab mise en exposition \u00bb du cin\u00e9ma, croisant approches esth\u00e9tiques, th\u00e9oriques, et analyses de dispositifs actuels. Il s\u2019agira d\u00e8s lors d\u2019entrer dans le d\u00e9tail des dispositifs. Si le Mus\u00e9e du cin\u00e9ma d\u2019Henri Langlois au Palais de Chaillot \u2014 avec ses multiples projecteurs 16mm jalonnant le circuit \u2014 peut faire embl\u00e8me, les trois derni\u00e8res d\u00e9cennies ont \u00e9t\u00e9 celles d\u2019une redynamisation des pratiques aussi bien que de la r\u00e9flexion sur l\u2019exposition du cin\u00e9ma (cf. Pa\u00efni, 1992 ; Michaud, 2006). Sans doute, cette analyse peut s\u2019\u00e9laborer en concertation avec l\u2019histoire de l\u2019art, comme elle est susceptible de se rattacher aux \u00e9tudes de m\u00e9diation culturelle, ou encore aux sciences de l\u2019information et de la communication (cf. Crenn, 2011).<\/p>\nQuels que soient les cas soumis \u00e0 l\u2019\u00e9tude et les approches \u00e9lues, l\u2019enjeu consistera \u00e0 se demander ce qui, du cin\u00e9ma, se voit (ou s\u2019est vu) exposer, et comment ? En d\u2019autres termes : quels sont les exp\u00f4ts <\/em>du cin\u00e9ma ? Une telle question engage la nature des s\u00e9miophores ainsi que les discours expographiques qu\u2019ils\u00a0\u00e9tayent. On comprendra que l\u2019approche de la mise en exposition du cin\u00e9ma ne se limite pas \u00e0 la pratique des expositions dites \u00ab extra-film \u00bb, mais implique globalement la pr\u00e9sentation voire l\u2019installation de tout ou partie du dispositif cin\u00e9matographique (film inclus) au sein de l\u2019espace mus\u00e9al.<\/p>\nAxe 3\u00a0\u2013<\/strong> Analyse de la mus\u00e9alit\u00e9 par fictions filmiques interpos\u00e9es<\/span><\/strong><\/h3>\nDans le prolongement d\u2019un ouvrage r\u00e9cemment consacr\u00e9 aux \u00ab fictions du mus\u00e9e au cin\u00e9ma \u00bb (voir infra : Jibokji, Le Ma\u00eetre, Pernac, Verraes, 2016), le troisi\u00e8me axe de cet appel invite \u00e0 interroger les repr\u00e9sentations cin\u00e9matographiques de la mus\u00e9alit\u00e9 en se fondant, tout sp\u00e9cialement, sur l\u2019analyse de fictions filmiques. \u00c0 cet endroit, notre hypoth\u00e8se est, en substance, que le r\u00e9cit de fiction constitue possiblement l\u2019instrument d\u2019une perception critique de la r\u00e9alit\u00e9 mus\u00e9ale \u2014 de ses grandes logiques comme de ses gestes princeps.<\/p>\nException faite de la pr\u00e9s\u00e9ance accord\u00e9e aux r\u00e9cits de fiction, aucun cin\u00e9aste, aucun corpus ne s\u2019impose a priori<\/em>. Cependant on privil\u00e9giera les propositions, tant\u00f4t focalis\u00e9es sur des mus\u00e9es moins consid\u00e9r\u00e9s que ceux li\u00e9s aux Beaux-Arts, par exemple, le Mus\u00e9um d\u2019histoire naturelle, ou le Mus\u00e9e ethnographique ; tant\u00f4t mettant l\u2019accent sur des aspects du ph\u00e9nom\u00e8ne mus\u00e9al aussi bien que sur des films rarement abord\u00e9s.<\/p>\nR\u00e9f\u00e9rences bibliographiques<\/h2>\nALBERA Fran\u00e7ois, \u00ab Exposer le cin\u00e9ma \u00bb, dans Art Press, <\/em>n\u00b0 213, mai 1993.<\/p>\nCERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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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> Culture et mus\u00e9es<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tBarbara<\/span> Le Ma\u00eetre<\/span>, Universit\u00e9 Paris Nanterre<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, barbara.lemaitre@parisnanterre.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tSt\u00e9phanie-Emmanuelle<\/span> Louis<\/span>, Ecole nationale des chartes<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, stephanie.louis@chartes.psl.eu<\/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<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nCulture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique \u00ab Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines \u00bb.<\/p>\nR\u00e9sum\u00e9<\/h2>\nDepuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique.\u00a0Afin d’explorer les diff\u00e9rentes approches th\u00e9oriques et analytiques au prisme desquelles ces relations peuvent \u00eatre \u00e9tudi\u00e9es, ce num\u00e9ro se structurera autour de trois axes :\u00a0l\u2019histoire des mus\u00e9es et des expositions de cin\u00e9ma (1), les f<\/span>ormes contemporaines de l\u2019exposition de ce dernier (2), l\u2019analyse de la mus\u00e9alit\u00e9 gr\u00e2ce aux fictions filmiques (3). Dans leurs propositions, les auteurs sont encourag\u00e9s \u00e0 mettre en lumi\u00e8re de nouveaux corpus, en traitant des multiples aspects du ph\u00e9nom\u00e8ne mus\u00e9al, de films rarement abord\u00e9s ou d\u2019aires g\u00e9ographiques moins trait\u00e9es dans la bibliographie sp\u00e9cifique au th\u00e8me du num\u00e9ro.<\/p>\nAppel \u00e0 proposition d\u2019articles pour le num\u00e9ro th\u00e9matique<\/h2>\nDepuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique \u2014 toutes relations constituant par ailleurs une pr\u00e9occupation constante pour de nombreuses institutions patrimoniales et culturelles. Alors que les mus\u00e9es et les expositions du cin\u00e9ma se multiplient \u00e0 l\u2019\u00e9chelle mondiale \u2014 non sans renouveler les premi\u00e8res formes de l\u2019expographie \u2014, et que les programmations de films au mus\u00e9e se font aussi r\u00e9guli\u00e8res que le recours aux images anim\u00e9es (artistiques ou didactiques) dans le parcours de l\u2019exposition ; alors que des documentaires sur les mus\u00e9es sont projet\u00e9s dans les salles obscures (exemplairement, National Gallery<\/em>, F. Wiseman, 2013), quand les films de fiction (de tous bords : du cin\u00e9ma d\u2019auteur jusqu\u2019au blockbuster<\/em>) se sont empar\u00e9s de \u00ab l\u2019objet mus\u00e9al \u00bb depuis bien longtemps, comment ressaisir aujourd\u2019hui ces relations entre le cin\u00e9ma et le mus\u00e9e ? Nous partirons en l\u2019occurrence de l\u2019interrogation suivante : au moyen de quelles approches\u00a0(th\u00e9oriques et analytiques) ces relations peuvent-elles \u00eatre \u00e9tudi\u00e9es ?<\/p>\nAxe 1 \u2013 <\/strong>Histoire des mus\u00e9es et des expositions de cin\u00e9ma<\/span><\/strong><\/h3>\nLes travaux relatifs \u00e0 la patrimonialisation du cin\u00e9ma se sont faits plus nombreux au cours de la seconde moiti\u00e9 des ann\u00e9es 2000. Le plus souvent, ils adoptent la forme d\u2019une histoire institutionnelle : celle d\u2019une cin\u00e9math\u00e8que ou d\u2019une archive du film, comme l\u2019attestent les ouvrages de Laurent Mannoni (2006), Haidee Wasson (2005) ou Bregt Lameris (2017), par exemple. Ant\u00e9rieurement, des recherches pionni\u00e8res (\u00e0 l\u2019instar de celles de Donata Pesenti ou de Christophe Gauthier) avaient pos\u00e9 le probl\u00e8me de la patrimonialisation du cin\u00e9ma. Des travaux r\u00e9cents l\u2019ont remis sur le m\u00e9tier (cf. Louis 2013, 2020 ; Cere, 2021), invitant \u00e0 une approche compar\u00e9e de diff\u00e9rentes propositions mus\u00e9ographiques, fond\u00e9e tout \u00e0 la fois sur la confrontation des dispositifs, et des r\u00e9seaux et politiques culturels dont ils r\u00e9sultent.<\/p>\nDans ce contexte, ce premier axe propose de se pencher sur l\u2019histoire des mus\u00e9es de cin\u00e9ma en tant qu\u2019ils suscitent des probl\u00e9matiques mus\u00e9ales distinctes ; ainsi que sur l\u2019histoire des expositions, en s\u2019interrogeant particuli\u00e8rement sur la mani\u00e8re dont ces derni\u00e8res ont pu r\u00e9fl\u00e9chir le processus de \u00ab l\u2019entr\u00e9e du cin\u00e9ma au mus\u00e9e \u00bb et, par cons\u00e9quent, la transformation du statut de ses objets. Si une telle r\u00e9flexion a pu \u00eatre engag\u00e9e au sujet des appareils cin\u00e9matographiques (Mannoni, 2003), on souhaiterait qu\u2019elle puisse \u00eatre \u00e9tendue \u00e0 d\u2019autres cat\u00e9gories d\u2019objets patrimoniaux du cin\u00e9ma. En outre, une dimension comparative et internationale serait bienvenue pour mettre en \u00e9vidence des singularit\u00e9s et des points de recoupements entre les pratiques institutionnelles. \u00c0 cet \u00e9gard, on sera sensible aux propositions mettant en lumi\u00e8re de nouveaux corpus, notamment en contexte post-colonial.<\/p>\nAxe 2 \u2013 <\/strong>Formes contemporaines de l\u2019exposition du cin\u00e9ma : th\u00e9orie, esth\u00e9tique<\/span><\/strong><\/h3>\nA ce premier axe travaillant la dimension historique des mus\u00e9es et des expositions, viendront s\u2019articuler des r\u00e9flexions centr\u00e9es sur les diff\u00e9rentes formes de la \u00ab mise en exposition \u00bb du cin\u00e9ma, croisant approches esth\u00e9tiques, th\u00e9oriques, et analyses de dispositifs actuels. Il s\u2019agira d\u00e8s lors d\u2019entrer dans le d\u00e9tail des dispositifs. Si le Mus\u00e9e du cin\u00e9ma d\u2019Henri Langlois au Palais de Chaillot \u2014 avec ses multiples projecteurs 16mm jalonnant le circuit \u2014 peut faire embl\u00e8me, les trois derni\u00e8res d\u00e9cennies ont \u00e9t\u00e9 celles d\u2019une redynamisation des pratiques aussi bien que de la r\u00e9flexion sur l\u2019exposition du cin\u00e9ma (cf. Pa\u00efni, 1992 ; Michaud, 2006). Sans doute, cette analyse peut s\u2019\u00e9laborer en concertation avec l\u2019histoire de l\u2019art, comme elle est susceptible de se rattacher aux \u00e9tudes de m\u00e9diation culturelle, ou encore aux sciences de l\u2019information et de la communication (cf. Crenn, 2011).<\/p>\nQuels que soient les cas soumis \u00e0 l\u2019\u00e9tude et les approches \u00e9lues, l\u2019enjeu consistera \u00e0 se demander ce qui, du cin\u00e9ma, se voit (ou s\u2019est vu) exposer, et comment ? En d\u2019autres termes : quels sont les exp\u00f4ts <\/em>du cin\u00e9ma ? Une telle question engage la nature des s\u00e9miophores ainsi que les discours expographiques qu\u2019ils\u00a0\u00e9tayent. On comprendra que l\u2019approche de la mise en exposition du cin\u00e9ma ne se limite pas \u00e0 la pratique des expositions dites \u00ab extra-film \u00bb, mais implique globalement la pr\u00e9sentation voire l\u2019installation de tout ou partie du dispositif cin\u00e9matographique (film inclus) au sein de l\u2019espace mus\u00e9al.<\/p>\nAxe 3\u00a0\u2013<\/strong> Analyse de la mus\u00e9alit\u00e9 par fictions filmiques interpos\u00e9es<\/span><\/strong><\/h3>\nDans le prolongement d\u2019un ouvrage r\u00e9cemment consacr\u00e9 aux \u00ab fictions du mus\u00e9e au cin\u00e9ma \u00bb (voir infra : Jibokji, Le Ma\u00eetre, Pernac, Verraes, 2016), le troisi\u00e8me axe de cet appel invite \u00e0 interroger les repr\u00e9sentations cin\u00e9matographiques de la mus\u00e9alit\u00e9 en se fondant, tout sp\u00e9cialement, sur l\u2019analyse de fictions filmiques. \u00c0 cet endroit, notre hypoth\u00e8se est, en substance, que le r\u00e9cit de fiction constitue possiblement l\u2019instrument d\u2019une perception critique de la r\u00e9alit\u00e9 mus\u00e9ale \u2014 de ses grandes logiques comme de ses gestes princeps.<\/p>\nException faite de la pr\u00e9s\u00e9ance accord\u00e9e aux r\u00e9cits de fiction, aucun cin\u00e9aste, aucun corpus ne s\u2019impose a priori<\/em>. Cependant on privil\u00e9giera les propositions, tant\u00f4t focalis\u00e9es sur des mus\u00e9es moins consid\u00e9r\u00e9s que ceux li\u00e9s aux Beaux-Arts, par exemple, le Mus\u00e9um d\u2019histoire naturelle, ou le Mus\u00e9e ethnographique ; tant\u00f4t mettant l\u2019accent sur des aspects du ph\u00e9nom\u00e8ne mus\u00e9al aussi bien que sur des films rarement abord\u00e9s.<\/p>\nR\u00e9f\u00e9rences bibliographiques<\/h2>\nALBERA Fran\u00e7ois, \u00ab Exposer le cin\u00e9ma \u00bb, dans Art Press, <\/em>n\u00b0 213, mai 1993.<\/p>\nCERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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\n\t\t\t\t\t\t\tNom de la publication<\/span><\/span> Culture et mus\u00e9es<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n\nCoordinateurs<\/h3>\n\n\n\t\t\t\t\t\t\tBarbara<\/span> Le Ma\u00eetre<\/span>, Universit\u00e9 Paris Nanterre<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, barbara.lemaitre@parisnanterre.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n\n\t\t\t\t\t\t\tSt\u00e9phanie-Emmanuelle<\/span> Louis<\/span>, Ecole nationale des chartes<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, stephanie.louis@chartes.psl.eu<\/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<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n\n\n\nCulture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique \u00ab Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines \u00bb.<\/p>\nR\u00e9sum\u00e9<\/h2>\nDepuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique.\u00a0Afin d’explorer les diff\u00e9rentes approches th\u00e9oriques et analytiques au prisme desquelles ces relations peuvent \u00eatre \u00e9tudi\u00e9es, ce num\u00e9ro se structurera autour de trois axes :\u00a0l\u2019histoire des mus\u00e9es et des expositions de cin\u00e9ma (1), les f<\/span>ormes contemporaines de l\u2019exposition de ce dernier (2), l\u2019analyse de la mus\u00e9alit\u00e9 gr\u00e2ce aux fictions filmiques (3). Dans leurs propositions, les auteurs sont encourag\u00e9s \u00e0 mettre en lumi\u00e8re de nouveaux corpus, en traitant des multiples aspects du ph\u00e9nom\u00e8ne mus\u00e9al, de films rarement abord\u00e9s ou d\u2019aires g\u00e9ographiques moins trait\u00e9es dans la bibliographie sp\u00e9cifique au th\u00e8me du num\u00e9ro.<\/p>\nAppel \u00e0 proposition d\u2019articles pour le num\u00e9ro th\u00e9matique<\/h2>\nDepuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique \u2014 toutes relations constituant par ailleurs une pr\u00e9occupation constante pour de nombreuses institutions patrimoniales et culturelles. Alors que les mus\u00e9es et les expositions du cin\u00e9ma se multiplient \u00e0 l\u2019\u00e9chelle mondiale \u2014 non sans renouveler les premi\u00e8res formes de l\u2019expographie \u2014, et que les programmations de films au mus\u00e9e se font aussi r\u00e9guli\u00e8res que le recours aux images anim\u00e9es (artistiques ou didactiques) dans le parcours de l\u2019exposition ; alors que des documentaires sur les mus\u00e9es sont projet\u00e9s dans les salles obscures (exemplairement, National Gallery<\/em>, F. Wiseman, 2013), quand les films de fiction (de tous bords : du cin\u00e9ma d\u2019auteur jusqu\u2019au blockbuster<\/em>) se sont empar\u00e9s de \u00ab l\u2019objet mus\u00e9al \u00bb depuis bien longtemps, comment ressaisir aujourd\u2019hui ces relations entre le cin\u00e9ma et le mus\u00e9e ? Nous partirons en l\u2019occurrence de l\u2019interrogation suivante : au moyen de quelles approches\u00a0(th\u00e9oriques et analytiques) ces relations peuvent-elles \u00eatre \u00e9tudi\u00e9es ?<\/p>\nAxe 1 \u2013 <\/strong>Histoire des mus\u00e9es et des expositions de cin\u00e9ma<\/span><\/strong><\/h3>\nLes travaux relatifs \u00e0 la patrimonialisation du cin\u00e9ma se sont faits plus nombreux au cours de la seconde moiti\u00e9 des ann\u00e9es 2000. Le plus souvent, ils adoptent la forme d\u2019une histoire institutionnelle : celle d\u2019une cin\u00e9math\u00e8que ou d\u2019une archive du film, comme l\u2019attestent les ouvrages de Laurent Mannoni (2006), Haidee Wasson (2005) ou Bregt Lameris (2017), par exemple. Ant\u00e9rieurement, des recherches pionni\u00e8res (\u00e0 l\u2019instar de celles de Donata Pesenti ou de Christophe Gauthier) avaient pos\u00e9 le probl\u00e8me de la patrimonialisation du cin\u00e9ma. Des travaux r\u00e9cents l\u2019ont remis sur le m\u00e9tier (cf. Louis 2013, 2020 ; Cere, 2021), invitant \u00e0 une approche compar\u00e9e de diff\u00e9rentes propositions mus\u00e9ographiques, fond\u00e9e tout \u00e0 la fois sur la confrontation des dispositifs, et des r\u00e9seaux et politiques culturels dont ils r\u00e9sultent.<\/p>\nDans ce contexte, ce premier axe propose de se pencher sur l\u2019histoire des mus\u00e9es de cin\u00e9ma en tant qu\u2019ils suscitent des probl\u00e9matiques mus\u00e9ales distinctes ; ainsi que sur l\u2019histoire des expositions, en s\u2019interrogeant particuli\u00e8rement sur la mani\u00e8re dont ces derni\u00e8res ont pu r\u00e9fl\u00e9chir le processus de \u00ab l\u2019entr\u00e9e du cin\u00e9ma au mus\u00e9e \u00bb et, par cons\u00e9quent, la transformation du statut de ses objets. Si une telle r\u00e9flexion a pu \u00eatre engag\u00e9e au sujet des appareils cin\u00e9matographiques (Mannoni, 2003), on souhaiterait qu\u2019elle puisse \u00eatre \u00e9tendue \u00e0 d\u2019autres cat\u00e9gories d\u2019objets patrimoniaux du cin\u00e9ma. En outre, une dimension comparative et internationale serait bienvenue pour mettre en \u00e9vidence des singularit\u00e9s et des points de recoupements entre les pratiques institutionnelles. \u00c0 cet \u00e9gard, on sera sensible aux propositions mettant en lumi\u00e8re de nouveaux corpus, notamment en contexte post-colonial.<\/p>\nAxe 2 \u2013 <\/strong>Formes contemporaines de l\u2019exposition du cin\u00e9ma : th\u00e9orie, esth\u00e9tique<\/span><\/strong><\/h3>\nA ce premier axe travaillant la dimension historique des mus\u00e9es et des expositions, viendront s\u2019articuler des r\u00e9flexions centr\u00e9es sur les diff\u00e9rentes formes de la \u00ab mise en exposition \u00bb du cin\u00e9ma, croisant approches esth\u00e9tiques, th\u00e9oriques, et analyses de dispositifs actuels. Il s\u2019agira d\u00e8s lors d\u2019entrer dans le d\u00e9tail des dispositifs. Si le Mus\u00e9e du cin\u00e9ma d\u2019Henri Langlois au Palais de Chaillot \u2014 avec ses multiples projecteurs 16mm jalonnant le circuit \u2014 peut faire embl\u00e8me, les trois derni\u00e8res d\u00e9cennies ont \u00e9t\u00e9 celles d\u2019une redynamisation des pratiques aussi bien que de la r\u00e9flexion sur l\u2019exposition du cin\u00e9ma (cf. Pa\u00efni, 1992 ; Michaud, 2006). Sans doute, cette analyse peut s\u2019\u00e9laborer en concertation avec l\u2019histoire de l\u2019art, comme elle est susceptible de se rattacher aux \u00e9tudes de m\u00e9diation culturelle, ou encore aux sciences de l\u2019information et de la communication (cf. Crenn, 2011).<\/p>\nQuels que soient les cas soumis \u00e0 l\u2019\u00e9tude et les approches \u00e9lues, l\u2019enjeu consistera \u00e0 se demander ce qui, du cin\u00e9ma, se voit (ou s\u2019est vu) exposer, et comment ? En d\u2019autres termes : quels sont les exp\u00f4ts <\/em>du cin\u00e9ma ? Une telle question engage la nature des s\u00e9miophores ainsi que les discours expographiques qu\u2019ils\u00a0\u00e9tayent. On comprendra que l\u2019approche de la mise en exposition du cin\u00e9ma ne se limite pas \u00e0 la pratique des expositions dites \u00ab extra-film \u00bb, mais implique globalement la pr\u00e9sentation voire l\u2019installation de tout ou partie du dispositif cin\u00e9matographique (film inclus) au sein de l\u2019espace mus\u00e9al.<\/p>\nAxe 3\u00a0\u2013<\/strong> Analyse de la mus\u00e9alit\u00e9 par fictions filmiques interpos\u00e9es<\/span><\/strong><\/h3>\nDans le prolongement d\u2019un ouvrage r\u00e9cemment consacr\u00e9 aux \u00ab fictions du mus\u00e9e au cin\u00e9ma \u00bb (voir infra : Jibokji, Le Ma\u00eetre, Pernac, Verraes, 2016), le troisi\u00e8me axe de cet appel invite \u00e0 interroger les repr\u00e9sentations cin\u00e9matographiques de la mus\u00e9alit\u00e9 en se fondant, tout sp\u00e9cialement, sur l\u2019analyse de fictions filmiques. \u00c0 cet endroit, notre hypoth\u00e8se est, en substance, que le r\u00e9cit de fiction constitue possiblement l\u2019instrument d\u2019une perception critique de la r\u00e9alit\u00e9 mus\u00e9ale \u2014 de ses grandes logiques comme de ses gestes princeps.<\/p>\nException faite de la pr\u00e9s\u00e9ance accord\u00e9e aux r\u00e9cits de fiction, aucun cin\u00e9aste, aucun corpus ne s\u2019impose a priori<\/em>. Cependant on privil\u00e9giera les propositions, tant\u00f4t focalis\u00e9es sur des mus\u00e9es moins consid\u00e9r\u00e9s que ceux li\u00e9s aux Beaux-Arts, par exemple, le Mus\u00e9um d\u2019histoire naturelle, ou le Mus\u00e9e ethnographique ; tant\u00f4t mettant l\u2019accent sur des aspects du ph\u00e9nom\u00e8ne mus\u00e9al aussi bien que sur des films rarement abord\u00e9s.<\/p>\nR\u00e9f\u00e9rences bibliographiques<\/h2>\nALBERA Fran\u00e7ois, \u00ab Exposer le cin\u00e9ma \u00bb, dans Art Press, <\/em>n\u00b0 213, mai 1993.<\/p>\nCERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique \u00ab Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines \u00bb.<\/p>\n
Depuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique.\u00a0Afin d’explorer les diff\u00e9rentes approches th\u00e9oriques et analytiques au prisme desquelles ces relations peuvent \u00eatre \u00e9tudi\u00e9es, ce num\u00e9ro se structurera autour de trois axes :\u00a0l\u2019histoire des mus\u00e9es et des expositions de cin\u00e9ma (1), les f<\/span>ormes contemporaines de l\u2019exposition de ce dernier (2), l\u2019analyse de la mus\u00e9alit\u00e9 gr\u00e2ce aux fictions filmiques (3). Dans leurs propositions, les auteurs sont encourag\u00e9s \u00e0 mettre en lumi\u00e8re de nouveaux corpus, en traitant des multiples aspects du ph\u00e9nom\u00e8ne mus\u00e9al, de films rarement abord\u00e9s ou d\u2019aires g\u00e9ographiques moins trait\u00e9es dans la bibliographie sp\u00e9cifique au th\u00e8me du num\u00e9ro.<\/p>\nAppel \u00e0 proposition d\u2019articles pour le num\u00e9ro th\u00e9matique<\/h2>\nDepuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique \u2014 toutes relations constituant par ailleurs une pr\u00e9occupation constante pour de nombreuses institutions patrimoniales et culturelles. Alors que les mus\u00e9es et les expositions du cin\u00e9ma se multiplient \u00e0 l\u2019\u00e9chelle mondiale \u2014 non sans renouveler les premi\u00e8res formes de l\u2019expographie \u2014, et que les programmations de films au mus\u00e9e se font aussi r\u00e9guli\u00e8res que le recours aux images anim\u00e9es (artistiques ou didactiques) dans le parcours de l\u2019exposition ; alors que des documentaires sur les mus\u00e9es sont projet\u00e9s dans les salles obscures (exemplairement, National Gallery<\/em>, F. Wiseman, 2013), quand les films de fiction (de tous bords : du cin\u00e9ma d\u2019auteur jusqu\u2019au blockbuster<\/em>) se sont empar\u00e9s de \u00ab l\u2019objet mus\u00e9al \u00bb depuis bien longtemps, comment ressaisir aujourd\u2019hui ces relations entre le cin\u00e9ma et le mus\u00e9e ? Nous partirons en l\u2019occurrence de l\u2019interrogation suivante : au moyen de quelles approches\u00a0(th\u00e9oriques et analytiques) ces relations peuvent-elles \u00eatre \u00e9tudi\u00e9es ?<\/p>\nAxe 1 \u2013 <\/strong>Histoire des mus\u00e9es et des expositions de cin\u00e9ma<\/span><\/strong><\/h3>\nLes travaux relatifs \u00e0 la patrimonialisation du cin\u00e9ma se sont faits plus nombreux au cours de la seconde moiti\u00e9 des ann\u00e9es 2000. Le plus souvent, ils adoptent la forme d\u2019une histoire institutionnelle : celle d\u2019une cin\u00e9math\u00e8que ou d\u2019une archive du film, comme l\u2019attestent les ouvrages de Laurent Mannoni (2006), Haidee Wasson (2005) ou Bregt Lameris (2017), par exemple. Ant\u00e9rieurement, des recherches pionni\u00e8res (\u00e0 l\u2019instar de celles de Donata Pesenti ou de Christophe Gauthier) avaient pos\u00e9 le probl\u00e8me de la patrimonialisation du cin\u00e9ma. Des travaux r\u00e9cents l\u2019ont remis sur le m\u00e9tier (cf. Louis 2013, 2020 ; Cere, 2021), invitant \u00e0 une approche compar\u00e9e de diff\u00e9rentes propositions mus\u00e9ographiques, fond\u00e9e tout \u00e0 la fois sur la confrontation des dispositifs, et des r\u00e9seaux et politiques culturels dont ils r\u00e9sultent.<\/p>\nDans ce contexte, ce premier axe propose de se pencher sur l\u2019histoire des mus\u00e9es de cin\u00e9ma en tant qu\u2019ils suscitent des probl\u00e9matiques mus\u00e9ales distinctes ; ainsi que sur l\u2019histoire des expositions, en s\u2019interrogeant particuli\u00e8rement sur la mani\u00e8re dont ces derni\u00e8res ont pu r\u00e9fl\u00e9chir le processus de \u00ab l\u2019entr\u00e9e du cin\u00e9ma au mus\u00e9e \u00bb et, par cons\u00e9quent, la transformation du statut de ses objets. Si une telle r\u00e9flexion a pu \u00eatre engag\u00e9e au sujet des appareils cin\u00e9matographiques (Mannoni, 2003), on souhaiterait qu\u2019elle puisse \u00eatre \u00e9tendue \u00e0 d\u2019autres cat\u00e9gories d\u2019objets patrimoniaux du cin\u00e9ma. En outre, une dimension comparative et internationale serait bienvenue pour mettre en \u00e9vidence des singularit\u00e9s et des points de recoupements entre les pratiques institutionnelles. \u00c0 cet \u00e9gard, on sera sensible aux propositions mettant en lumi\u00e8re de nouveaux corpus, notamment en contexte post-colonial.<\/p>\nAxe 2 \u2013 <\/strong>Formes contemporaines de l\u2019exposition du cin\u00e9ma : th\u00e9orie, esth\u00e9tique<\/span><\/strong><\/h3>\nA ce premier axe travaillant la dimension historique des mus\u00e9es et des expositions, viendront s\u2019articuler des r\u00e9flexions centr\u00e9es sur les diff\u00e9rentes formes de la \u00ab mise en exposition \u00bb du cin\u00e9ma, croisant approches esth\u00e9tiques, th\u00e9oriques, et analyses de dispositifs actuels. Il s\u2019agira d\u00e8s lors d\u2019entrer dans le d\u00e9tail des dispositifs. Si le Mus\u00e9e du cin\u00e9ma d\u2019Henri Langlois au Palais de Chaillot \u2014 avec ses multiples projecteurs 16mm jalonnant le circuit \u2014 peut faire embl\u00e8me, les trois derni\u00e8res d\u00e9cennies ont \u00e9t\u00e9 celles d\u2019une redynamisation des pratiques aussi bien que de la r\u00e9flexion sur l\u2019exposition du cin\u00e9ma (cf. Pa\u00efni, 1992 ; Michaud, 2006). Sans doute, cette analyse peut s\u2019\u00e9laborer en concertation avec l\u2019histoire de l\u2019art, comme elle est susceptible de se rattacher aux \u00e9tudes de m\u00e9diation culturelle, ou encore aux sciences de l\u2019information et de la communication (cf. Crenn, 2011).<\/p>\nQuels que soient les cas soumis \u00e0 l\u2019\u00e9tude et les approches \u00e9lues, l\u2019enjeu consistera \u00e0 se demander ce qui, du cin\u00e9ma, se voit (ou s\u2019est vu) exposer, et comment ? En d\u2019autres termes : quels sont les exp\u00f4ts <\/em>du cin\u00e9ma ? Une telle question engage la nature des s\u00e9miophores ainsi que les discours expographiques qu\u2019ils\u00a0\u00e9tayent. On comprendra que l\u2019approche de la mise en exposition du cin\u00e9ma ne se limite pas \u00e0 la pratique des expositions dites \u00ab extra-film \u00bb, mais implique globalement la pr\u00e9sentation voire l\u2019installation de tout ou partie du dispositif cin\u00e9matographique (film inclus) au sein de l\u2019espace mus\u00e9al.<\/p>\nAxe 3\u00a0\u2013<\/strong> Analyse de la mus\u00e9alit\u00e9 par fictions filmiques interpos\u00e9es<\/span><\/strong><\/h3>\nDans le prolongement d\u2019un ouvrage r\u00e9cemment consacr\u00e9 aux \u00ab fictions du mus\u00e9e au cin\u00e9ma \u00bb (voir infra : Jibokji, Le Ma\u00eetre, Pernac, Verraes, 2016), le troisi\u00e8me axe de cet appel invite \u00e0 interroger les repr\u00e9sentations cin\u00e9matographiques de la mus\u00e9alit\u00e9 en se fondant, tout sp\u00e9cialement, sur l\u2019analyse de fictions filmiques. \u00c0 cet endroit, notre hypoth\u00e8se est, en substance, que le r\u00e9cit de fiction constitue possiblement l\u2019instrument d\u2019une perception critique de la r\u00e9alit\u00e9 mus\u00e9ale \u2014 de ses grandes logiques comme de ses gestes princeps.<\/p>\nException faite de la pr\u00e9s\u00e9ance accord\u00e9e aux r\u00e9cits de fiction, aucun cin\u00e9aste, aucun corpus ne s\u2019impose a priori<\/em>. Cependant on privil\u00e9giera les propositions, tant\u00f4t focalis\u00e9es sur des mus\u00e9es moins consid\u00e9r\u00e9s que ceux li\u00e9s aux Beaux-Arts, par exemple, le Mus\u00e9um d\u2019histoire naturelle, ou le Mus\u00e9e ethnographique ; tant\u00f4t mettant l\u2019accent sur des aspects du ph\u00e9nom\u00e8ne mus\u00e9al aussi bien que sur des films rarement abord\u00e9s.<\/p>\nR\u00e9f\u00e9rences bibliographiques<\/h2>\nALBERA Fran\u00e7ois, \u00ab Exposer le cin\u00e9ma \u00bb, dans Art Press, <\/em>n\u00b0 213, mai 1993.<\/p>\nCERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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Depuis une trentaine d\u2019ann\u00e9es, la question des relations entre cin\u00e9ma et mus\u00e9es est r\u00e9guli\u00e8rement pos\u00e9e au sein du monde acad\u00e9mique \u2014 toutes relations constituant par ailleurs une pr\u00e9occupation constante pour de nombreuses institutions patrimoniales et culturelles. Alors que les mus\u00e9es et les expositions du cin\u00e9ma se multiplient \u00e0 l\u2019\u00e9chelle mondiale \u2014 non sans renouveler les premi\u00e8res formes de l\u2019expographie \u2014, et que les programmations de films au mus\u00e9e se font aussi r\u00e9guli\u00e8res que le recours aux images anim\u00e9es (artistiques ou didactiques) dans le parcours de l\u2019exposition ; alors que des documentaires sur les mus\u00e9es sont projet\u00e9s dans les salles obscures (exemplairement, National Gallery<\/em>, F. Wiseman, 2013), quand les films de fiction (de tous bords : du cin\u00e9ma d\u2019auteur jusqu\u2019au blockbuster<\/em>) se sont empar\u00e9s de \u00ab l\u2019objet mus\u00e9al \u00bb depuis bien longtemps, comment ressaisir aujourd\u2019hui ces relations entre le cin\u00e9ma et le mus\u00e9e ? Nous partirons en l\u2019occurrence de l\u2019interrogation suivante : au moyen de quelles approches\u00a0(th\u00e9oriques et analytiques) ces relations peuvent-elles \u00eatre \u00e9tudi\u00e9es ?<\/p>\nAxe 1 \u2013 <\/strong>Histoire des mus\u00e9es et des expositions de cin\u00e9ma<\/span><\/strong><\/h3>\nLes travaux relatifs \u00e0 la patrimonialisation du cin\u00e9ma se sont faits plus nombreux au cours de la seconde moiti\u00e9 des ann\u00e9es 2000. Le plus souvent, ils adoptent la forme d\u2019une histoire institutionnelle : celle d\u2019une cin\u00e9math\u00e8que ou d\u2019une archive du film, comme l\u2019attestent les ouvrages de Laurent Mannoni (2006), Haidee Wasson (2005) ou Bregt Lameris (2017), par exemple. Ant\u00e9rieurement, des recherches pionni\u00e8res (\u00e0 l\u2019instar de celles de Donata Pesenti ou de Christophe Gauthier) avaient pos\u00e9 le probl\u00e8me de la patrimonialisation du cin\u00e9ma. Des travaux r\u00e9cents l\u2019ont remis sur le m\u00e9tier (cf. Louis 2013, 2020 ; Cere, 2021), invitant \u00e0 une approche compar\u00e9e de diff\u00e9rentes propositions mus\u00e9ographiques, fond\u00e9e tout \u00e0 la fois sur la confrontation des dispositifs, et des r\u00e9seaux et politiques culturels dont ils r\u00e9sultent.<\/p>\nDans ce contexte, ce premier axe propose de se pencher sur l\u2019histoire des mus\u00e9es de cin\u00e9ma en tant qu\u2019ils suscitent des probl\u00e9matiques mus\u00e9ales distinctes ; ainsi que sur l\u2019histoire des expositions, en s\u2019interrogeant particuli\u00e8rement sur la mani\u00e8re dont ces derni\u00e8res ont pu r\u00e9fl\u00e9chir le processus de \u00ab l\u2019entr\u00e9e du cin\u00e9ma au mus\u00e9e \u00bb et, par cons\u00e9quent, la transformation du statut de ses objets. Si une telle r\u00e9flexion a pu \u00eatre engag\u00e9e au sujet des appareils cin\u00e9matographiques (Mannoni, 2003), on souhaiterait qu\u2019elle puisse \u00eatre \u00e9tendue \u00e0 d\u2019autres cat\u00e9gories d\u2019objets patrimoniaux du cin\u00e9ma. En outre, une dimension comparative et internationale serait bienvenue pour mettre en \u00e9vidence des singularit\u00e9s et des points de recoupements entre les pratiques institutionnelles. \u00c0 cet \u00e9gard, on sera sensible aux propositions mettant en lumi\u00e8re de nouveaux corpus, notamment en contexte post-colonial.<\/p>\nAxe 2 \u2013 <\/strong>Formes contemporaines de l\u2019exposition du cin\u00e9ma : th\u00e9orie, esth\u00e9tique<\/span><\/strong><\/h3>\nA ce premier axe travaillant la dimension historique des mus\u00e9es et des expositions, viendront s\u2019articuler des r\u00e9flexions centr\u00e9es sur les diff\u00e9rentes formes de la \u00ab mise en exposition \u00bb du cin\u00e9ma, croisant approches esth\u00e9tiques, th\u00e9oriques, et analyses de dispositifs actuels. Il s\u2019agira d\u00e8s lors d\u2019entrer dans le d\u00e9tail des dispositifs. Si le Mus\u00e9e du cin\u00e9ma d\u2019Henri Langlois au Palais de Chaillot \u2014 avec ses multiples projecteurs 16mm jalonnant le circuit \u2014 peut faire embl\u00e8me, les trois derni\u00e8res d\u00e9cennies ont \u00e9t\u00e9 celles d\u2019une redynamisation des pratiques aussi bien que de la r\u00e9flexion sur l\u2019exposition du cin\u00e9ma (cf. Pa\u00efni, 1992 ; Michaud, 2006). Sans doute, cette analyse peut s\u2019\u00e9laborer en concertation avec l\u2019histoire de l\u2019art, comme elle est susceptible de se rattacher aux \u00e9tudes de m\u00e9diation culturelle, ou encore aux sciences de l\u2019information et de la communication (cf. Crenn, 2011).<\/p>\nQuels que soient les cas soumis \u00e0 l\u2019\u00e9tude et les approches \u00e9lues, l\u2019enjeu consistera \u00e0 se demander ce qui, du cin\u00e9ma, se voit (ou s\u2019est vu) exposer, et comment ? En d\u2019autres termes : quels sont les exp\u00f4ts <\/em>du cin\u00e9ma ? Une telle question engage la nature des s\u00e9miophores ainsi que les discours expographiques qu\u2019ils\u00a0\u00e9tayent. On comprendra que l\u2019approche de la mise en exposition du cin\u00e9ma ne se limite pas \u00e0 la pratique des expositions dites \u00ab extra-film \u00bb, mais implique globalement la pr\u00e9sentation voire l\u2019installation de tout ou partie du dispositif cin\u00e9matographique (film inclus) au sein de l\u2019espace mus\u00e9al.<\/p>\nAxe 3\u00a0\u2013<\/strong> Analyse de la mus\u00e9alit\u00e9 par fictions filmiques interpos\u00e9es<\/span><\/strong><\/h3>\nDans le prolongement d\u2019un ouvrage r\u00e9cemment consacr\u00e9 aux \u00ab fictions du mus\u00e9e au cin\u00e9ma \u00bb (voir infra : Jibokji, Le Ma\u00eetre, Pernac, Verraes, 2016), le troisi\u00e8me axe de cet appel invite \u00e0 interroger les repr\u00e9sentations cin\u00e9matographiques de la mus\u00e9alit\u00e9 en se fondant, tout sp\u00e9cialement, sur l\u2019analyse de fictions filmiques. \u00c0 cet endroit, notre hypoth\u00e8se est, en substance, que le r\u00e9cit de fiction constitue possiblement l\u2019instrument d\u2019une perception critique de la r\u00e9alit\u00e9 mus\u00e9ale \u2014 de ses grandes logiques comme de ses gestes princeps.<\/p>\nException faite de la pr\u00e9s\u00e9ance accord\u00e9e aux r\u00e9cits de fiction, aucun cin\u00e9aste, aucun corpus ne s\u2019impose a priori<\/em>. Cependant on privil\u00e9giera les propositions, tant\u00f4t focalis\u00e9es sur des mus\u00e9es moins consid\u00e9r\u00e9s que ceux li\u00e9s aux Beaux-Arts, par exemple, le Mus\u00e9um d\u2019histoire naturelle, ou le Mus\u00e9e ethnographique ; tant\u00f4t mettant l\u2019accent sur des aspects du ph\u00e9nom\u00e8ne mus\u00e9al aussi bien que sur des films rarement abord\u00e9s.<\/p>\nR\u00e9f\u00e9rences bibliographiques<\/h2>\nALBERA Fran\u00e7ois, \u00ab Exposer le cin\u00e9ma \u00bb, dans Art Press, <\/em>n\u00b0 213, mai 1993.<\/p>\nCERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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Les travaux relatifs \u00e0 la patrimonialisation du cin\u00e9ma se sont faits plus nombreux au cours de la seconde moiti\u00e9 des ann\u00e9es 2000. Le plus souvent, ils adoptent la forme d\u2019une histoire institutionnelle : celle d\u2019une cin\u00e9math\u00e8que ou d\u2019une archive du film, comme l\u2019attestent les ouvrages de Laurent Mannoni (2006), Haidee Wasson (2005) ou Bregt Lameris (2017), par exemple. Ant\u00e9rieurement, des recherches pionni\u00e8res (\u00e0 l\u2019instar de celles de Donata Pesenti ou de Christophe Gauthier) avaient pos\u00e9 le probl\u00e8me de la patrimonialisation du cin\u00e9ma. Des travaux r\u00e9cents l\u2019ont remis sur le m\u00e9tier (cf. Louis 2013, 2020 ; Cere, 2021), invitant \u00e0 une approche compar\u00e9e de diff\u00e9rentes propositions mus\u00e9ographiques, fond\u00e9e tout \u00e0 la fois sur la confrontation des dispositifs, et des r\u00e9seaux et politiques culturels dont ils r\u00e9sultent.<\/p>\n
Dans ce contexte, ce premier axe propose de se pencher sur l\u2019histoire des mus\u00e9es de cin\u00e9ma en tant qu\u2019ils suscitent des probl\u00e9matiques mus\u00e9ales distinctes ; ainsi que sur l\u2019histoire des expositions, en s\u2019interrogeant particuli\u00e8rement sur la mani\u00e8re dont ces derni\u00e8res ont pu r\u00e9fl\u00e9chir le processus de \u00ab l\u2019entr\u00e9e du cin\u00e9ma au mus\u00e9e \u00bb et, par cons\u00e9quent, la transformation du statut de ses objets. Si une telle r\u00e9flexion a pu \u00eatre engag\u00e9e au sujet des appareils cin\u00e9matographiques (Mannoni, 2003), on souhaiterait qu\u2019elle puisse \u00eatre \u00e9tendue \u00e0 d\u2019autres cat\u00e9gories d\u2019objets patrimoniaux du cin\u00e9ma. En outre, une dimension comparative et internationale serait bienvenue pour mettre en \u00e9vidence des singularit\u00e9s et des points de recoupements entre les pratiques institutionnelles. \u00c0 cet \u00e9gard, on sera sensible aux propositions mettant en lumi\u00e8re de nouveaux corpus, notamment en contexte post-colonial.<\/p>\n
A ce premier axe travaillant la dimension historique des mus\u00e9es et des expositions, viendront s\u2019articuler des r\u00e9flexions centr\u00e9es sur les diff\u00e9rentes formes de la \u00ab mise en exposition \u00bb du cin\u00e9ma, croisant approches esth\u00e9tiques, th\u00e9oriques, et analyses de dispositifs actuels. Il s\u2019agira d\u00e8s lors d\u2019entrer dans le d\u00e9tail des dispositifs. Si le Mus\u00e9e du cin\u00e9ma d\u2019Henri Langlois au Palais de Chaillot \u2014 avec ses multiples projecteurs 16mm jalonnant le circuit \u2014 peut faire embl\u00e8me, les trois derni\u00e8res d\u00e9cennies ont \u00e9t\u00e9 celles d\u2019une redynamisation des pratiques aussi bien que de la r\u00e9flexion sur l\u2019exposition du cin\u00e9ma (cf. Pa\u00efni, 1992 ; Michaud, 2006). Sans doute, cette analyse peut s\u2019\u00e9laborer en concertation avec l\u2019histoire de l\u2019art, comme elle est susceptible de se rattacher aux \u00e9tudes de m\u00e9diation culturelle, ou encore aux sciences de l\u2019information et de la communication (cf. Crenn, 2011).<\/p>\n
Quels que soient les cas soumis \u00e0 l\u2019\u00e9tude et les approches \u00e9lues, l\u2019enjeu consistera \u00e0 se demander ce qui, du cin\u00e9ma, se voit (ou s\u2019est vu) exposer, et comment ? En d\u2019autres termes : quels sont les exp\u00f4ts <\/em>du cin\u00e9ma ? Une telle question engage la nature des s\u00e9miophores ainsi que les discours expographiques qu\u2019ils\u00a0\u00e9tayent. On comprendra que l\u2019approche de la mise en exposition du cin\u00e9ma ne se limite pas \u00e0 la pratique des expositions dites \u00ab extra-film \u00bb, mais implique globalement la pr\u00e9sentation voire l\u2019installation de tout ou partie du dispositif cin\u00e9matographique (film inclus) au sein de l\u2019espace mus\u00e9al.<\/p>\nAxe 3\u00a0\u2013<\/strong> Analyse de la mus\u00e9alit\u00e9 par fictions filmiques interpos\u00e9es<\/span><\/strong><\/h3>\nDans le prolongement d\u2019un ouvrage r\u00e9cemment consacr\u00e9 aux \u00ab fictions du mus\u00e9e au cin\u00e9ma \u00bb (voir infra : Jibokji, Le Ma\u00eetre, Pernac, Verraes, 2016), le troisi\u00e8me axe de cet appel invite \u00e0 interroger les repr\u00e9sentations cin\u00e9matographiques de la mus\u00e9alit\u00e9 en se fondant, tout sp\u00e9cialement, sur l\u2019analyse de fictions filmiques. \u00c0 cet endroit, notre hypoth\u00e8se est, en substance, que le r\u00e9cit de fiction constitue possiblement l\u2019instrument d\u2019une perception critique de la r\u00e9alit\u00e9 mus\u00e9ale \u2014 de ses grandes logiques comme de ses gestes princeps.<\/p>\nException faite de la pr\u00e9s\u00e9ance accord\u00e9e aux r\u00e9cits de fiction, aucun cin\u00e9aste, aucun corpus ne s\u2019impose a priori<\/em>. Cependant on privil\u00e9giera les propositions, tant\u00f4t focalis\u00e9es sur des mus\u00e9es moins consid\u00e9r\u00e9s que ceux li\u00e9s aux Beaux-Arts, par exemple, le Mus\u00e9um d\u2019histoire naturelle, ou le Mus\u00e9e ethnographique ; tant\u00f4t mettant l\u2019accent sur des aspects du ph\u00e9nom\u00e8ne mus\u00e9al aussi bien que sur des films rarement abord\u00e9s.<\/p>\nR\u00e9f\u00e9rences bibliographiques<\/h2>\nALBERA Fran\u00e7ois, \u00ab Exposer le cin\u00e9ma \u00bb, dans Art Press, <\/em>n\u00b0 213, mai 1993.<\/p>\nCERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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Dans le prolongement d\u2019un ouvrage r\u00e9cemment consacr\u00e9 aux \u00ab fictions du mus\u00e9e au cin\u00e9ma \u00bb (voir infra : Jibokji, Le Ma\u00eetre, Pernac, Verraes, 2016), le troisi\u00e8me axe de cet appel invite \u00e0 interroger les repr\u00e9sentations cin\u00e9matographiques de la mus\u00e9alit\u00e9 en se fondant, tout sp\u00e9cialement, sur l\u2019analyse de fictions filmiques. \u00c0 cet endroit, notre hypoth\u00e8se est, en substance, que le r\u00e9cit de fiction constitue possiblement l\u2019instrument d\u2019une perception critique de la r\u00e9alit\u00e9 mus\u00e9ale \u2014 de ses grandes logiques comme de ses gestes princeps.<\/p>\n
Exception faite de la pr\u00e9s\u00e9ance accord\u00e9e aux r\u00e9cits de fiction, aucun cin\u00e9aste, aucun corpus ne s\u2019impose a priori<\/em>. Cependant on privil\u00e9giera les propositions, tant\u00f4t focalis\u00e9es sur des mus\u00e9es moins consid\u00e9r\u00e9s que ceux li\u00e9s aux Beaux-Arts, par exemple, le Mus\u00e9um d\u2019histoire naturelle, ou le Mus\u00e9e ethnographique ; tant\u00f4t mettant l\u2019accent sur des aspects du ph\u00e9nom\u00e8ne mus\u00e9al aussi bien que sur des films rarement abord\u00e9s.<\/p>\nR\u00e9f\u00e9rences bibliographiques<\/h2>\nALBERA Fran\u00e7ois, \u00ab Exposer le cin\u00e9ma \u00bb, dans Art Press, <\/em>n\u00b0 213, mai 1993.<\/p>\nCERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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ALBERA Fran\u00e7ois, \u00ab Exposer le cin\u00e9ma \u00bb, dans Art Press, <\/em>n\u00b0 213, mai 1993.<\/p>\nCERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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CERE\u00a0Rinella, <\/span>An International Study of Film Museums<\/span><\/em>, Routledge, London, 2021.<\/span><\/p>\nCRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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CRENN Ga\u00eblle, \u00ab L\u2019exposition du cin\u00e9ma populaire au mus\u00e9e de sciences. Logiques de production et dispositifs mus\u00e9ographiques dans les expositions \u201c\u00a0blockbusters\u00a0\u201d \u00bb, dans BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Cr\u00e9ation, institution, public<\/em>, 2011.<\/p>\nDAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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DAGOGNET Fran\u00e7ois, Le Mus\u00e9e sans fin<\/em>, Seyssel, Champ Vallon, 1984.<\/p>\nELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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ELSAESSER Thomas, \u00ab Ingmar Bergman in the museum ? Thresholds, limits, conditions of possibility \u00bb, dans <\/span>Journal of Aesthetics & Culture<\/span><\/em>, Vol. <\/span>I, 2009.<\/p>\nFOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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FOVEAU Georges, \u00ab La Passion de l\u2019image fait \u00e9clater la notion de mus\u00e9e : des micro-mus\u00e9es en \u2018r\u00e9seaux\u2019 \u00bb, Champs visuels<\/em> : L\u2019image et les mus\u00e9es<\/em>, n\u00b0\u00a014, avril 2000.<\/p>\nFRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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FRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, <\/span>Film Curatorship. <\/span><\/em>Archives, Museums and the Digital Marketplace<\/em>, Austrian Film Museum, 2008.<\/p>\nGAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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GAUTHIER Christophe, La Passion du cinema : cin\u00e9philes, cin\u00e9-clubs et salles sp\u00e9cialis\u00e9es \u00e0 Paris de 1920 \u00e0 1929<\/em>, \u00c9ditions de l\u2019AFRHC, 1999.<\/p>\nGAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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GAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cin\u00e9ma<\/em>, Paris, Ecole nationale des chartes, 2021.<\/p>\nGALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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GALLOIS Alice,<\/strong> \u00ab Les images anim\u00e9es au Mus\u00e9e de l’Homme ou la rencontre de deux mondes (1930-1950) \u00bb, Conserveries m\u00e9morielles<\/em>, n\u00b016, 2014.<\/p>\nGOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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GOB Andr\u00e9, DROUGUET No\u00e9mie, La Mus\u00e9ologie. Histoire, D\u00e9veloppements, Enjeux actuels<\/em>, Paris, Armand Colin, 2003 [5e<\/sup> \u00e9dition, 2021].<\/p>\nHABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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HABIB Andr\u00e9, MARIE Michel (dir.), L\u2019Avenir de la m\u00e9moire. Patrimoine, restauration et r\u00e9emploi cin\u00e9matographiques<\/em>, Presses universitaires du Septentrion, Villeneuve d\u2019Ascq, 2013.<\/p>\nJEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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JEANNERET Yves, LE MAREC Jo\u00eblle, \u00ab Mus\u00e9e et cin\u00e9ma, une politique de l\u2019attention. Sur National Gallery<\/em> de Frederick Wiseman \u00bb, dans Culture & Mus\u00e9es<\/em>, n\u00b028, 2016.<\/p>\nJIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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JIBOKJI Jos\u00e9phine, LE MA\u00ceTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Mus\u00e9oscopies : Fictions du mus\u00e9e au cin\u00e9ma<\/em>, Presses universitaires de Paris Nanterre, 2016.<\/p>\nLE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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LE MA\u00ceTRE Barbara, VERRAES Jennifer, Cin\u00e9ma mus\u00e9um. Le mus\u00e9e d\u2019apr\u00e8s le cin\u00e9ma<\/em>, Presses Universitaires de Vincennes, 2013.<\/p>\nLAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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LAMERIS Bregt, <\/span>Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000)<\/span><\/em>, Amsterdam University Press, 2017.<\/span><\/p>\nLOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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LOUIS St\u00e9phanie, E. \u00ab 1975, La France des ann\u00e9es trente vue par son cin\u00e9ma<\/em>. Un \u00e9v\u00e9nement sociologique \u00e0 la Cin\u00e9math\u00e8que de Toulouse \u00bb, Cin\u00e9maction<\/em>, sous la direction de R\u00e9jane Vall\u00e9e, juin 2013.<\/p>\nLOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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LOUIS St\u00e9phanie E., La Cin\u00e9math\u00e8que-Mus\u00e9e : Une innovation cin\u00e9phile au c\u0153ur de la patrimonialisation du cin\u00e9ma en France (1944-1968)<\/em>, \u00c9ditions de l\u2019AFRHC, 2020.<\/p>\nMAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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MAIRESSE Fran\u00e7ois, DESVALLEES Andr\u00e9 (dir.), Vers une red\u00e9finition du mus\u00e9e<\/em>, Paris, L\u2019Harmattan, 2007.<\/p>\nMICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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MICHAUD, Philippe-Alain, Le mouvement des images, <\/em>Paris, \u00c9ditions du Centre Georges Pompidou, coll. Les cahiers du mus\u00e9e national d’art moderne, 2006.<\/p>\nMANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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MANNONI Laurent, \u00ab Mus\u00e9e du cin\u00e9ma et expositions temporaires, valorisation des collections d\u2019appareils : une histoire d\u00e9j\u00e0 ancienne \u00bb, 1895<\/em>, n\u00b041, 2003.<\/p>\nMANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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MANNONI Laurent, Histoire de la Cin\u00e9math\u00e8que fran\u00e7aise<\/em>, Paris, Gallimard, 2006.<\/p>\nPA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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PA\u00cfNI Dominique, Conserver, montrer. O\u00f9 l\u2019on ne craint pas d\u2019\u00e9difier un mus\u00e9e pour le cin\u00e9ma,<\/em> Crisn\u00e9e, Yellow Now, 1992.<\/p>\nPA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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PA\u00cfNI Dominique, Le Cin\u00e9ma expos\u00e9 : le cin\u00e9ma de la salle au mus\u00e9e, <\/em>Paris, Cahiers du cin\u00e9ma<\/em>, 2002.<\/p>\nPa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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Pa\u00cfnI Dominique, \u00ab Henri Langlois : exp\u00e9rimenter, conserver \u00bb, Journal of Film Preservation<\/em>, n\u00b085, octobre 2011.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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PESENTI CAMPAGNONI Donata, \u00ab Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni \u00bb, Notizario dell\u2019Associazione Museo Nazionale del Cinema<\/em>, 1997.<\/p>\nPESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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PESENTI CAMPAGNONI Donata, \u00ab Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue \u00bb, <\/span>Film History<\/span><\/em>, n\u00b03, 2006.<\/span><\/p>\nPOULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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POULOT Dominique, Mus\u00e9e, nation, patrimoine 1789-1815<\/em>, Paris, Gallimard, 1997.<\/p>\nRIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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RIVIERE Georges-Henri, La Mus\u00e9ologie selon Georges-Henri Rivi\u00e8re. Cours de mus\u00e9ologie. Textes et t\u00e9moignages<\/em>, Paris, Dunod, 1989.<\/p>\nSZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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SZEEMANN Harald, \u00c9crire les expositions,<\/em> Bruxelles, La lettre vol\u00e9e, 1996.<\/p>\nWASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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WASSON Haidee, <\/span>Museum movies : the Museum of Modern art and the Birth of Art Cinema<\/span><\/em>, University of California Presse, Los Angeles, 2005.<\/span><\/p>\nLes r\u00e9dactrices invit\u00e9es de ce num\u00e9ro<\/h2>\nNum\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\nEnvoi des propositions d\u2019articles<\/h2>\nMerci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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Num\u00e9ro coordonn\u00e9 par Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre) et St\u00e9phanie-Emmanuelle Louis (Ecole nationale des chartes).<\/p>\n
Merci d\u2019adresser vos propositions d\u2019articles (5000 \u00e0 7000 signes) par courriel avant le 6 janvier 2023 <\/strong>\u00e0 :<\/p>\nBarbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es 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Barbara Le Ma\u00eetre : barbara.lemaitre@parisnanterre.fr<\/a><\/p>\nSt\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et 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St\u00e9phanie-Emmanuelle Louis : stephanie.louis@chartes.psl.eu<\/a><\/p>\navec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" 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avec copie \u00e0 : eric.triquet@univ-avignon.fr<\/a> et pauline.grison@univ-avignon.fr<\/a><\/p>\nMise en forme des propositions d\u2019articles<\/h2>\n– 5000 \u00e0 7000 signes espaces comprises<\/p>\n– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\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\/museologie-et-cinema-perspectives-contemporaines\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines\" \/>\n<meta property=\"og:description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/museologie-et-cinema-perspectives-contemporaines\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2022-11-14T15:05:46+00:00\" \/>\n<meta name=\"author\" content=\"Fabien Bonnet\" \/>\n<meta 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– 5000 \u00e0 7000 signes espaces comprises<\/p>\n
– Le document au format .docx<\/strong> sera pr\u00e9cis\u00e9ment nomm\u00e9 comme suit : CM-43-PC-Nom de l\u2019auteur<\/strong> (ou auteur principal si plusieurs auteurs).<\/p>\n– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\nIl comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n– Courriel<\/p>\n– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n– Fonction<\/p>\n– Biographie (600 caract\u00e8res maximum)<\/p>\nIdem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 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num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\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\/museologie-et-cinema-perspectives-contemporaines\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines\" \/>\n<meta property=\"og:description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sfsic.org\/en\/aac-publication\/museologie-et-cinema-perspectives-contemporaines\/\" \/>\n<meta property=\"og:site_name\" content=\"SFSIC\" \/>\n<meta property=\"article:published_time\" content=\"2022-11-14T15:05:46+00:00\" \/>\n<meta name=\"author\" content=\"Fabien Bonnet\" \/>\n<meta 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– Le document est \u00e9crit avec la police Times new Roman, corps 12, texte justifi\u00e9 \u00e0 droite et \u00e0 gauche.<\/p>\n
Il comporte,\u00a0par ordre de pr\u00e9sentation :<\/p>\n
– NOM et pr\u00e9nom de l\u2019auteur 1<\/p>\n
– Courriel<\/p>\n
– Statut : qualit\u00e9 et rattachement institutionnel (universit\u00e9, unit\u00e9 de recherche)<\/p>\n
– Fonction<\/p>\n
– Biographie (600 caract\u00e8res maximum)<\/p>\n
Idem pour l\u2019auteur 2, 3 etc., si plusieurs auteurs.<\/em><\/p>\n– Titre de la proposition d\u2019article<\/p>\n– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n– 5 mots-cl\u00e9s<\/p>\n– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\nCalendrier<\/h2>\n6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 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– Titre de la proposition d\u2019article<\/p>\n
– Le texte de la proposition d\u2019article d\u00e9taillera l\u2019ancrage disciplinaire ou interdisciplinaire de la recherche, la probl\u00e9matique, le terrain ou le corpus, la m\u00e9thodologie employ\u00e9e et une premi\u00e8re projection sur les r\u00e9sultats.<\/p>\n
– 5 mots-cl\u00e9s<\/p>\n
– 5 r\u00e9f\u00e9rences bibliographiques mobilis\u00e9es dans le projet d\u2019article<\/p>\n
6 janvier\u00a02022<\/strong> : <\/strong>R\u00e9ception des propositions d\u2019articles.<\/p>\n20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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20 janvier 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de la proposition).<\/p>\n19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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19 mai 2023<\/strong> : <\/strong>R\u00e9ception des articles complets<\/p>\nMai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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Mai-juin 2023<\/strong> : <\/strong>Expertise des articles en double aveugle.<\/p>\n30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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30 juin 2023<\/strong> : <\/strong>Retour aux auteurs (acceptation ou refus de publication suite aux expertises)<\/p>\n15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et 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15 septembre 2023<\/strong> : <\/strong>R\u00e9ception des V2 des articles<\/p>\n30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la 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30 octobre 2023<\/strong> : <\/strong>R\u00e9ception des version finales des articles avec les m\u00e9tadonn\u00e9es<\/p>\nNovembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta 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Novembre 2023<\/strong> \u2013 <\/strong>Mai 2024<\/strong> : <\/strong>Traduction, correction et maquettage<\/p>\nJuin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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Juin 2024<\/strong> : <\/strong>Publication du num\u00e9ro.<\/p>\n<\/p><\/div>\n\nFichier(s) attach\u00e9(s)<\/h3>\n\n\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\tAAC Culture et mus\u00e9es 43 Mus\u00e9ologie cin\u00e9ma 2023 (pdf)<\/span><\/span>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n\nMots-cl\u00e9s<\/h3>\n\nMots-cl\u00e9s<\/span><\/span><\/li>\nCin\u00e9ma<\/span><\/a><\/li>\nMus\u00e9es<\/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 14 novembre 2022 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles M\u00e9diations m\u00e9morielles, culturelles et patrimoniales R\u00e9ponse attendue pour le 06\/01\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 Type […]<\/p>\n","protected":false},"author":957,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28,60],"tags":[375,175],"thematique":[35,38],"sfsic":[],"class_list":["post-26572","post","type-post","status-publish","format-standard","hentry","category-aac-publication","category-article","tag-cinema","tag-musees","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-mediations-memorielles-culturelles-et-patrimoniales","wp-sticky"],"acf":[],"yoast_head":"\nMus\u00e9ologie et cin\u00e9ma : perspectives contemporaines<\/title>\n<meta name=\"description\" content=\"Culture et mus\u00e9es lance un appel \u00e0 contributions pour son num\u00e9ro 43, lequel sera d\u00e9di\u00e9 \u00e0 la th\u00e9matique "Mus\u00e9ologie et cin\u00e9ma : perspectives contemporaines"\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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