Rencontre « Que ferais-je de cette épée ? »

<p>How do contemporary filmmakers conceive their images’ relationships to capturing the real and to the archive? How do they develop their own modes of description, narration, and editing? How do they invent their own documentary protocols, strategies, and aims? As an imprint and imago, cinema is a defensive weapon, but it is also an offensive weapon, a means of criticism and intervention. It has invented many conceptions of the real, explored many dimensions of reality, and constantly experimented with new ways of relating to events and phenomena. What are the nature, conditions and effects of such practices? What has been accomplished by cinema and what can it still do?</p> <p>With Claire Atherton, John Gianvito, Nicolas Klotz, Lech Kowalski, Valérie Massadian, Elisabeth Perceval, Jocelyne Saab, <span>Vladimir Perisic.</span></p> <p>Presented by Pascale Cassagnau et Nicole Brenez</p>

Masterclass Shinsuke Ogawa

<p>This masterclass looks at how the Ogawa Pro collective creatively forged an activist cinema that inspired audiences to act, and what happened to their cinema when the political passions faded away.</p> <p>With Markus Nornes and Ricardo Matos cabo</p>

Discussion Tacita Dean

<p>Lauded historian and critic Patricia Falguières joins Tacita Dean in a conversation on film, art, the cinema, and Dean’s multi-faceted career.</p> <p>With Patricia Falguières and Tacita Dean</p> <p>Patricia Falguières is a professor at the EHESS, The School for Advanced Studies in the Social Sciences, in Paris. She is active in the field of contemporary art, through articles and essays, monographic publications or writing on conceptual art, and the relationships between art and theatre in the twentieth century.</p>

Débat Addoc

<p>Filmer la langue de l'autre.</p> <p>Is the spoken word informative? Not understanding those we are filming spurs us to flesh out meaning beyond the words themselves, and to become sensitive to other forms of expression. Translation opens up an exchange, yet at the same time, complicates the control over the mise-en-scène. Filming in a foreign language means making filmmaking choices. What images of the other do these construct?</p> <p>With Claire Atherton, Laurent Bécue-Renard, Valery Kislov</p> <p>Prepared by Laurent Cibien, Marion Lary, Gaëlle Rilliard, Pablo Rosenblatt, Laure Vermeersch</p>