{"id":27615,"date":"2023-02-02T14:02:27","date_gmt":"2023-02-02T13:02:27","guid":{"rendered":"https:\/\/www.sfsic.org\/?p=27615"},"modified":"2023-02-02T14:06:26","modified_gmt":"2023-02-02T13:06:26","slug":"le-telephone-portable-une-alternative-de-production-audiovisuelle","status":"publish","type":"post","link":"https:\/\/www.sfsic.org\/en\/aac-evenement\/le-telephone-portable-une-alternative-de-production-audiovisuelle\/","title":{"rendered":"Le t\u00e9l\u00e9phone portable : une alternative de production audiovisuelle ?"},"content":{"rendered":"<p><!-- fxzn:singledetail --><\/p>\n<div class=\"zone zn-singledetail\" id=\"fxzn-singledetail-1\">\n<div class=\"zone-block zn-singledetail-block alignwide va-top\">\n<div class=\"row\">\n<div class=\"columns large-8 large-push-4\">\n<div class=\"zn-singledetail-metabox\">\n<div class=\"zn-singledetail-pubdate pubdate\">\n\t\t\t\t\t<span class=\"pubdate-txt\">Mis en ligne le<\/span><span class=\"doubledot\"><\/span> <time class=\"pubdate-time\" pubdate datetime=\"2023-02-02T14:02:27+01:00\">2 f\u00e9vrier 2023<\/time>\t\t\t\t<\/div>\n<div class=\"zn-singledetail-thematiques with-sep-comma\">\n<ul class=\"termslist termslist-thematique\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Th\u00e9matiques<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-thematique term-images-cinema-medias-audiovisuels-et-industries-culturelles\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/thematiques\/images-cinema-medias-audiovisuels-et-industries-culturelles\/\" title=\"Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles\"><span class=\"termslist-itemname\">Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles<\/span><\/a><\/li>\n<li class=\"termslist-item tax-thematique term-numerique-strategies-dispositifs-et-usages\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/thematiques\/numerique-strategies-dispositifs-et-usages\/\" title=\"Num\u00e9rique : strat\u00e9gies, dispositifs et usages\"><span class=\"termslist-itemname\">Num\u00e9rique : strat\u00e9gies, dispositifs et usages<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"row\">\n<div class=\"columns large-4\">\n<div class=\"zn-singledetail-sidebar bg-cornersquares\">\n<div class=\"zn-singledetail-infos\">\n<p class=\"zn-singledetail-reponse-date\">\n\t\t\t\t\t\t<span>R\u00e9ponse attendue pour le<\/span><span class=\"doubledot\"><\/span> <strong>27\/03\/2023<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-reponse-type\">\n\t\t\t\t\t<span>Type de r\u00e9ponse<\/span><span class=\"doubledot\"><\/span> <strong>R\u00e9sum\u00e9<\/strong>\n\t\t\t\t\t<\/p>\n<p class=\"zn-singledetail-type\">\n\t\t\t\t\t\t\t<span>Type d\u2019\u00e9v\u00e9nement<\/span><span class=\"doubledot\"><\/span> <strong>Colloque<\/strong>\n\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-coordinators\">\n<h3 class=\"zn-singledetail-section-title\">Coordinateurs<\/h3>\n<ul class=\"zn-singledetail-coordinators-list\">\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Christel<\/span> <span>Taillibert<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, <a class=\"zn-singledetail-coordinators-mail prettylink\" href=\"mailto:christel.taillibert@univ-cotedazur.fr\">christel.taillibert@univ-cotedazur.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Bruno<\/span> <span>Cailler<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, <a class=\"zn-singledetail-coordinators-mail prettylink\" href=\"mailto:bruno.cailler@univ-cotedazur.fr\">bruno.cailler@univ-cotedazur.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Sophie<\/span> <span>Raimond<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, <a class=\"zn-singledetail-coordinators-mail prettylink\" href=\"mailto:sophie.raimond@univ-cotedazur.fr\">sophie.raimond@univ-cotedazur.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Cyril<\/span> <span>Laverger<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, <a class=\"zn-singledetail-coordinators-mail prettylink\" href=\"mailto:laverger@yahoo.fr\">laverger@yahoo.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<li class=\"zn-singledetail-coordinators-item\">\n\t\t\t\t\t\t\t<span>Micha\u00ebl<\/span> <span>Arlotto<\/span>\t\t\t\t\t\t\t\t\t\t\t\t\t\t, <a class=\"zn-singledetail-coordinators-mail prettylink\" href=\"mailto:michael.arlotto@univ-cotedazur.fr\">michael.arlotto@univ-cotedazur.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-contacts\">\n<h3 class=\"zn-singledetail-section-title\">Contacts<\/h3>\n<ul class=\"zn-singledetail-contacts-list\">\n<li class=\"zn-singledetail-contact\">\n\t\t\t\t\t\t\t<span class=\"zn-singledetail-contact-name\">Christel Taillibert<\/span><span class=\"doubledot\"><\/span><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a class=\"zn-singledetail-contact-mail prettylink\" href=\"mailto:christel.taillibert@univ-cotedazur.fr\">christel.taillibert@univ-cotedazur.fr<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-weblinks\">\n<h3 class=\"zn-singledetail-section-title\">Sites internet de r\u00e9f\u00e9rence<\/h3>\n<ul class=\"zn-singledetail-weblinks-list\">\n<li>\n\t\t\t\t\t\t\t<a class=\"prettylink chainlink\" href=\"https:\/\/lirces.univ-cotedazur.fr\/\" title=\"\" target=\"_blank\" rel=\"noopener\">LIRCES<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"columns large-8\">\n<div class=\"zn-singledetail-contentbox\">\n<div class=\"zn-singledetail-eventinfo\">\n<div class=\"zn-singledetail-eventinfo-inner\">\n<div class=\"zn-singledetail-eventdates\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Dates de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><\/p>\n<ul class=\"zn-singledetail-eventdates-list\">\n<li class=\"zn-singledetail-eventdates-item\">\n\t\t\t\t\t\t\t\tDu <time class=\"event-start-time\" datetime=\"2023-06-06T09:00:00+00:00\">06\/06\/2023<\/time> au <time class=\"event-end-time\" datetime=\"2023-06-07T17:00:00+00:00\">07\/06\/2023<\/time>\t\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<p class=\"zn-singledetail-eventplace\">\n\t\t\t\t\t\t<span class=\"zn-singledetail-label\">Lieu de l\u2019\u00e9v\u00e9nement<span class=\"doubledot\"><\/span><\/span><br \/>\n\t\t\t\t\t\t<a class=\"zn-singledetail-eventplace-adr\" href=\"https:\/\/lirces.univ-cotedazur.fr\/\" title=\"\" target=\"_blank\" rel=\"noopener\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"adr-name\">T\u00e9l\u00e9phone portable&#160;: une alternative de production audiovisuelle&#160;?<\/span>,<\/p>\n<p>\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"adr-place\">MSH Sud-Est<\/span>,<\/p>\n<p>\t\t\t\t\t\t<span class=\"adr-street\"> P\u00f4le universitaire St Jean d\u2019Ang\u00e9ly \u2013 B\u00e2timent SJA 3 24 avenue des Diables Bleus   <\/span>, <span class=\"adr-city\">Nice<\/span>\t\t\t\t\t\t<span class=\"adr-cp\">06357<\/span>, <span class=\"adr-country\">France<\/span><br \/>\n\t\t\t\t\t\t<\/a>\t\t\t\t\t<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"zn-singledetail-annonce wig-content\">\n<p>Dans le cadre du programme de recherche sur les alternatives cin\u00e9matographiques et audiovisuelles, le LIRCES et l&rsquo;ESRA organisent \u00e0 Nice, les 6 et 7 juin 2023, un colloque intitul\u00e9 \u00ab&#160;T\u00e9l\u00e9phone portable&#160;: une alternative de production audiovisuelle&#160;?&#160;\u00bb. Les propositions de communications sont attendues jusqu&rsquo;au 27 mars prochain.<\/p>\n<h2>Pr\u00e9sentation<\/h2>\n<p>Au cours de l\u2019histoire du cin\u00e9ma et de l\u2019audiovisuel, l\u2019all\u00e8gement des instruments de prise de vue a souvent donn\u00e9 lieu \u00e0 des innovations esth\u00e9tiques importantes, tout comme \u00e0 l\u2019exp\u00e9rimentation de nouvelles modalit\u00e9s sociales et \u00e9conomiques dans la fabrication d\u2019un film. Or, parall\u00e8lement \u00e0 la commercialisation de cam\u00e9ras de plus en plus maniables, puis d\u2019appareils photos autorisant la prise de vues anim\u00e9es, tous ces \u00e9quipements b\u00e9n\u00e9ficiant progressivement des avantages de la num\u00e9risation (dur\u00e9e d\u2019enregistrement allong\u00e9e, acc\u00e8s rapide aux plans sans d\u00e9veloppement&#8230;), un nouvel outil ne cesse de se perfectionner en mati\u00e8re de qualit\u00e9 de prise d\u2019images&#160;: le t\u00e9l\u00e9phone portable.<\/p>\n<p>La qualit\u00e9 technique constitue d\u2019ailleurs l\u2019un des param\u00e8tres significatifs de cette jeune histoire. Si certains des premiers films tourn\u00e9s avec ce petit appareil se sont nourris de l\u2019esth\u00e9tique particuli\u00e8re de l\u2019image de basse r\u00e9solution, voire pixellis\u00e9e, des premiers t\u00e9l\u00e9phones, les investissements massifs op\u00e9r\u00e9s en la mati\u00e8re par les industriels de la t\u00e9l\u00e9phonie ont tr\u00e8s rapidement \u00e9quip\u00e9 les appareils les plus communs des technologies les plus avanc\u00e9es en termes de r\u00e9solution. En t\u00e9moigne par exemple, en 2027, le film de Michel Gondry, <em>D\u00e9tour<\/em>, commandit\u00e9 par Apple pour faire la promotion de la qualit\u00e9 de la prise d\u2019images par l\u2019iPhone 7 plus. Parall\u00e8lement, les constructeurs ont commenc\u00e9 \u00e0 d\u00e9velopper de nouveaux accessoires sp\u00e9cialement pour les t\u00e9l\u00e9phones portables (kits d\u2019objectifs, perches, stabilisateurs) et financi\u00e8rement abordables.<\/p>\n<p>Historiquement, le t\u00e9l\u00e9phone portable a tout d\u2019abord accompagn\u00e9 une ph\u00e9nom\u00e9nale augmentation des pratiques filmiques amateures, et l\u2019av\u00e8nement de nouvelles formes de communication par l\u2019image que Laurence Allard (2010, p. 33) d\u00e9signe en tant que \u00ab&#160;technologies digitales d\u2019expression de soi communicationnelles et relationnelles&#160;\u00bb, ou que Max Schleser (2014) envisage en tant que \u00ab&#160;Self-Reflexive Mobile Filmmaking&#160;\u00bb. La mont\u00e9e en puissance de ce que d\u2019aucuns appellent les <em>cellphilms<\/em> (Dockney, Tomaselli &amp; 2010) intervient dans un contexte o\u00f9, mondialement, l\u2019\u00e9quipement en t\u00e9l\u00e9phonie mobile ne cesse de s\u2019accro\u00eetre&#160;: en juillet 2021, 66,9&#160;% de la population mondiale poss\u00e9dait au moins un t\u00e9l\u00e9phone mobile (Global Statshot Report 2021, p. 8) et la vid\u00e9o est, sans surprise, l\u2019une des applications les plus utilis\u00e9es. Ce n\u2019est donc pas par hasard si la p\u00e9dagogie du cin\u00e9ma et de l\u2019audiovisuel s\u2019est tr\u00e8s vite empar\u00e9e de ces pratiques g\u00e9n\u00e9ralis\u00e9es chez les jeunes g\u00e9n\u00e9rations&#160;: d\u00e8s 2008, Beno\u00eet Labourdette publie un manuel de plus de 200 pages (<em>Tournez un film avec votre t\u00e9l\u00e9phone portable<\/em>), qui conna\u00eet depuis une large circulation dans les milieux p\u00e9dagogiques.<\/p>\n<p>Notons aussi le r\u00f4le important jou\u00e9 par les festivals de films amateurs dans la valorisation de cet outil \u2013 un premier festival totalement d\u00e9di\u00e9 \u00e0 cette cat\u00e9gorie de films ayant d\u2019ailleurs vu le jour d\u00e8s 2005 en France, le Mobile Film Festival, rejoint depuis, au niveau mondial, par de nombreuses autres manifestations du m\u00eame type (Wilson, 2014).<\/p>\n<p>Mais le t\u00e9l\u00e9phone portable p\u00e9n\u00e8tre aussi les champs professionnels de la prise de vues. Roger Odin notait d\u00e9j\u00e0 en 2014 (p. 37) \u00ab&#160;la capacit\u00e9 du t\u00e9l\u00e9phone portable \u00e0 susciter la cr\u00e9ativit\u00e9 et \u00e0 faire appara\u00eetre quelque chose de nouveau dans le champ du cin\u00e9ma&#160;\u00bb. Les enjeux qui accompagnent le recours \u00e0 cet outil sont multiples. En premier lieu, bien entendu, la r\u00e9duction des co\u00fbts engendr\u00e9s peut constituer une motivation \u00e9vidente. De nombreux films t\u00e9moignent de cette qu\u00eate de l\u2019ind\u00e9pendance par le biais de budgets r\u00e9duits dans toutes les autres sph\u00e8res de la production cin\u00e9matographique. Dans d\u2019autres cas de figure, c\u2019est l\u2019impossibilit\u00e9 d\u2019avoir acc\u00e8s \u00e0 du mat\u00e9riel professionnel, ou une situation politique complexe, qui contraint certains r\u00e9alisateurs \u00e0 se contenter de cet appareil de prise de vues \u2013 les cas des Iraniens Jafar Panahi et Mojtaba Mirtahmasb, tournant <em>Ceci n\u2019est pas un film<\/em> (2011) dans la clandestinit\u00e9 au cours de l\u2019assignation \u00e0 r\u00e9sidence du premier d\u2019entre eux, ou des cin\u00e9astes Guevara Namer et Namer Matar en Syrie (Liosi, 2018), sont exemplaires de ce cas de figure.<\/p>\n<p>En droite ligne de ce mod\u00e8le, les \u00e9critures \u00e0 la premi\u00e8re personne se nourrissent par ailleurs largement des possibilit\u00e9s nouvelles offertes par la transportabilit\u00e9 du t\u00e9l\u00e9phone portable. Joseph Morder (<em>J\u2019aimerais partager le printemps avec quelqu\u2019un,<\/em> 2008) ou Rachid Dja\u00efdani (<em>La ligne brune<\/em>, 2010) ont exp\u00e9riment\u00e9 avec bonheur la fa\u00e7on dont le journal film\u00e9 pouvait tirer profit de ce petit appareil. C\u2019est suivant le m\u00eame geste, fond\u00e9 sur cette capacit\u00e9 du filmeur (le \u00ab&#160;bricoleur&#160;\u00bb ou la \u00ab&#160;bricoleuse&#160;\u00bb pour reprendre les termes de Jill Daniels, 2022) \u00e0 enraciner sa pratique dans la vie elle-m\u00eame, qui permet un renouvellement des formes documentaires, poussant un peu plus loin encore les principes historiquement exp\u00e9riment\u00e9es autour du cin\u00e9ma-v\u00e9rit\u00e9 (Uricchio 2014, p. 61), ou renouvelant les propositions d\u2019Astruc autour du concept de \u00ab&#160;cam\u00e9ra-stylo&#160;\u00bb (Berkeley 2014). Enfin, ce recours peut traduire une intention esth\u00e9tique, participant de la recherche permanente de renouvellement des formes narratives et visuelles et des modalit\u00e9s de l\u2019acte de filmer qui accompagne l\u2019histoire du cin\u00e9ma et de l\u2019audiovisuel, cette \u00ab&#160;Keitai Aesthetic&#160;\u00bb qu\u2019\u00e9tudiait Max Schleser dans sa th\u00e8se d\u00e8s 2010.<\/p>\n<p>Comment penser, en termes d\u2019alternative, l\u2019apparition de ce nouvel instrument dans les modalit\u00e9s de production d\u2019images anim\u00e9es&#160;? \u00a0Comment a \u00e9volu\u00e9 le statut du t\u00e9l\u00e9phone portable dans les pratiques professionnelles au fil des ann\u00e9es&#160;? Quels sont les usages diff\u00e9renci\u00e9s qui sont faits selon les r\u00e9gions du monde&#160;? Ce sont \u00e0 ces questions que le colloque organis\u00e9 \u00e0 Nice, dans les locaux de la MSH, les 6 et 7 juin 2023, entend apporter des pistes de r\u00e9flexion, tout en s\u2019ouvrant \u00e0 toutes les pistes d\u2019investigation novatrice en la mati\u00e8re.<\/p>\n<h2>Modalit\u00e9s de contribution \u00e0 l&rsquo;\u00e9v\u00e9nement<\/h2>\n<p>Les propositions de communication, comportant un r\u00e9sum\u00e9 de 2500 signes environ, une bibliographie et une courte biographie, peuvent \u00eatre envoy\u00e9es par email avant le<strong> 27 mars 2023<\/strong> \u00e0 l\u2019adresse suivante&#160;:<\/p>\n<p><a href=\"mailto:colloque.telephone.portable@laposte.net\"><strong>colloque.telephone.portable@laposte.net<\/strong><\/a><\/p>\n<p>Les communications donneront lieu \u00e0 une publication dans les <em>Cahiers de Champs Visuels <\/em>en 2024.<\/p>\n<h2>Bibliographie indicative&#160;:<\/h2>\n<p>Al-Sayed, Marwa Abdullah. (2022). \u201cAttitudes of the cinematic experts towards the use of mobile phones in film industry in Egypt\u201d, <em>The journal Future of Social Sciences<\/em>, vol. 8, n\u00b03, pp. 29-55.<\/p>\n<p>Allard, Laurence (2005). \u00ab&#160;Express yourself 2.0&#160;! Blogs, podcasts, fansubbing, mashups\u2026&#160;: de quelques agr\u00e9gats technoculturels \u00e0 l\u2019\u00e2ge de l\u2019expressivisme g\u00e9n\u00e9ralis\u00e9&#160;\u00bb in \u00c9ric Maigret &amp; \u00c9ric Mac\u00e9 (dir.). <em>Penser les m\u00e9diacultures. Nouvelles pratiques et nouvelles approches de la repr\u00e9sentation du monde. <\/em>Paris, Armand Colin \/ INA, pp. 145-172<\/p>\n<p>Allard, Laurence (2010). <em>Mythologie du portable<\/em>. Paris, Le Cavalier Bleu.<\/p>\n<p>Berkeley, Leo. (2014). \u201cTram Travels&#160;: Smartphone Video Production and the Essay Film\u201d, in Berry, M., Schleser, M. (eds). <em>Mobile Media Making in an Age of Smartphones<\/em>. New York, Palgrave Pivot, pp. 25-34.<\/p>\n<p>Daniels, Jill (2022). \u201cThe way of the <em>bricoleuse<\/em>&#160;: experiments in documentary filmmaking\u201d, <em>Studies in Documentary Film<\/em>, vol. 16, pp. 127-139.<\/p>\n<p>Dockney, Jonathan, Tomaselli, Keyan &amp; Hart, Thomas Bongani. (2010). \u201cCellphilms, mobile platforms and prosumers&#160;: Hyper- individuality and Film\u201d, in\u00a0 N. Hyde-Clarke (Ed<em>.), The citizen in communication&#160;: Revisiting traditional,<\/em> <em>new and community media practices in South Africa.<\/em> Cape Town&#160;: Juta Press, pp. 91\u2013116.<\/p>\n<p>Labourdette, Beno\u00eet (2008). <em>Tournez un film avec votre t\u00e9l\u00e9phone portable<\/em>. Paris&#160;: Dixit.<\/p>\n<p>Global Statshot Report 2021 (2021). <a href=\"https:\/\/wearesocial.com\/fr\/blog\/2021\/07\/les-audiences-numeriques-augmentent-mais-les-problemes-arrivent\/\">https:\/\/wearesocial.com\/fr\/blog\/2021\/07\/les-audiences-numeriques-augmentent-mais-les-problemes-arrivent\/<\/a><\/p>\n<p>Goggin, Gerard (2008). <em>Mobile Phone Cultures<\/em>. Londres&#160;: Routledge.<\/p>\n<p>Kim, Jin (2012). \u201cThe institutionalization of YouTube&#160;: From user-generated content to professionally generated content\u201d, <em>Media Culture &amp; Society<\/em>, vol. 34, n\u00b01 pp. 53-67.<\/p>\n<p>Liosi, Marianna (2018). \u201cFearless filming. Video footage from Syria since 2011\u201d in Kerstin Schankweiler, Verena Straub, Tobias Wendl (eds.) <em>Image Testimonies&#160;: Witnessing in Times of Social Media<\/em>. Londres&#160;: Routledge, pp.<\/p>\n<p>Odin, Roger (2014). \u00ab&#160;Quand le t\u00e9l\u00e9phone portable rencontre le cin\u00e9ma&#160;\u00bb, in Laurence Allard, Laurent Creton, Roger Odin (dir.), <em>T\u00e9l\u00e9phonie mobile et cr\u00e9ation<\/em>. Paris, Armand Colin, pp. 37-54.<\/p>\n<p>Schleser, Max. (2010). <em>Mobile-mentary. Mobile Documentaries in the Mediascape<\/em>. Th\u00e8se de doctorat en philosophie, Universit\u00e9 de Westminster.<\/p>\n<p>Schleser, Max. (2012). \u00ab&#160;Collaborative mobile phone filmmaking\u201d, in Elizabeth-Jane Milne, Claudia Mitchell, Naydene De Lange (eds.).<em> Handbook of participatory video<\/em>. Lanham, Rowman &amp; Littlefield, pp. 397-411.<\/p>\n<p>Schleser, Max. (2014). \u201cConnecting through Mobile Autobiographies&#160;: Self-Reflexive Mobile Filmmaking, Self-Representation, and Selfies\u201d, in Berry, M., Schleser, M. (eds). <em>Mobile Media Making in an Age of Smartphones<\/em>. New York, Palgrave Pivot, pp. 148-158.<\/p>\n<p>Schleser, Max (2022). <em>Smartphone Filmmaking&#160;: Theory and Practice<\/em>. New York, Blumsbury.<\/p>\n<p>Uricchio, William (2014). \u00ab&#160;Repenser le documentaire social&#160;\u00bb, in Laurence Allard, Laurent Creton, Roger Odin (dir.), <em>T\u00e9l\u00e9phonie mobile et cr\u00e9ation<\/em>. Paris, Armand Colin, pp. 61-80.<\/p>\n<p>Wilson, Gavin (2014). <em>Cell\/ular cinema&#160;: individuated production, public sharing and mobile phone film exhibition.<\/em> Th\u00e8se de doctorat, University of Leeds.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">******<\/p>\n<p>Ce colloque est organis\u00e9 par le <strong>LIRCES<\/strong> (Laboratoire Interdisciplinaire R\u00e9cits, Cultures et Soci\u00e9t\u00e9s), en collaboration avec l\u2019<strong>ESRA<\/strong> <strong>C\u00f4te d\u2019Azur.<\/strong><\/p>\n<p>Il fait partie du programme de recherche d\u00e9velopp\u00e9 par l\u2019\u00e9quipe du LIRCES travaillant sur le cin\u00e9ma et l\u2019audiovisuel consacr\u00e9 aux \u00ab&#160;Alternatives cin\u00e9matographiques et audiovisuelles&#160;\u00bb. Ce programme a d\u2019ores et d\u00e9j\u00e0 donn\u00e9 lieu \u00e0 deux publications (<em>Les films sans distributeur<\/em>, 2021&#160;; <em>Voir le cin\u00e9ma ailleurs et autrement<\/em>, 2021) et \u00e0 un colloque (<em>Alternatives cin\u00e9matographiques et audiovisuelles&#160;: Images hors-la-loi<\/em>, juin 2022) dont les actes seront publi\u00e9s en 2023.<\/p>\n<h2>Comit\u00e9 d\u2019organisation&#160;:<\/h2>\n<p>Micha\u00ebl Arlotto (LIRCES)<\/p>\n<p>Jean-Paul Aubert (LIRCES)<\/p>\n<p>Bruno Cailler (LIRCES)<\/p>\n<p>Fr\u00e9d\u00e9rique Lambert (LIRCES)<\/p>\n<p>Cyril Laverger (ESRA)<\/p>\n<p>Stefano Leoncini (LIRCES)<\/p>\n<p>Serge Milan (LIRCES)<\/p>\n<p>Sophie Raimond (LIRCES)<\/p>\n<p>Christel Taillibert (LIRCES)<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Le LIRCES est engag\u00e9 depuis sa cr\u00e9ation dans un projet scientifique inter et transdisciplinaire croisant Psychologie, Anthropologie, Ethnologie, Civilisations et Litt\u00e9ratures, Sciences de l&rsquo;information et de la communication, autour d&rsquo;une th\u00e9matique f\u00e9d\u00e9ratrice qui est le r\u00e9cit, et plus encore, la narrativit\u00e9 entendue comme puissance de narration.<\/p>\n<\/p><\/div>\n<div class=\"zn-singledetail-partners\">\n<h3 class=\"zn-singledetail-section-title\">Partenaires<\/h3>\n<div class=\"zn-singledetail-partners-list row small-up-2 medium-up-3 large-up-5 partnerlist\" data-equalizer data-equalize-on=\"medium\">\n<article class=\"summarypartner partner-18592 column\">\n\t<a class=\"summarypartner-box\" href=\"https:\/\/lirces.univ-cotedazur.fr\/\" title=\"LIRCES &#8211; R\u00e9cits, cultures et soci\u00e9t\u00e9s\">\t\t<\/p>\n<div class=\"summarypartner-box-inner\" data-equalizer-watch>\n<div class=\"summarypartner-imgbox\">\n<figure class=\"summarypartner-figure\">\n\t\t\t\t\t<img decoding=\"async\" class=\"summarypartner-img\" src=\"https:\/\/www.sfsic.org\/wp-inside\/uploads\/skp-membership\/demande_adh\/logo-lirces-2023-320x134.png\" alt=\"Logo Lirces 2023\" ><figcaption class=\"summarypartner-img-caption show-for-sr\">Logo Lirces 2023<\/figcaption><\/figure>\n<\/p><\/div>\n<div class=\"summarypartner-content\">\n<div class=\"summarypartner-content-inner\">\n<header class=\"summarypartner-header\">\n<h3 class=\"summarypartner-title\">\n\t\t\t\t\t\t\tLIRCES &#8211; R\u00e9cits, cultures et soci\u00e9t\u00e9s\t\t\t\t\t\t<\/h3>\n<p class=\"summarypartner-acronym\">\n\t\t\t\t\t\t\tLIRCES\t\t\t\t\t\t<\/p>\n<\/header><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<p>\t<\/a><\/article>\n<article class=\"summarypartner column\">\n<div class=\"summarypartner-box\" title=\"EUR CREATES\">\n<div class=\"summarypartner-box-inner\" data-equalizer-watch>\n<div class=\"summarypartner-imgbox\">\n<figure class=\"summarypartner-figure\">\n\t\t\t\t\t<img decoding=\"async\" class=\"summarypartner-img\" src=\"\/\/www.sfsic.org\/wp-inside\/themes\/sfsic.org\/assets\/images\/default-640x640.png\" alt=\"\" data-interchange=\"[\/\/www.sfsic.org\/wp-inside\/themes\/sfsic.org\/assets\/images\/default-640x640.png, small],\"><br \/>\n\t\t\t\t\t\t\t\t\t<\/figure>\n<\/p><\/div>\n<div class=\"summarypartner-content\">\n<div class=\"summarypartner-content-inner\">\n<header class=\"summarypartner-header\">\n<h3 class=\"summarypartner-title\">\n\t\t\t\t\t\t\tEUR CREATES\t\t\t\t\t\t<\/h3>\n<\/header><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/article><\/div>\n<\/p><\/div>\n<div class=\"zn-singledetail-attachedfiles\">\n<h3 class=\"zn-singledetail-section-title\">Fichier(s) attach\u00e9(s)<\/h3>\n<ul class=\"zn-singledetail-attachedfiles-list\">\n<li class=\"zn-singledetail-attachedfiles-item\">\n\t\t\t\t\t\t\t<a class=\"zn-singledetail-attachedfiles-link button outline for-download\" href=\"https:\/\/www.sfsic.org\/wp-inside\/uploads\/skp-membership\/demande_adh\/appel-a-communications-le-telephone-portable-une-alternative-de-production-audiovisuelle.pdf\" title=\"T\u00e9l\u00e9charger : \u00ab appel-a-communications-le-telephone-portable-une-alternative-de-production-audiovisuelle.pdf \u00bb\" target=\"_blank\" rel=\"noopener\"><br \/>\n\t\t\t\t\t\t\t\t<span class=\"button-txt\">appel-a-communications-le-telephone-portable-une-alternative-de-production-audiovisuelle<span class=\"button-txt-type\"> (pdf)<\/span><\/span><br \/>\n\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t<\/li>\n<\/ul><\/div>\n<div class=\"zn-singledetail-keywords\">\n<h3 class=\"zn-singledetail-section-title\">Mots-cl\u00e9s<\/h3>\n<ul class=\"termslist termslist-post_tag\">\n<li class=\"termslist-item termslist-title\"><span class=\"termslist-titletxt\">Mots-cl\u00e9s<\/span><span class=\"doubledot\"><\/span><\/li>\n<li class=\"termslist-item tax-post_tag term-audiovisuel\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/audiovisuel\/\" title=\"Audiovisuel\"><span class=\"termslist-itemname\">Audiovisuel<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-cinema\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/cinema\/\" title=\"Cin\u00e9ma\"><span class=\"termslist-itemname\">Cin\u00e9ma<\/span><\/a><\/li>\n<li class=\"termslist-item tax-post_tag term-smartphone\"><a class=\"termslist-itemlink\" href=\"https:\/\/www.sfsic.org\/tag\/smartphone\/\" title=\"smartphone\"><span class=\"termslist-itemname\">smartphone<\/span><\/a><\/li>\n<\/ul><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n<p><!-- \/fxzn:singledetail --><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mis en ligne le 2 f\u00e9vrier 2023 Th\u00e9matiques Images, cin\u00e9ma, m\u00e9dias audiovisuels et industries culturelles Num\u00e9rique : strat\u00e9gies, dispositifs et usages R\u00e9ponse attendue pour le 27\/03\/2023 Type de r\u00e9ponse R\u00e9sum\u00e9 [&hellip;]<\/p>\n","protected":false},"author":344,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29,57],"tags":[111,375,714],"thematique":[35,39],"sfsic":[],"class_list":["post-27615","post","type-post","status-publish","format-standard","hentry","category-aac-evenement","category-colloque","tag-audiovisuel","tag-cinema","tag-smartphone","thematique-images-cinema-medias-audiovisuels-et-industries-culturelles","thematique-numerique-strategies-dispositifs-et-usages","wp-sticky"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Le t\u00e9l\u00e9phone portable : une alternative de production audiovisuelle ?<\/title>\n<meta name=\"description\" content=\"Le LIRCES et l&#039;ESRA organisent \u00e0 Nice, les 6 et 7 juin 2023, un colloque intitul\u00e9 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