Contenu du sommaire : Cinéma engagé, cinéma enragé

Tangui Perron, Life, Death and Rebirth of Political Cinema From the beginnings of cinema, filmed news featured strikes and social movements generally. In this reporting the essence of the dominant discourse was me obfuscation of the causes of the strikes and the motivations of the strikers, and the insistance upon the inconveniences occasioned by their actions. However, the labor force has always attempted, in vain, to counter these images with their own. This cinema, first called « social » and then « militant », sees itself as having a special relationship with politics and has tried a number of different aesthetic approaches.

Bruno Bertheuil, From Memory Image to Social Imaginary : When the Railway Workers Filmed Their Strike During the strike movement of November-December 1995. four railway workers with video cameras filmed the atmosphere, the demonstrations and the different militant actions. At the beginning, their intention was simply to preserve the memory of the historical events. However, viewing these documents reveals that the films are elaborations of social imagination nourished by the workers 'collective memory. By filming non-work, the strikers were attempted to show and, especially, defend their profession.

Sylvie Dallet, The Year 1939 : Between the Disenchantment of Certain Fictional Films and the Activism of Filmed New The year 1939 was decisive. Mythically associated with the Munich agreements, this terrible year for international relations remains for many people the reflection of the receeding Popular Front. To better understand the ambiance of this time, analysis of cinematographic images remains, with literary analysis, the best guide. The works of Renoir and Carné serve well this endeavor.

Jean-Pierre Garnier, Tempest in a Teapot ? The « New Wave » Seen thmugh a Political Prism If the New Wave called into question the school of French cinema which was dominant at the time, at no moment did it call into question French society. Confronted with a tenacious set of beliefs, formal innovation can perfectly co-exist with social and political conformism.

Françoise Navailh, The Viled Face of lndochina The historical events experienced by a people are sometimes magnified and mystified and sometimes diluted and obscured. This double process allows group cohesion. The cinema contributes to commemoration or forgetting. The case of Indochine intends to show the French Empire at its height and to question colonialism. But, in fact, the film deals with Algeria and with conflicting relations between this country and France.

Cécile Bourrette and Jean-Yves Frétigné, Turn-Off Your Televisions : Nanni Moretti 's Dear Diary Analysis of Nanni Moretti 's Caro diario reveals the possibility of a militant cinema which goes beyond political and ideological agendas and pretentions. Moretti denounces consumer infantilism and suggests a new type of intellectual subjectivity while avoiding the literary and pyschological approach implied by the film 's title. The commitment of Moretti is not so much deconstructive, as constructively combative when he uses the cinema as an arm against the telecracy and virtual reality.

Jean-Michel Carre (Interview), The Sociology of the Image Jean-Michal Carré makes documentaries about the most vulnerable members of society — children, youth, women. He focuses particularly on prison life because that is where different problems converge, problems that political authority cannot resolve. He films prostitution and drug addiction with women who express openly their bitterness, their anger and their dispair. In addition, he attempts to counter prejudices, injustices and social dysfunction while carrying out a sociological examination of social abandon and delinquency.

Joseph Armando Soba, Towards Hollywood's Hegemony : Mechanisms of American Cultural Penetration in Africa At the end of the 1960s, American film companies established a presence in Africa in order to assure the distribution of their films which had been previously handled by European companies. In April 1961, the American Motion Picture Export Company Africa was created and it quickly supplanted the British Colonial Film Unit in English-speaking Africa. The Hollywood studios then went after the solidly established French companies in French-speaking Africa. By 1969 the Americans had succeeded in breaking the French monopoly.

Larry Portis et Christiane Passevant, The Challenge for African Cinema : Between Culturalism and Imperialism The lack of a real film industry in Subsaharan Africa, and the control over the African market exercised by North American and French distributors, has maintained African filmmakers in a state of economic dependence. However, the incomplete process of political independence and the frustrations of African artists and intellectuals have contributed to their largely critical and militant attitudes.

Pascal Duput, Safe Poison ? Or the Todd Haynes Story : Revolt and Intimacy in Independant American Cinema In the films of the young American film-maker Todd Haynes can be seen a new form of commitment which abandons the discourse of radical self-interrogation. Using unconventional narrative forms and applying certain ideas concerning sickness and transgression, Haynes promotes social revolt and self pride. In doing so, he offers an antidote to the hypocritical conformism found in American society.

Rémi Hess, From the Waltz to the Tango : a Three-sided Relationship The two partner dance is judged differently by dancers and by observers. Studied from a phenomenological point of view, it can be seen in the example of the tango, that the different protagonists experience the same temporal situation differently. The two-partner dance is a privilegied field of investigation for interactionist ethnosociology.

Anne Décoret, Exoticism and Dance at the Beginning of the Twentieth Century During the first four decades of the twentieth century, western dance was marked by exoticism. With their strange gestures, dancers from non European cultures had great success with the public. Western dancers quickly incorporated the new choreographic forms into their repertoires, developing body language codes and exploring a large corpus of folklore, generally with a questionable degree of authenticity. Study of the term « exotic » and its substantive forms in a geopolitical context opens an fertile field for research where aesthetic mutations meet social evolution. .