{"id":2879,"date":"2022-12-15T22:48:40","date_gmt":"2022-12-15T21:48:40","guid":{"rendered":"https:\/\/afea.fr\/news\/?p=2879"},"modified":"2022-12-15T22:48:40","modified_gmt":"2022-12-15T21:48:40","slug":"la-figure-du-musicien-au-cinema-partie-2","status":"publish","type":"post","link":"https:\/\/afea.fr\/news\/publication\/la-figure-du-musicien-au-cinema-partie-2\/2879\/","title":{"rendered":"La figure du musicien au cin\u00e9ma \u2013 Partie 2"},"content":{"rendered":"

St\u00e9phan Etcharry (Universit\u00e9 de Reims Champagne-Ardenne) et Julie Michot (Universit\u00e9 de Lorraine) ont le plaisir de vous annoncer la parution du no 16 de la revue interdisciplinaire et internationale en ligne Savoirs en Prisme, consacr\u00e9 \u00e0 la figure du musicien au cin\u00e9ma.<\/p>\n

Ce no 16 constitue la seconde partie d\u2019un double num\u00e9ro de la revue et se concentre sur quatre th\u00e9matiques permettant d\u2019explorer cette fois la relation que le musicien entretient avec lui-m\u00eame et les autres (apr\u00e8s celle du biopic de musiciens et musiciennes d\u00e9velopp\u00e9e dans le num\u00e9ro pr\u00e9c\u00e9dent, no 15) : 1. Rapports au corps et \u00e0 l\u2019instrument, 2. Rapports de force en musique, 3. Rapports entre professeurs de musique et \u00e9l\u00e8ves, 4. Rapport du musicien \u00e0 son public.<\/p>\n

URL de r\u00e9f\u00e9rence : https:\/\/savoirsenprisme.univ-reims.fr\/index.php\/sep\/issue\/view\/16<\/a><\/p>\n

Sommaire :<\/p>\n

St\u00e9phan Etcharry et Julie Michot, \u00ab Introduction \u00bb<\/p>\n

Pieter Mannaerts, \u00ab \u201cSauver l\u2019artiste avec l\u2019homme\u201d: Representations of a Pianist and His Hands in Robert Wiene\u2019s Orlacs H\u00e4nde (1924) \u00bb<\/p>\n

Fran\u00e7oise Barb\u00e9-Petit et Anne-Laure Dubrac, \u00ab Les figures du musicien dans l\u2019univers hitchcockien : un crescendo discordant \u00bb<\/p>\n

Ken Fox et Andy Birtwistle, \u00ab Ensemble and Otherness: The Jazz Musician in Robert Altman\u2019s Kansas City (1996) \u00bb<\/p>\n

Ewa Mazierska, \u00ab The Portrayal of Musicians in Dyrygent (The Orchestra Conductor, 1979), directed by Andrzej Wajda and Dotkni\u0119cie r\u0119ki (The Silent Touch, 1992) by Krzysztof Zanussi \u00bb<\/p>\n

Nathalie Vincent-Arnaud, \u00ab Passions en sourdine : la petite musique des ombres dans La Tourneuse de pages et L\u2019Accompagnatrice \u00bb<\/p>\n

Guillaume Gomot, \u00ab Du sang et des larmes : la musique au corps dans Whiplash de Damien Chazelle \u00bb<\/p>\n

Arianne Robichaud, \u00ab Entre la transcendance et le p\u00e9dagogique : une lecture nietzsch\u00e9enne de deux figures du professeur de musique au cin\u00e9ma \u00bb<\/p>\n

Ram\u00f3n Sanju\u00e1n M\u00ednguez, \u00ab La construcci\u00f3n del espectador de la filmaci\u00f3n musical en la \u00e9poca de la reproductibilidad t\u00e9cnica (1902-1937) \u00bb<\/p>\n

\u00c9ric Thouvenel, \u00ab Comment mettre en bo\u00eete un \u00e9clair ? Repr\u00e9sentations filmiques et enjeux esth\u00e9tiques du \u201cconcert de gu\u00e9rilla\u201d \u00bb<\/p>\n

Thomas Britt, \u00ab The Musician and the Recording Studio: Satirical Perspectives in Film and Television \u00bb<\/p>\n

Source: Julie Michot<\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

St\u00e9phan Etcharry (Universit\u00e9 de Reims Champagne-Ardenne) et Julie Michot (Universit\u00e9 de Lorraine) ont le plaisir de vous annoncer la parution […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[103],"tags":[123,1157,686],"class_list":["post-2879","post","type-post","status-publish","format-standard","hentry","category-publication","tag-cinema","tag-interdisciplinarite","tag-musique"],"jetpack_featured_media_url":"","uagb_featured_image_src":{"full":false,"thumbnail":false,"medium":false,"medium_large":false,"large":false,"1536x1536":false,"2048x2048":false},"uagb_author_info":{"display_name":"Admin","author_link":"https:\/\/afea.fr\/news\/author\/yanb\/"},"uagb_comment_info":0,"uagb_excerpt":"St\u00e9phan Etcharry (Universit\u00e9 de Reims Champagne-Ardenne) et Julie Michot (Universit\u00e9 de Lorraine) ont le plaisir de vous annoncer la parution […]","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2879"}],"collection":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/comments?post=2879"}],"version-history":[{"count":1,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2879\/revisions"}],"predecessor-version":[{"id":2881,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/posts\/2879\/revisions\/2881"}],"wp:attachment":[{"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/media?parent=2879"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/categories?post=2879"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/afea.fr\/news\/wp-json\/wp\/v2\/tags?post=2879"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}