{"id":53,"date":"2025-11-22T16:23:16","date_gmt":"2025-11-22T15:23:16","guid":{"rendered":"https:\/\/ultra-net-work.com\/dianearnaud\/?page_id=53"},"modified":"2025-12-12T18:58:18","modified_gmt":"2025-12-12T17:58:18","slug":"videos","status":"publish","type":"page","link":"https:\/\/ultra-net-work.com\/dianearnaud\/videos\/","title":{"rendered":"Vid\u00e9os"},"content":{"rendered":"

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Vid\u00e9os<\/h1>\n

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INTERVIEW<\/h5>\n

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POUR LE CINEMA TV547<\/h5>\n

Interview du 1er juillet 2025<\/p>\n

Le double, mon illusion pr\u00e9f\u00e9r\u00e9e<\/h1>\n

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A propos du livre :<\/p>\n

Si l\u2019on en croit Chris Marker, le double ouvre une \u00ab\u00a0voie royale\u00a0\u00bb dans l\u2019histoire du cin\u00e9ma. L\u2019essai de Diane Arnaud met en lumi\u00e8re les jeux de dupes (imposture, double jeu, dissimulation) et les mirages (hallucination, fantasme, projection) que convoque ce motif cin\u00e9matographique depuis les d\u00e9buts du cin\u00e9ma jusqu\u2019\u00e0 nos jours. L\u2019\u00e9tude embrasse une cinquantaine de films am\u00e9ricains, europ\u00e9ens ou asiatiques, de L\u2019\u00c9tudiant de Prague<\/i> (1913) \u00e0 Us<\/i> (2018) de Jordan Peele ou Asako I & I <\/i>(2018) de Ry\u00fbsuke Hamaguchi. Deux films-cl\u00e9s sont analys\u00e9s avec pr\u00e9cision et fantaisie\u00a0: Despair<\/i> (1978) de R.W. Fassbinder, qui d\u00e9r\u00e8gle les conventions des films de sosies, Vertigo\u00a0<\/i>(1958) d\u2019Alfred Hitchcock, qui tord le cou aux histoires de revenant. Le commentaire d\u00e9taill\u00e9 des \u0153uvres va de pair avec l\u2019usage inventif de notions telles que le double dissemblable, le double fictif, le double potentiel. Car la force de r\u00e9sistance et de r\u00e9invention du double, qu\u2019il soit masculin ou f\u00e9minin, bouleverse la perception de l\u2019espace-temps au cin\u00e9ma.<\/p>\n

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FORUM DES IMAGES<\/h5>\n

Conf\u00e9rence du 2 novembre 2018<\/p>\n

\u00ab\u00a0It is happening again\u00a0\u00bb la r\u00e9p\u00e9tition selon Lynch<\/h1>\n

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Dans le cadre de Vertigo Replay Cycle cin\u00e9ma du 10 octobre au 30 novembre 2018<\/p>\n

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FORUM DES IMAGES<\/h5>\n

Conf\u00e9rence du 20 d\u00e9cembre 2015<\/p>\n

\u00ab\u00a0De l’invisible \u00e0 l’invasion : le cin\u00e9ma de Kiyoshi Kurosawa\u00a0\u00bb<\/h1>\n

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Dans le cadre du Cycle : \u00ab\u00a0Contamination\u00a0\u00bb, le 23 janvier 2015<\/p>\n

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ENTRETIEN<\/h5>\n

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FORUM DES IMAGES<\/h5>\n

Rencontre du 7 novembre 2018<\/p>\n

Rencontre avec Laurent Fi\u00e9vet
\n.<\/span>
\n.<\/span><\/h1>\n

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Dans le cadre de la programmation \u00ab\u00a0Vertigo Replay\u00a0\u00bb
\ncon\u00e7ue par Zeynep Jouvenaux et Muriel Dreyfus.
\nCaptation film\u00e9e par Anne Souny
\nle 27 octobre 2018.<\/p>\n

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ANALYSE<\/h5>\n

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FORUM DES IMAGES<\/h5>\n

2018<\/p>\n

Les Trois Voies de la r\u00e9flexivit\u00e9 dans \u00abL\u2019Antre de la folie\u00bb de John Carpenter<\/h1>\n

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Analyse vid\u00e9o de \u00ab\u00a0L\u2019Antre de la folie\u00a0\u00bb de John Carpenter\u00a0par Diane Arnaud
\nDate : 2018
\nDur\u00e9e : 17 minutes<\/p>\n

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ENTRETIEN<\/h5>\n

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CIN\u00c9MATH\u00c8QUE<\/h5>\n

Entretien du 23 mai 2016<\/p>\n

Changements de t\u00eates<\/h1>\n

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A l’occasion de la r\u00e9trospective\u00a0Changements de t\u00eates <\/em>du 2 au 30 juin 2016<\/p>\n

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CIN\u00c9MATH\u00c8QUE<\/h5>\n

Conf\u00e9rence du 2 juin 2016<\/p>\n

Changements de t\u00eates, de M\u00e9li\u00e8s \u00e0 David Lynch<\/h1>\n

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Un com\u00e9dien qui interpr\u00e8te plusieurs r\u00f4les attire irr\u00e9sistiblement l’attention. Dans l’autre sens, les manipulations plastiques de son image, d\u00e9doubl\u00e9e ou transform\u00e9e, peuvent d\u00e9monter son jeu et menacer sa pr\u00e9sence au point d’op\u00e9rer un remplacement par un autre acteur. Ce sont ces destins d’images, spectaculaires et p\u00e9rilleux, qu’il s’agira de raconter, de M\u00e9li\u00e8s \u00e0 Face\/Off<\/em> en passant par Lost Highway<\/em>.<\/p>\n

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CIN\u00c9MATH\u00c8QUE<\/h5>\n

Conf\u00e9rence du 28 avril 2014<\/p>\n

Ozu aujourd’hui<\/h1>\n

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La reconnaissance tardive du cin\u00e9ma de Yasujir\u014d Ozu en Occident, dans les ann\u00e9es soixante-dix, plus de vingt ans apr\u00e8s les cons\u00e9crations d’Akira Kurosawa et de Kenji Mizoguchi, s’explique par la croyance selon laquelle la \u00ab japon\u00e9it\u00e9 \u00bb de son univers aurait \u00e9t\u00e9 inaccessible \u00e0 un spectateur lointain. Il est donc paradoxal qu’aux yeux de r\u00e9alisateurs tels que Wim Wenders, Claire Denis, Alain Resnais ou Hirokazu Kore-eda, la fa\u00e7on si singuli\u00e8re qu’a eue Ozu de filmer le monde soit devenue plus qu’une r\u00e9f\u00e9rence : une source d’inspiration pour d’intimes variations. Cette conf\u00e9rence sera donc le r\u00e9cit d’un complet renversement de perspective.<\/p>\n

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CIN\u00c9MATH\u00c8QUE<\/h5>\n

Conf\u00e9rence du 19 mars 2012<\/p>\n

Kiyoshi Kurosawa, un cin\u00e9ma de la survie et de l’oubli<\/h1>\n

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\u00c0 travers les diff\u00e9rents genres, films noirs et fictions d’horreur, qu’il a revisit\u00e9s de mani\u00e8re in\u00e9dite, Kiyoshi Kurosawa n’a cess\u00e9 de filmer l’existence comme une \u00e9preuve radicale de la survie. Les h\u00e9ros de ses films, engourdis et d\u00e9cal\u00e9s, croisent leurs doubles ou des fant\u00f4mes du pass\u00e9 tandis que la mise en sc\u00e8ne, elle, travaille la vie au pr\u00e9sent.
\n.<\/span><\/p>\n

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CIN\u00c9MATH\u00c8QUE<\/h5>\n

Conf\u00e9rence du 20 octobre 2010<\/p>\n

David Lynch : La double vie des personnages<\/h1>\n

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Le cin\u00e9ma de Lynch voit double en concevant ses personnages. D’un c\u00f4t\u00e9, le geste de l’artiste, modelant ses cr\u00e9atures et animant des figures, jusqu’\u00e0 les transformer. De l’autre, le d\u00e9sir du metteur en sc\u00e8ne de s’attacher au corps d’un acteur, de le rediriger vers un autre r\u00f4le, de changer son image. Miroitement incessant entre cr\u00e9ation et fiction qui refl\u00e8te les troubles du sujet, d’Eraserhead<\/em> \u00e0 Inland Empire<\/em>.<\/p>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_separator color=\u00a0\u00bbblack\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb50px\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] Vid\u00e9os [\/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][vc_column_text css=\u00a0\u00bb\u00a0\u00bb] INTERVIEW [\/vc_column_text][vc_empty_space height=\u00a0\u00bb50px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb] POUR LE CINEMA TV547 Interview du 1er juillet 2025 Le double, mon illusion pr\u00e9f\u00e9r\u00e9e [\/vc_column_text][vc_column_text css=\u00a0\u00bb.vc_custom_1765562188103{padding-right: 10% !important;padding-left: 10% !important;}\u00a0\u00bb] A propos du livre : Si l\u2019on […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"full-width.php","meta":{"footnotes":""},"class_list":["post-53","page","type-page","status-publish","hentry"],"yoast_head":"\nVid\u00e9os - 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