{"id":58,"date":"2022-01-26T23:36:55","date_gmt":"2022-01-26T22:36:55","guid":{"rendered":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/?page_id=58"},"modified":"2022-03-15T18:38:35","modified_gmt":"2022-03-15T17:38:35","slug":"argumentaire","status":"publish","type":"page","link":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/argumentaire\/","title":{"rendered":"Argumentaire"},"content":{"rendered":"\n

English and Spanish versions are following. <\/em><\/p>\n\n\n\n

Colloque International Festivals et dynamiques
cin\u00e9matographiques trans(nationales) : formes de
production, de circulation et de repr\u00e9sentation<\/strong><\/h1>\n\n\n\n

Toulouse, 28, 29, 30 et 31 mars 2022<\/strong>
Universit\u00e9 Toulouse Jean Jaur\u00e8s, Universit\u00e9 Nice Sophia Antipolis,
Universit\u00e9 Paris-Sorbonne – Paris IV et CY Cergy Paris Universit\u00e9<\/h3>\n\n\n\n

<\/p>\n\n\n\n

Ce colloque international s\u2019inscrit dans le cadre d\u2019une collaboration entre les chercheur\u00b7e\u00b7s du LERASS (Toulouse) et plusieurs \u00e9quipes de recherche et d\u00e9partements de l\u2019UT2J (FRAMESPA, CEIIBA, l\u2019IPEAT et le D\u00e9partement Art&Com), des chercheures de l\u2019Universit\u00e9 Nice Sophia Antipolis, de l\u2019Universit\u00e9 Paris Sorbonne et de Cergy Paris Universit\u00e9, en partenariat avec le Festival Cin\u00e9latino, Rencontres de Toulouse. Ce partenariat se concr\u00e9tise depuis 2013 par des ateliers et des journ\u00e9es d\u2019\u00e9tudes annuelles d\u00e9di\u00e9es aux exp\u00e9riences cin\u00e9matographiques d\u2019Am\u00e9rique latine.
<\/p>\n\n\n\n

Le XXIe si\u00e8cle repr\u00e9sente un tournant pour les cin\u00e9matographies latino-am\u00e9ricaines qui se
trouvent imbriqu\u00e9es dans des logiques d\u2019internationalisation in\u00e9dites : les processus de production des films s\u2019articulent \u00e0 des dynamiques ext\u00e9rieures aux cadres de production nationaux, alors que la circulation s\u2019effectue, quant \u00e0 elle, au sein d\u2019un circuit festivalier devenu, avec le temps, un acteur majeur dans l\u2019innovation de ces strat\u00e9gies de production. Un r\u00e9seau d\u2019acteurs propres \u00e0 ce circuit se configure peu \u00e0 peu, et de nouvelles logiques institutionnelles et professionnelles en d\u00e9coulent, ainsi que des enjeux aussi bien socio-\u00e9conomiques que g\u00e9opolitiques et interculturels.
<\/p>\n\n\n\n

Par ailleurs, les professionnels du cin\u00e9ma fran\u00e7ais et les institutions de soutien \u00e0 la production cin\u00e9matographique occupent une place privil\u00e9gi\u00e9e au sein de ce r\u00e9seau en participant \u00e0 la transnationalisation des cin\u00e9matographies du Sud par le biais des fonds de soutien, des coproductions et des festivals. La situation contemporaine a \u00e9largi la carte des \u00e9changes aux \u00c9tats-Unis, voire \u00e0 l\u2019Asie, au gr\u00e9 de la multiplication des festivals consacr\u00e9s \u00e0 des cin\u00e9matographies singuli\u00e8res et de l\u2019essor de plateformes comme Netflix, qui amplifient encore ces dynamiques \u00e0 travers le soutien \u00e0 la r\u00e9alisation de films et de s\u00e9ries au profit des cin\u00e9astes latino-am\u00e9ricains et asiatiques qui ont \u00e9merg\u00e9 dans les circuits europ\u00e9ens.
<\/p>\n\n\n\n

Ces pratiques cin\u00e9matographiques s\u2019inscrivent dans des contextes \u00e9conomiques, sociaux
et culturels bien diff\u00e9rents, et l\u2019insistance, lors du colloque, sur le caract\u00e8re historiquement et g\u00e9ographiquement multi-situ\u00e9 de ces ph\u00e9nom\u00e8nes culturels \u2013 ainsi que des concepts th\u00e9oriques convoqu\u00e9s \u2013 permettra de tenir compte et d\u2019interroger les d\u00e9s\u00e9quilibres et les in\u00e9galit\u00e9s de pouvoir \u00e0 l\u2019\u0153uvre au sein de ces processus transnationaux.
<\/p>\n\n\n\n

L\u2019objectif est de sortir des approches binaires nationale\/transnationale du cin\u00e9ma et d\u2019interroger l\u2019articulation entre pratiques, m\u00e9diations, rh\u00e9toriques et repr\u00e9sentations qui composent cette spatialit\u00e9 cin\u00e9matographique contemporaine. Les relations \u00e9troites entre festivals, dispositifs de soutien \u00e0 la production, r\u00e9sidences et circulation des professionnels nous am\u00e8nent \u00e0 proposer une approche globale de nature \u00e0 faciliter le dialogue des probl\u00e9matiques et des terrains. Si les cin\u00e9mas d\u2019Am\u00e9rique latine constituent bien le point de d\u00e9part, il s\u2019agit \u00e9galement de tenter une approche comparative avec d\u2019autres r\u00e9gions du monde qui participent aussi \u00e0 ces dynamiques internationales \u2013 l\u2019Afrique, l\u2019Asie, l\u2019Europe de l\u2019Est, le Proche et Moyen Orient\u2026<\/p>\n\n\n\n

Ce colloque a ainsi l\u2019objectif d\u2019engager un dialogue collectif et international autour de ces dynamiques, ouvert \u00e0 la discussion sous plusieurs approches : l\u2019\u00e9conomie politique, les approches discursives, esth\u00e9tiques et m\u00e9diaculturelles, et plus largement les cultural studies<\/em>\u2026 Souvent investies dans la recherche sur les cin\u00e9mas de mani\u00e8re distincte, leur articulation promet une meilleure compr\u00e9hension de la complexit\u00e9 du secteur et de ses instances de production, englobant la cr\u00e9ation, la circulation et la r\u00e9ception des films.
<\/p>\n\n\n\n

Trois axes de discussion sont propos\u00e9s :<\/p>\n\n\n\n

Axe 1 – Festivals<\/h4>\n\n\n\n

Occupant une place de plus en plus importante dans les \u00e9tudes sur les cin\u00e9mas contemporains, les festivals de cin\u00e9ma sont devenus des objets d\u2019\u00e9tude f\u00e9conds pour penser les dynamiques cin\u00e9matographiques contemporaines et les repr\u00e9sentations du monde dont elles t\u00e9moignent. Le d\u00e9veloppement des Films festivals studies r\u00e9pond aussi bien \u00e0 l\u2019\u00e9tonnante prolif\u00e9ration des festivals de cin\u00e9ma partout dans le monde, des m\u00e9tropoles des pays industrialis\u00e9s aux territoires les plus recul\u00e9s de la plan\u00e8te, qu\u2019aux transformations du r\u00f4le des manifestations festivali\u00e8res au sein du champ et du march\u00e9 cin\u00e9matographique internationaux. A la fonction traditionnelle de diffusion des films qu\u2019on leur reconna\u00eet, s\u2019ajoute leur participation \u00e0 d\u2019autres \u00e9tapes de la fabrique cin\u00e9matographique \u00e0 travers la cr\u00e9ation d\u2019ateliers ou de r\u00e9sidences d\u2019\u00e9criture, de march\u00e9s de projets, de work in progress, de networks, etc.<\/p>\n\n\n\n


Ces transformations ont repr\u00e9sent\u00e9 un tournant pour les jeunes cin\u00e9matographies du
continent latino-am\u00e9ricain et plus largement des pays du Sud. L\u2019analyse des s\u00e9lections officielles et parall\u00e8les des grands festivals et des festivals sp\u00e9cialis\u00e9s dans des cin\u00e9matographies singuli\u00e8res, ouvrent des possibilit\u00e9s in\u00e9dites de comprendre les enjeux culturels et g\u00e9o-esth\u00e9tiques de ces cin\u00e9mas, tout en soulignant le r\u00f4le actif de ces manifestations dans la d\u00e9finition d\u2019un canon et d\u2019une valeur esth\u00e9tiques.
<\/p>\n\n\n\n

Cet axe envisage l\u2019\u00e9tude des dynamiques festivali\u00e8res qui relient plusieurs territoires – l\u2019Europe et l\u2019Am\u00e9rique latine, mais aussi les \u00c9tats-Unis, l\u2019Afrique, l\u2019Asie. Il s\u2019agit d\u2019interroger et d\u2019analyser la mani\u00e8re dont le festival et\/ou le circuit festivalier rendent compte d\u2019une configuration culturelle singuli\u00e8re marqu\u00e9e par la mobilit\u00e9 des cin\u00e9astes et des professionnels, et la circulation des projets de films, des films en cours de fabrication et des \u0153uvres cin\u00e9matographiques achev\u00e9es. A travers quels dispositifs (s\u00e9lections parall\u00e8les, dispositifs \u00e0 destination des publics professionnels, alliances avec d\u2019autres manifestations) les festivals contribuent-ils \u00e0 ce processus de transnationalisation des cin\u00e9mas.<\/p>\n\n\n\n

Axe 2 – Acteurs, r\u00e9seaux, n\u00e9gociations<\/h4>\n\n\n\n

Cet axe envisage l\u2019\u00e9tude des pratiques de production des films (festivals, march\u00e9s, fonds,
r\u00e9sidences d\u2019\u00e9criture, plateformes professionnelles, fonds d\u2019aide et de soutien), en relation avec le point de vue des acteurs du champ (producteurs, gestionnaires et jurys des fonds, programmateurs des festivals, d\u00e9l\u00e9gu\u00e9s, vendeurs\u2026). L\u2019enjeu consiste \u00e0 saisir les enjeux \u00e9conomiques, culturels, esth\u00e9tiques et politiques propres \u00e0 ces circuits.
<\/p>\n\n\n\n

Pens\u00e9e sous l\u2019angle de la n\u00e9gociation, la perspective transnationale vise \u00e0 questionner les
d\u00e9s\u00e9quilibres et les in\u00e9galit\u00e9s de pouvoir \u00e0 l\u2019\u0153uvre au sein de ces processus d\u2019internationalisation des industries du cin\u00e9ma. L\u2019analyse des coproductions internationales et des processus de cr\u00e9ation, vus comme un processus de co-construction des films, n\u00e9cessite de prendre en consid\u00e9ration les rapports de force et les strat\u00e9gies de n\u00e9gociation (Higbee et Ling, 2012) des r\u00e9alisateurs et des producteurs locaux amen\u00e9s \u00e0 r\u00e9pondre aux injonctions (souvent convenues) des diff\u00e9rents acteurs \u00ab autorisant \u00bb l\u2019existence de leurs films. Il s\u2019agira de mettre en \u00e9vidence les strat\u00e9gies de n\u00e9gociation, de mani\u00e8re \u00e0 montrer les enjeux sous-jacents \u00e0 ces derni\u00e8res. Les approches de l\u2019\u00e9conomie politique de la communication, de l\u2019analyse du discours et des \u00e9tudes culturelles seront fortement appr\u00e9ci\u00e9es.<\/p>\n\n\n\n

Axe 3 – Itin\u00e9raires des cin\u00e9astes et formes de repr\u00e9sentation<\/h4>\n\n\n\n

Cet axe privil\u00e9giera l\u2019analyse de l\u2019articulation entre la production et la circulation des \u0153uvres et des formes cin\u00e9matographiques. L\u2019\u00e9tude des itin\u00e9raires de cin\u00e9astes permet d\u2019interroger les relations entre mondes cin\u00e9matographiques (acteurs, enjeux \u00e9conomiques et culturels) et formes de repr\u00e9sentation cin\u00e9matographique. De quelles mani\u00e8res peut-on rendre compte du double processus de territorialisation et de d\u00e9territorialisation \u00e0 l\u2019\u0153uvre dans les exp\u00e9riences cin\u00e9matographiques contemporaines (nouvelles communaut\u00e9s d\u2019appartenance, ancrage local des r\u00e9cits filmiques) ? Dans quelle mesure les trajectoires des cin\u00e9astes et les itin\u00e9raires des projets et des films reconfigurent les hi\u00e9rarchies culturelles et les modes de l\u00e9gitimation de ces cin\u00e9mas et fa\u00e7onnent des objets cin\u00e9matographiques singuliers? Combien ces dynamiques de circulation et de mobilit\u00e9 rendent compte aussi bien du positionnement des territoires dans la carte du monde du cin\u00e9ma que de l\u2019affirmation des territoires locaux auxquels s\u2019attachent les r\u00e9cits filmiques ?
La pr\u00e9sentation des dynamiques cin\u00e9matographiques contemporaines pourra \u00eatre compl\u00e9t\u00e9e d\u2019analyse de cas – de cin\u00e9astes, de films, de cin\u00e9matographies -, afin de comprendre les strat\u00e9gies mises en \u0153uvre par les acteurs cin\u00e9astes et par les films eux-m\u00eames en lien avec des institutions, des financeurs et des publics.<\/p>\n\n\n\n

<\/p>\n\n\n\n

English version<\/em><\/strong><\/h3>\n\n\n\n

International conference Festivals and trans (national)
cinematographic dynamics : forms of production,
circulation and representation<\/strong><\/h1>\n\n\n\n

Toulouse from March 28th to 31st 2022<\/strong><\/h3>\n\n\n\n

Bringing together researchers from Lerass \u2013 Laboratory of Applied Studies and Research in Social Sciences (Toulouse) and several research teams and departments of the University of Toulouse Jean-Jaur\u00e8s (FRAMESPA, CEIIBA, IPEAT), researchers from Nice Sophia Antipolis University, Paris Sorbonne University and Cergy Paris University, this international conference is organized in partnership with the Cin\u00e9latino Festival, Rencontres de Toulouse. This partnership has taken shape since 2013 with annual colloquiums dedicated to Latin American cinematographic experiences.
<\/p>\n\n\n\n

The twenty-first century represents a turning point for Latin American cinematographies,
which find themselves imbedded in new logics of internationalization: the production processes of films are linked to dynamics outside the national production frameworks, while circulation takes place within a festival circuit that has become, over time, a major player in the innovation of these production strategies. A network of actors specific to this circuit is gradually being configured, and new institutional and professional logics are emerging as well as socio-economic, geopolitical and intercultural challenges.
<\/p>\n\n\n\n

Moreover, French cinema professionals and institutions supporting film production occupy
a privileged place within this network by participating in the transnationalization of films from the South through support funds, co-productions and festivals. The contemporary context has widened the trade market to include the United States, and even Asia, with the increasing number of festivals dedicated to singular cinematographies, and the rise of platforms such as Netflix which further amplifies these dynamics through their investments in the production of films and series for the benefit of Latin American and Asian filmmakers who have first emerged in European circuits.
<\/p>\n\n\n\n

This conference will pay close attention to the historically and geographically multi-located
features of these cultural phenomena – as well as the theoretical concepts used to analyze this field – in order to address and question the imbalances and inequalities of power at work within these transnational processes.
<\/p>\n\n\n\n

The objective is to go beyond a binary national \/ transnational approach to cinema in order to understand the articulation between practices, mediations, rhetorics and representations that form this contemporary cinematographic spatiality. The strong relations between festivals, production support systems, residencies and the circulation of professionals lead us to encourage a global approach that would help create a dialogue between research issues and fields. We propose questioning the relations between the creative process, the production dynamics and the circulation of films which have progressively gained in importance within the film market and which have put in tension the relations between national space and transnational networks.<\/p>\n\n\n\n

If the starting point was the cinemas of Latin America, it is now our intention to develop a
more comparative approach with other regions of the world which also participate in these
international dynamics – such as Africa, Asia, Eastern Europe, the Near and Middle East\u2026.
<\/p>\n\n\n\n

We aim at promoting a collective and internationally open dialogue around these
transnational film dynamics, which will combine several approaches: political economy,
discursive analysis, aesthetic and media-cultural approaches, and more largely approaches based on cultural studies. Often involved distinctively in research works, the articulation between these different approaches promises a better understanding of the sector\u2019s complexity and its production processes, including the creation, circulation and reception of films.
<\/p>\n\n\n\n

The conference focuses on three main topics:<\/p>\n\n\n\n

1 – Film Festivals<\/h4>\n\n\n\n

Taking a more important role in contemporary film studies, film festivals have become a
productive object of study to analyze the contemporary film flows and the representations of the world they convey. The development of Film Festival Studies can be understood as the result of the surprising growth of film festivals around the world \u2013 from major cities of industrialized countries to the more remote territories of the planet \u2013 as well as of the evolution of the role of film festivals in the world film market. Besides their traditional role of film exhibition and distribution, film festivals also play an increasingly important role in the other stages of film production through the creation of workshops and writing residencies, film project markets, work in progress, networks, etc.
<\/p>\n\n\n\n

These transformations have been a turning point for young cinematographies from Latin
America as well as from the Global South. The study of the official and parallel selections of well-known international film festivals, and festivals which specialize in a specific cinematography, broadens new opportunities to understand the cultural and geo-aesthetic challenges of these cinemas, while highlighting the active role of these film festivals in the definition of an ideal standard and aesthetic values.
<\/p>\n\n\n\n

This topic will focus on the specificities of these film festival flows that connect together
several territories \u2013 Europe and Latin America, but also United States, Africa and Asia. It aims to explore and analyze the way in which the film festival or the festival circuit displays a unique cultural configuration that is affected by filmmakers and professionals\u2019 mobility, the circulation of film projects, films in progress as well as completed films. From which apparatus (parallel selections, system for professional audiences, partnership with other cultural events, etc.) do film festivals contribute to the process of transnationalisation of these cinemas?<\/p>\n\n\n\n

2 – Actors, networks, negotiations<\/h4>\n\n\n\n

This second topic aims to focus on the study of film production practices (festivals, markets, funds, writing residencies, professional platforms, and support funds), in relation to the professional actors\u2019 point of view (producers, fund managers and juries, festival programmers, delegates, salespeople, etc.) in order to bring out the economic, cultural, aesthetic and political issues related to these circuits and the type of cinematographic objects that are shaped there.
<\/p>\n\n\n\n

Understood from the angle of negotiation, the transnational perspective questions the
imbalances and inequalities of power at work within the internationalization processes of the film industries. The analysis of international co-productions and of the creative processes, seen as co-construction of films, requires taking into consideration the balance of power and negotiation strategies (Higbee and Ling, 2012) of local directors and producers, whom are brought to respond to the injunctions (often agreed) of the various actors \u201cauthorizing\u201d the existence of their films. Research based on the political economy of communication, on discourse analysis as well as cultural studies research will be particularly appreciated.<\/p>\n\n\n\n

3 – Itineraries of filmmakers and forms of representation<\/h4>\n\n\n\n

This topic will focus on the analysis of the link between the production and the distribution of films and film forms. The study of filmmakers\u2019 itineraries allows us to question the relationships between cinematographic worlds (actors, economic and cultural issues) and cinematographic representation. In which ways can we convey the double process of territorialization and deterritorialization at work in contemporary cinematographic experiences (new communities of belonging, local anchoring of film narratives)? To what extent the trajectories of the filmmakers and the itineraries of the projects as well as the films reconfigure the cultural hierarchies and the modes of legitimization of these cinemas, consequently revealing both the location of the territories in the map of the world of cinema and the affirmation of the local territories to which film narratives are attached? Case studies could be considered for the presentation of these contemporary film flows – studies about filmmakers, films, or cinematographies \u2013 in order to grasp the strategies used by the filmmakers as well as the films themselves in relation to the institutions, the funding bodies and the audience.<\/p>\n\n\n\n

Espa\u00f1ol<\/em><\/strong><\/h3>\n\n\n\n

Congreso Internacional Festivales y din\u00e1micas
cinematogr\u00e1ficas trans(nacionales) : formas de
producci\u00f3n, de circulaci\u00f3n y de representaci\u00f3n<\/strong><\/h1>\n\n\n\n


28, 29, 30 y 31 de marzo 2022, Toulouse – Francia<\/strong><\/h3>\n\n\n\n

Este congreso hace parte de una colaboraci\u00f3n entre investigadores del Lerass \u2013 Laboratoire d\u2019\u00c9tudes et de Recherches Appliqu\u00e9es en Sciences Sociales (Toulouse) \u2013 y varios equipos y departamentos de investigaci\u00f3n de la Universidad Toulouse 2 Jean Jaur\u00e8s (Framespa, CEIIBA, IPEAT), de la Universidad Nice Sophia Antipolis, de la Universidad Paris Sorbonne y la Universidad Cergy Par\u00eds y el Festival Cin\u00e9latino Rencontres des cin\u00e9mas d\u2019Am\u00e9rique latine de Toulouse : una alianza que ha venido concretiz\u00e1ndose desde el a\u00f1o 2013 por medio de jornadas de estudios anuales dedicadas a experiencias cinematogr\u00e1ficas latinoamericanas.
<\/p>\n\n\n\n

El siglo XXI representa un punto de inflexi\u00f3n para estas cinematograf\u00edas, las cuales se
encuentran inmersas dentro de nuevas l\u00f3gicas de internacionalizaci\u00f3n. Los procesos de
producci\u00f3n de pel\u00edculas se vinculan a din\u00e1micas por fuera de los marcos de producci\u00f3n nacionales y la circulaci\u00f3n se efect\u00faa dentro del circuito de festivales, actor esencial en la innovaci\u00f3n de estrategias de producci\u00f3n. En los \u00faltimos a\u00f1os, se ha venido configurando una red de actores dentro de este circuito, a partir de la cual emergen nuevas l\u00f3gicas institucionales y profesionales, as\u00ed como cuestiones socioecon\u00f3micas, geopol\u00edticas e interculturales.
<\/p>\n\n\n\n

Al participar en la transnacionalizaci\u00f3n del cine del Sur a trav\u00e9s de fondos de apoyo,
coproducciones y festivales, las instituciones y los profesionales franceses que apoyan la
producci\u00f3n cinematogr\u00e1fica ocupan un lugar privilegiado dentro de este contexto.. La situaci\u00f3n contempor\u00e1nea ha generado una ampliaci\u00f3n de las interacciones comerciales que se desarrollan tambi\u00e9n con Estados Unidos e incluso con Asia: un fen\u00f3meno posible gracias a la proliferaci\u00f3n de festivales dedicados a cinematograf\u00edas singulares y al auge de plataformas como Netflix. Estas nuevas interacciones amplifican a\u00fan m\u00e1s estas din\u00e1micas a trav\u00e9s del apoyo a la producci\u00f3n de pel\u00edculas y series en beneficio de cineastas latinoamericanos, pero tambi\u00e9n asi\u00e1ticos, que han surgido en los circuitos europeos.
<\/p>\n\n\n\n

El congreso propone insistir en el car\u00e1cter hist\u00f3rico y geogr\u00e1ficamente multilocalizado de
estos fen\u00f3menos culturales y en los conceptos te\u00f3ricos convocados, con el fin de dar cuenta de los desequilibrios y desigualdades de poder que se presentan dentro de dichos procesos transnacionales. El objetivo es ir m\u00e1s all\u00e1 de un enfoque binario \u2013 nacional \/ transnacional \u2013 y cuestionar la articulaci\u00f3n entre pr\u00e1cticas, mediaciones, ret\u00f3ricas y representaciones que configuran esta espacialidad cinematogr\u00e1fica contempor\u00e1nea. Las estrechas relaciones existentes entre festivales, dispositivos de apoyo a la producci\u00f3n, residencias y circulaci\u00f3n de profesionales nos llevan a proponer un enfoque global con el fin de facilitar el di\u00e1logo entre las problem\u00e1ticas y sus respectivos campos de estudio. Si el punto de partida son los cines de Am\u00e9rica Latina, nos interesa tambi\u00e9n desarrollar un enfoque comparativo con otras regiones del mundo que participan igualmente de dichas din\u00e1micas internacionales \u2013 \u00c1frica, Asia, Europa del Este y el Oriente Medio y Pr\u00f3ximo.
<\/p>\n\n\n\n

Por lo tanto, este congreso busca entablar, desde Francia, un di\u00e1logo colectivo e
internacionalmente abierto en torno a estas din\u00e1micas, as\u00ed como combinar varios enfoques: la econom\u00eda pol\u00edtica, los an\u00e1lisis discursivos, est\u00e9ticos y medi\u00e1culturales, y m\u00e1s ampliamente, los estudios culturales. Al abarcar tanto los procesos de creaci\u00f3n, circulaci\u00f3n y recepci\u00f3n de pel\u00edculas, la articulaci\u00f3n de estos enfoques promete una mejor comprensi\u00f3n de la complejidad del sector .
<\/p>\n\n\n\n

Por consiguiente el congreso se centrar\u00e1 en tres ejes principales:<\/p>\n\n\n\n

Eje 1 – Festivales<\/h4>\n\n\n\n

Ocupando un lugar cada vez m\u00e1s importante en los estudios sobre los cines contempor\u00e1neos, los festivales de cine se han convertido en objetos de estudio fecundos para reflexionar sobre las din\u00e1micas cinematogr\u00e1ficas contempor\u00e1neas. El desarrollo de los Films festivals studies permite responder no solamente a la sorprendente proliferaci\u00f3n de festivales de cine a nivel mundial \u2013desde los grandes centros urbanos de los pa\u00edses industrializados hasta las zonas m\u00e1s remotas del planeta\u2013 sino tambi\u00e9n al papel que juegan los festivales en la transformaci\u00f3n de las pr\u00e1cticas de mercado en el campo cinematogr\u00e1fico internacional. Adem\u00e1s de su reconocida funci\u00f3n tradicional de difusi\u00f3n de pel\u00edculas, los festivales participan, hoy en d\u00eda, en otras etapas de la fabricaci\u00f3n cinematogr\u00e1fica a trav\u00e9s de la creaci\u00f3n de talleres o residencias de escritura, mercados
de proyectos, work in progress, networks, etc.
<\/p>\n\n\n\n

Estas transformaciones representaron un punto de inflexi\u00f3n para las j\u00f3venes cinematograf\u00edas del continente latinoamericano y, de manera m\u00e1s general, de los pa\u00edses del Sur. El an\u00e1lisis de la selecci\u00f3n de pel\u00edculas realizada por los grandes festivales y por los festivales especializados se convierte as\u00ed en una posible v\u00eda para comprender ciertos aspectos culturales, geogr\u00e1ficos y est\u00e9ticos de estos cines. Su an\u00e1lisis enfatiza el papel que juegan los festivales en la definici\u00f3n de c\u00e1nones y de ideales est\u00e9ticos contempor\u00e1neos.
<\/p>\n\n\n\n

Este eje propone abordar el estudio de las din\u00e1micas desarrolladas por los festivales de cine, que han permitido la construcci\u00f3n de canales de comunicaci\u00f3n entre diversos territorios del mundo: Europa y Am\u00e9rica Latina, pero tambi\u00e9n Estados Unidos, \u00c1frica y Asia. El objetivo: cuestionar y analizar la forma en que los festivales \u2013y\/o el circuito de festivales\u2013 dan cuenta de una configuraci\u00f3n cultural singular marcada por la movilidad de cineastas y profesionales y la circulaci\u00f3n de proyectos y de pel\u00edculas. \u00bfPor medio de qu\u00e9 dispositivos (selecciones paralelas, plataformas profesionales, alianzas con otros eventos) los festivales contribuyen a la transnacionalizaci\u00f3n de los cines del Sur?<\/p>\n\n\n\n

Eje 2 – Actores, redes, negociaciones<\/h4>\n\n\n\n

Este eje contempla el estudio de las pr\u00e1cticas de producci\u00f3n y circulaci\u00f3n cinematogr\u00e1fica
(festivales, mercados, fondos, residencias de escritura, plataformas profesionales, fondos de ayudas y apoyos), desde los actores (productores, gestores de fondos y jurados, programadores de festivales, agentes de ventas, etc.). Buscaremos esclarecer las apuestas econ\u00f3micas, culturales, est\u00e9ticas y pol\u00edticas propias de estos circuitos y el tipo de pel\u00edculas que estos producen.
<\/p>\n\n\n\n

Desde el punto de vista de la negociaci\u00f3n, la perspectiva transnacional cuestiona los desequilibrios y las desigualdades de poder que operan dentro de estos procesos de
internacionalizaci\u00f3n de las industrias cinematogr\u00e1ficas. El an\u00e1lisis de coproducciones y procesos creativos internacionales, vistos en t\u00e9rminos de co-construcci\u00f3n de pel\u00edculas, requiere tomar en consideraci\u00f3n las relaciones de poder y las estrategias de negociaci\u00f3n (Higbee y Ling, 2012) puestas en marcha por directores y productores locales, para responder a las demandas (a menudo concertadas) de los distintos actores que \u201cautorizan\u201d la existencia de sus pel\u00edculas. Se apreciaran particularmente las perspectivas de la econom\u00eda pol\u00edtica de comunicaci\u00f3n, del an\u00e1lisis de discurso y los estudios culturales.<\/p>\n\n\n\n

Eje 3 – Itinerarios de cineastas y formas de representaci\u00f3n<\/h4>\n\n\n\n

Este eje privilegiar\u00e1 el an\u00e1lisis de la articulaci\u00f3n entre la producci\u00f3n y la circulaci\u00f3n de obras y formas cinematogr\u00e1ficas. El estudio de los itinerarios de los cineastas nos permitir\u00e1 cuestionar las relaciones entre los universos cinematogr\u00e1ficos (actores, cuestiones econ\u00f3micas y culturales) y las formas de representaci\u00f3n vehiculadas en las pel\u00edculas. \u00bfDe qu\u00e9 maneras podemos dar cuenta del doble proceso de territorializaci\u00f3n y desterritorializaci\u00f3n que opera en las experiencias cinematogr\u00e1ficas contempor\u00e1neas (nuevos sentidos de pertenencia, anclaje sobre lo local en las narrativas cinematogr\u00e1ficas)? \u00bfEn qu\u00e9 medida estas din\u00e1micas de circulaci\u00f3n y movilidad reflejan tanto el posicionamiento de los territorios en el mapa del mundo del cine como la afirmaci\u00f3n de los territorios locales representados en las narrativas f\u00edlmicas? La presentaci\u00f3n de las din\u00e1micas cinematogr\u00e1ficas contempor\u00e1neas podr\u00e1 complementarse con estudios de caso – de cineastas, pel\u00edculas, cinematograf\u00edas – que permitan comprender las estrategias implementadas por los realizadores y por las pel\u00edculas mismas en relaci\u00f3n con las instituciones, los financiadores y los p\u00fablicos.<\/p>\n","protected":false},"excerpt":{"rendered":"

English and Spanish versions are following. Colloque International Festivals et dynamiquescin\u00e9matographiques trans(nationales) : formes deproduction, de circulation et de repr\u00e9sentation Toulouse, 28, 29, 30 et 31 mars 2022Universit\u00e9 Toulouse Jean Jaur\u00e8s, Universit\u00e9 Nice Sophia Antipolis,Universit\u00e9 Paris-Sorbonne – Paris IV et CY Cergy Paris Universit\u00e9 Ce colloque international s\u2019inscrit dans le cadre d\u2019une collaboration entre les … <\/p>\n

Continuer la lecture de « Argumentaire »<\/span><\/a><\/p>\n","protected":false},"author":1110,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-58","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/wp-json\/wp\/v2\/pages\/58","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/wp-json\/wp\/v2\/users\/1110"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/wp-json\/wp\/v2\/comments?post=58"}],"version-history":[{"count":10,"href":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/wp-json\/wp\/v2\/pages\/58\/revisions"}],"predecessor-version":[{"id":101,"href":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/wp-json\/wp\/v2\/pages\/58\/revisions\/101"}],"wp:attachment":[{"href":"https:\/\/blogs.univ-tlse2.fr\/cifdct2022\/wp-json\/wp\/v2\/media?parent=58"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}