{"id":61,"date":"2025-11-22T16:51:41","date_gmt":"2025-11-22T15:51:41","guid":{"rendered":"https:\/\/ultra-net-work.com\/dianearnaud\/?page_id=61"},"modified":"2026-01-08T16:37:42","modified_gmt":"2026-01-08T15:37:42","slug":"diane-arnaud","status":"publish","type":"page","link":"https:\/\/ultra-net-work.com\/dianearnaud\/","title":{"rendered":"Diane Arnaud"},"content":{"rendered":"

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En librairie<\/h1>\n

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Le double
\nmon illusion pr\u00e9f\u00e9r\u00e9e<\/h2>\n

Rouge profond, 2005<\/h3>\n

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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. Dans le prolongement de la pens\u00e9e du philosophe Cl\u00e9ment Rosset pour qui le th\u00e8me litt\u00e9raire du double constitue le sympt\u00f4me majeur de l\u2019illusion, il s\u2019agit de d\u00e9couvrir les incidences esth\u00e9tiques qui, au cin\u00e9ma, d\u00e9rivent du d\u00e9doublement mis en sc\u00e8ne comme illusoire.<\/p>\n

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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<\/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.
\n.<\/span>
\nEn premi\u00e8re de couverture\u00a0: Gena Rowlands dans Opening Night<\/i> (1977)<\/p>\n<\/div>\n

[\/vc_column_text]\t<\/div>\n<\/div><\/div>[vc_row_inner content_text_aligment=\u00a0\u00bbright\u00a0\u00bb][vc_column_inner el_class=\u00a0\u00bbbtn-commander\u00a0\u00bb]\n Interview<\/span>\n <\/a>\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_column][\/vc_row][vc_row row_content_width=\u00a0\u00bbgrid\u00a0\u00bb][vc_column][vc_empty_space height=\u00a0\u00bb20px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

Autres publications<\/h5>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb20px\u00a0\u00bb][vc_row_inner][vc_column_inner width=\u00a0\u00bb1\/3″][vc_single_image image=\u00a0\u00bb104″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bbcustom_link\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb link=\u00a0\u00bbhttps:\/\/ultra-net-work.com\/dianearnaud\/livres\/\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb20px\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/3″][vc_single_image image=\u00a0\u00bb400″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bbcustom_link\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb link=\u00a0\u00bbhttps:\/\/ultra-net-work.com\/dianearnaud\/livres\/\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb20px\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/3″][vc_single_image image=\u00a0\u00bb401″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bbcustom_link\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb link=\u00a0\u00bbhttps:\/\/ultra-net-work.com\/dianearnaud\/livres\/\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb20px\u00a0\u00bb][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner el_class=\u00a0\u00bbbtn-publications\u00a0\u00bb]\n Tous les livres<\/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\u00bb20px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

CONFERENCE
\nDavid Lynch<\/h5>\n

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

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Autres conf\u00e9rences<\/h5>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb20px\u00a0\u00bb][vc_row_inner][vc_column_inner width=\u00a0\u00bb1\/3″][vc_single_image image=\u00a0\u00bb119″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bbcustom_link\u00a0\u00bb img_link_target=\u00a0\u00bb_blank\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb link=\u00a0\u00bbhttps:\/\/www.youtube.com\/watch?v=qhHcrQ4XHeM\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb10px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

FORUM DES IMAGES
\n\u00ab\u00a0De l\u2019invisible \u00e0 l\u2019invasion : le cin\u00e9ma de Kiyoshi Kurosawa\u00a0\u00bb<\/h5>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb30px\u00a0\u00bb][\/vc_column_inner][vc_column_inner width=\u00a0\u00bb1\/3″][vc_single_image image=\u00a0\u00bb127″ img_size=\u00a0\u00bbfull\u00a0\u00bb onclick=\u00a0\u00bbcustom_link\u00a0\u00bb img_link_target=\u00a0\u00bb_blank\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb link=\u00a0\u00bbhttps:\/\/www.cinematheque.fr\/video\/893.html\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb10px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

CIN\u00c9MATH\u00c8QUE
\nChangements de t\u00eates, de M\u00e9li\u00e8s \u00e0 David Lynch<\/h5>\n

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CIN\u00c9MATH\u00c8QUE
\nOzu aujourd\u2019hui<\/h5>\n

[\/vc_column_text][vc_empty_space height=\u00a0\u00bb30px\u00a0\u00bb][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner el_class=\u00a0\u00bbbtn-publications\u00a0\u00bb]\n Conf\u00e9rences<\/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

Biographie<\/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\u00bb266″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb20px\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_column_text css=\u00a0\u00bb\u00a0\u00bb]<\/p>\n

Diane Arnaud<\/h2>\n

Professeure en esth\u00e9tique cin\u00e9matographique
\nUNIVERSIT\u00c9 GUSTAVE EIFFEL<\/h3>\n

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UFR LACT – Lettres, Arts, Cr\u00e9ation et Technologies<\/p>\n<\/div>\n

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Directrice du CCAMAN,\u00a0 \u00e9quipe de recherche interne dans le laboratoire LISAA<\/p>\n

Directrice du Master Cin\u00e9ma et Audiovisuel de l’UFR LACT<\/p>\n

Mes domaines de sp\u00e9cialit\u00e9 sont l\u2019analyse esth\u00e9tique de motifs cin\u00e9matographiques, susceptibles d\u2019engendrer le trouble (enfermement, transformation, r\u00e9p\u00e9tition, d\u00e9doublement), et l\u2019\u0153uvre des r\u00e9alisateurs David Lynch, Yasujir\u00f4 Ozu et Kiyoshi Kurosawa, ainsi que les liens du cin\u00e9ma fantastique japonais avec les traumatismes de l\u2019Histoire.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Formation <\/strong><\/p>\n

 <\/p>\n

2021
\nHabilitation \u00e0 diriger des recherches en \u00e9tudes cin\u00e9matographiques de l\u2019universit\u00e9 Sorbonne Nouvelle\u00a0: L\u2019esth\u00e9tique dans un \u00e9tat second\u00a0: le cin\u00e9ma, art du d\u00e9r\u00e8glement<\/em>, garant\u00a0: Fran\u00e7ois Thomas<\/p>\n<\/div>\n

Exp\u00e9rience de l\u2019enseignement<\/strong><\/p>\n

Depuis 2022
\nProfesseure en \u00e9tudes cin\u00e9matographiques, universit\u00e9 Gustave Eiffel, UFR LACT (Lettres, Arts, Technologies, Cr\u00e9ation)<\/p>\n

2004-2022
\nMa\u00eetresse de conf\u00e9rences en \u00e9tudes cin\u00e9matographiques, universit\u00e9 Paris 7 (autres noms\u00a0: universit\u00e9 Paris Diderot, universit\u00e9 Paris Cit\u00e9), UFR LAC (Lettres, Arts, Cin\u00e9ma)
\nCharg\u00e9e de cours, Institut de sciences politiques Paris, master Culture et M\u00e9dias<\/p>\n

2003-2004
\nAttach\u00e9e temporaire de recherche et d\u2019enseignement, universit\u00e9 Paris 7, UFR LAC<\/p>\n

2002-2004
\nCoordinatrice cours option cin\u00e9ma, Deug\u00a02, universit\u00e9 de Tours, UFR Histoire de l\u2019art<\/p>\n

2002-2006
\nFormatrice sp\u00e9cialis\u00e9e dans le dispositif \u00ab\u00a0Lyc\u00e9ens au cin\u00e9ma\u00a0\u00bb et en IUFM pour l\u2019APCVL (programmes long m\u00e9trage et court m\u00e9trage), R\u00e9gion Centre<\/p>\n

1999-2003
\nCharg\u00e9e de cours \u00e0 l\u2019universit\u00e9 Sorbonne Nouvelle, UFR Cin\u00e9ma et Audiovisuel[\/vc_column_text]\t<\/div>\n<\/div><\/div>[vc_row_inner content_text_aligment=\u00a0\u00bbright\u00a0\u00bb el_class=\u00a0\u00bbbtn-desktop\u00a0\u00bb][vc_column_inner el_class=\u00a0\u00bbbtn-commander\u00a0\u00bb]\n CV<\/span>\n <\/a>\n Photos<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][vc_row_inner content_text_aligment=\u00a0\u00bbright\u00a0\u00bb el_class=\u00a0\u00bbbtn-mobile\u00a0\u00bb][vc_column_inner el_class=\u00a0\u00bbbtn-commander\u00a0\u00bb]\n CV<\/span>\n <\/a>\n Photos<\/span>\n <\/a>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row content_text_aligment=\u00a0\u00bbcenter\u00a0\u00bb][vc_column][\/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] En librairie [\/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\u00bb184″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb\u00a0\u00bb][vc_empty_space height=\u00a0\u00bb20px\u00a0\u00bb][\/vc_column][vc_column width=\u00a0\u00bb1\/2″][vc_column_text css=\u00a0\u00bb\u00a0\u00bb] Le double mon illusion pr\u00e9f\u00e9r\u00e9e Rouge profond, 2005 [\/vc_column_text][vc_empty_space height=\u00a0\u00bb100px\u00a0\u00bb][vc_column_text css=\u00a0\u00bb\u00a0\u00bb] Si l\u2019on en croit Chris Marker, le double ouvre une \u00ab\u00a0voie royale\u00a0\u00bb […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"full-width.php","meta":{"footnotes":""},"class_list":["post-61","page","type-page","status-publish","hentry"],"yoast_head":"\nDiane Arnaud - 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