{"id":51,"date":"2025-11-22T16:22:46","date_gmt":"2025-11-22T15:22:46","guid":{"rendered":"https:\/\/ultra-net-work.com\/dianearnaud\/?page_id=51"},"modified":"2026-01-01T23:48:09","modified_gmt":"2026-01-01T22:48:09","slug":"articles","status":"publish","type":"page","link":"https:\/\/ultra-net-work.com\/dianearnaud\/articles\/","title":{"rendered":"Articles"},"content":{"rendered":"

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Articles<\/h1>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb120px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row el_class=\u00a0\u00bbimg-mobile\u00a0\u00bb][vc_column][vc_single_image image=\u00a0\u00bb243″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb el_class=\u00a0\u00bbimg-desktop\u00a0\u00bb][vc_column][vc_single_image image=\u00a0\u00bb243″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

In the Mouth of Madness: r\u00e9flexions \u00e0 partir d\u2019une analyse vid\u00e9o<\/h2>\n

<\/h2>\n

Diane Arnaud<\/h3>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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L\u2019essai vid\u00e9o intitul\u00e9 Les Trois Voies de la r\u00e9flexivit\u00e9 dans \u00ab L\u2019Antre de la folie \u00bb de\u00a0John Carpenter que j\u2019ai con\u00e7u pour le colloque \u00ab John Carpenter, ma\u00eetre de l\u2019horreur \u00bb en\u00a0lieu et place d\u2019une communication traditionnelle est une analyse filmique de dix-sept\u00a0minutes, consultable en ligne. Pour en accompagner la vision, j\u2019aimerais mettre au jour\u00a0l\u2019\u00e9tat d\u2019esprit dans lequel je l\u2019ai r\u00e9alis\u00e9.<\/p>\n<\/div>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner el_class=\u00a0\u00bbbtn-commander\u00a0\u00bb]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner el_class=\u00a0\u00bbbtn-commander\u00a0\u00bb]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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L’Aventure de Mme Muir<\/em> revue et corrig\u00e9e par Lycy’s Dream<\/em><\/p>\n

2025<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Plasticit\u00e9<\/p>\n

2025<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Fant\u00f4me<\/p>\n

2025<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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In the Mouth of Madness<\/em> (John Carpenter, 1994) : r\u00e9flexions \u00e0 partir d’une analyse vid\u00e9o<\/p>\n

2023<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Le milieu naturel en danger : mythe, histoire et vision dans le cin\u00e9ma japonais contemporain<\/p>\n

2023<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Vie et mort de la femme hologramme : pour une po\u00e9tique de la non-co\u00efncidence<\/p>\n

2022<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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In the Mouth of Madness : re\u0301flexions sur une analyse video<\/p>\n

2022<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Le faux re\u0301veil, figure de passage<\/p>\n<\/div>\n<\/div>\n<\/div>\n

2021<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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\u00c9motions de r\u00e9p\u00e9tition : la m\u00e9moire \u00e0 l’essai<\/em><\/p>\n

2019<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Les marques du temps : plasticit\u00e9 \u00e9rotique et vampirisation iconique<\/p>\n

2019<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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D\u00e9doublement et d\u00e9figuration plastique dans Twin Peaks<\/em><\/p>\n

2019<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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David Lynch : l’ultime cin\u00e9plaste<\/p>\n

2018<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Diane et Coco vont en bateau. Divagations sur les personnages-r\u00e9bus chez Bunuel, Lynch et Ruiz<\/p>\n

2018<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Cin\u00e9plasticit\u00e9 du visage. L’art troublant du deux en un<\/em><\/p>\n

2017<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Kiyoshi Kurosawa : de l’angoisse \u00e0 l’amour<\/p>\n

2017<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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L’acc\u00e9l\u00e9ration pour m\u00e9moire : retours \u00e0 Hiroshima dans 200 000 Fant\u00f4mes<\/em> et Ka\u00efro<\/em><\/p>\n

2016<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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POSITIF
\nL’empire des spectres : de Ka\u00efro<\/em> \u00e0 Real<\/em><\/p>\n

2015<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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La description sans fin ?<\/p>\n

2014<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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POSITIF
\nIlluminations f\u00e9minines : Lynch, von Trier, Sokourov et Kurosawa<\/p>\n

2014<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Bazin, Deleuze : une question de profondeur<\/p>\n

2014<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n<\/div>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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La m\u00e9moire se cache en for\u00eat. Charisma<\/em> de Kiyoshi Kurosawa<\/p>\n

2014<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Montage des possibles. Ozu, du c\u00f4t\u00e9 de chez Van Sant et Resnais<\/p>\n

2013<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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R\u00eave-m\u00e9moire dans le cin\u00e9ma traumatique contemporain : de Misterious Skin<\/em> \u00e0 Inland Empire<\/em><\/p>\n

2012<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Crises de larmes et devenirs modernes du cin\u00e9ma : de Rohmer \u00e0 Lynch<\/p>\n

2010<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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L’apr\u00e8s Jet\u00e9e<\/em> : cin\u00e9-albums photo de la catastrophe<\/p>\n

2010<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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L’attraction fant\u00f4me dans le cin\u00e9ma d’horreur japonais contemporain<\/p>\n

2010<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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La po\u00e9tique de l’espace chez Sokourov<\/p>\n

2009<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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POSITIF
\nLes vierges folles des ann\u00e9es 60<\/p>\n

2009<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Figures d’encha\u00eenement au cin\u00e9ma – l’analyse filmique au beau milieu<\/em> des appareils<\/p>\n

2008<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Histoire de familles, histoire de fant\u00f4mes : Tokyo Sonata<\/em>, Kiyoshi Kurosawa, 2008<\/p>\n

2008<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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L’art du penchant : \u00e9rotique des acteurs et \u00e9thique du regard dans le cin\u00e9ma tardif d’Oshima<\/p>\n

2007<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Hiroshi Teshigahara : motifs de l’obsession<\/p>\n

2007<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Quel espace pour l’analyse filmique ?<\/p>\n

2006<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Maisons de fous. Approches de la d\u00e9raison dans le cin\u00e9ma fantastique<\/p>\n

2005<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Kirsten Dunst et Scarlett Johansson<\/p>\n

2005<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Nouvelle occupation de l’espace ? Le CinemaScope, support d’une esth\u00e9tique de l’enfermement<\/p>\n

2004<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Dr\u00f4le d’endroit pour une rencontre : Hitchcock, De Palma, Argento<\/p>\n

2004<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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L’essai, forme de l’entre-deux<\/p>\n

2004<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

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Dans les mains de l’ombre : Sombre<\/em> (1998), de Philippe Grandrieux<\/p>\n

2002<\/p>\n

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[\/vc_column_text][vc_row_inner el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner]\n LIRE L'ARTICLE<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_empty_space height=\u00a0\u00bb120px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

Livres<\/h1>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb120px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column width=\u00a0\u00bb1\/2″][vc_single_image image=\u00a0\u00bb101″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb30px\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

Glissements progressifs du r\u00e9el :
\nLes faux r\u00e9veils au cin\u00e9ma<\/h2>\n

Rouge profond, 2018<\/h3>\n

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Le h\u00e9ros du film ouvre les yeux et, au lieu de se r\u00e9veiller dans le monde r\u00e9el, le voici propuls\u00e9 \u00e0 l’int\u00e9rieur d’un songe ou d’un univers parall\u00e8le. Du cin\u00e9ma de M\u00e9li\u00e8s au Magicien d’Oz et autres classiques, le faux r\u00e9veil a plus d’une fois mis en sc\u00e8ne l’entr\u00e9e du spectateur dans la projection. Gr\u00e2ce \u00e0 des sc\u00e9narios d’une complexit\u00e9 fabuleuse (Un jour sans fin, Eternal Sunshine of the Spotless Mind, Inception), les films contemporains refont la part belle \u00e0 ce motif visuel et narratif.<\/div>\n

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\n \n\t\t<\/span>\n\t\t<\/span>\n\t<\/span>\n\tLire la suite<\/span>\n<\/h4>\n
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Le plus souvent, les r\u00e9cits ench\u00e2ss\u00e9s \u00e9tablissent dans l’apr\u00e8s-coup la nature onirique ou virtuelle de la r\u00e9alit\u00e9 \u00e0 laquelle on s’est \u00e9veill\u00e9. Le faux r\u00e9veil d\u00e9ploie une nouvelle perspective esth\u00e9tique qui consiste \u00e0 diff\u00e9rer la sortie du film, tant\u00f4t en douce, tant\u00f4t en sursaut ou en boucle. En douce : les oeuvres de Luis Bunuel, Federico Fellini, Jacques Rivette ou Apichatpong Weerasethakul prennent l’allure d’une promenade surr\u00e9elle entre la veille et le r\u00eave. En sursaut : dans les univers \u00e0 sensations fortes de John Carpenter, Wes Craven, Brian De Palma ou David Lynch, le pouvoir fantastique du r\u00e9veil est d’assurer la r\u00e9surrection de la fiction pour prolonger la mystique du cin\u00e9ma. En boucle : d’eXistenZ \u00e0 R\u00e9alit\u00e9, les r\u00e9veils fauss\u00e9s se r\u00e9p\u00e8tent possiblement \u00e0 l’infini. Vouloir se r\u00e9veiller ad vitam aeternam, c’est croire que le cin\u00e9ma repose encore et toujours sur un imaginaire de la rupture et de la r\u00e9surgence.<\/div>\n

[\/vc_column_text]\t<\/div>\n<\/div><\/div>[vc_row_inner][vc_column_inner el_class=\u00a0\u00bbbtn-commander\u00a0\u00bb]\n Commander<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb30px\u00a0\u00bb]\n Tous les livres<\/span>\n <\/a>[\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=\u00a0\u00bb200px\u00a0\u00bb][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_empty_space height=\u00a0\u00bb120px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb] Articles [\/vc_column_text][vc_empty_space height=\u00a0\u00bb120px\u00a0\u00bb][\/vc_column][\/vc_row][vc_row el_class=\u00a0\u00bbimg-mobile\u00a0\u00bb][vc_column][vc_single_image image=\u00a0\u00bb243″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb el_class=\u00a0\u00bbimg-desktop\u00a0\u00bb][vc_column][vc_single_image image=\u00a0\u00bb243″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][\/vc_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb] In the Mouth of Madness: r\u00e9flexions \u00e0 partir d\u2019une analyse vid\u00e9o Diane Arnaud [\/vc_column_text][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb] L\u2019essai vid\u00e9o intitul\u00e9 Les Trois […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"full-width.php","meta":{"footnotes":""},"class_list":["post-51","page","type-page","status-publish","hentry"],"yoast_head":"\nArticles - 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