{"id":662442,"date":"2026-01-14T07:45:10","date_gmt":"2026-01-14T07:45:10","guid":{"rendered":"https:\/\/www.europesays.com\/fr\/662442\/"},"modified":"2026-01-14T07:45:10","modified_gmt":"2026-01-14T07:45:10","slug":"cinema-spoliations-restitutions-nanterre-paris","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/fr\/662442\/","title":{"rendered":"Cin\u00e9ma, spoliations, restitutions (Nanterre &#038; Paris)"},"content":{"rendered":"<p><strong>Colloque international \u00ab\u00a0Cin\u00e9ma, spoliations, restitutions\u00a0\u00bb, Universit\u00e9 Paris Nanterre<\/strong><\/p>\n<p>Ce colloque s\u2019inte\u0301resse aux spoliations du cine\u0301ma et a\u0300 la repre\u0301sentation des spoliations et des restitutions au cine\u0301ma, dans le contexte de 1933-1945 ainsi que dans les situations coloniales et post-coloniales. Fondamentalement pluridisciplinaire, ponctue\u0301 de projections de films, il re\u0301unit des chercheurs en histoire, histoire du cine\u0301ma et histoire de l\u2019art, anthropologie, sciences politiques, droit, chercheurs de provenance, travaillant sur des aires culturelles varie\u0301es.\u00a0<\/p>\n<p>Il explore d\u2019abord les spoliations du patrimoine cine\u0301matographique entre 1933 et 1945, phe\u0301nome\u0300ne largement me\u0301connu. Les communications re\u0301ve\u0300lent la complexite\u0301 de ces saisies\u00a0: spoliation des \u0153uvres, des mate\u0301riels, des cine\u0301astes, des laboratoires ou des lieux de projection. Les interventions permetteront de comprendre les me\u0301canismes pre\u0301cis de cette politique me\u0301thodiquement e\u0301labore\u0301e\u00a0: ses ramifications re\u0301gionales, le ro\u0302le des institutions implique\u0301es et des acteurs cle\u0301s, ainsi que les \u0153uvres et les re\u0301alisateurs spolie\u0301s.\u00a0\u00a0<br \/>Le deuxie\u0300me volet de ce colloque porte sur la repre\u0301sentation des spoliations et des pillages de biens culturels au cine\u0301ma. La multiplication ces dernie\u0300res anne\u0301es des fictions, des documentaires et des cre\u0301ations contemporaines consacre\u0301s aux translocations patrimoniales force\u0301es esquisse une typologie de films spe\u0301cifique. Les communications mettent au jour les sources, les moyens et objectifs que se fixent les films pour interroger la fac\u0327on dont le cine\u0301ma est utilise\u0301 comme un outil de reconstitution historique, de recontextualisation, mais aussi de critique ou de persuasion.\u00a0<\/p>\n<p>Le cine\u0301ma constitue aujourd\u2019hui l\u2019un des acteurs fondamentaux des de\u0301bats sur les translocations et les rapatriations de biens culturels. Il assimile et livre a\u0300 la fois une matie\u0300re idoine pour la cre\u0301ation et une re\u0301flexion sur la nature de l\u2019he\u0301ritage patrimonial en lien avec les proble\u0301matiques socie\u0301tales et internationales actuelles les plus vives. Puisque le cine\u0301ma est cre\u0301ateur de pense\u0301e, d\u2019images et d\u2019imaginaires, que nous dit-il de la circulation des biens culturels\u00a0? Quels nouveaux re\u0301cits e\u0301labore-t-il, et que peut-il dans le travail me\u0301moriel, identitaire et l\u2019e\u0301laboration de nouveaux modes relationnels\u00a0? C\u2019est a\u0300 l\u2019ensemble de ces questions, et a\u0300 d\u2019autres ouvertes par un corpus filmique polymorphe, que le colloque convie.\u00a0<\/p>\n<p>Programme et livret d\u00e9taill\u00e9 t\u00e9l\u00e9chargeables ici\u00a0: <a href=\"https:\/\/rechercheprovenances.fr\/actualites-2\/\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/rechercheprovenances.fr\/actualites-2\/<\/a><\/p>\n<p>\u2014<\/p>\n<p><strong>JEUDI 5 FEVRIER \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Jeu de Paume, auditorium<\/strong><\/p>\n<p>9.30-9.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Accueil<\/p>\n<p>9.45-10.00 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Introduction<\/p>\n<p>Barbara Le Ma\u00eetre, Maureen Murphy, Natacha Pernac, Universit\u00e9 Paris Nanterre<\/p>\n<p>10.00-10.25 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Conf\u00e9rence d\u2019ouverture<\/p>\n<p>Les vies cin\u00e9matographiques des patrimoines spoli\u00e9s\u00a0: des butins aux \u00e9crans<\/p>\n<p>B\u00e9n\u00e9dicte Savoy, Technische Universit\u00e4t, Berlin \u00a0 \u00a0<\/p>\n<p>\u00a0<\/p>\n<p><strong>La spoliation du cin\u00e9ma \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/strong><\/p>\n<p><strong>Mod\u00e9ration\u00a0: Christophe Gauthier, \u00c9cole nationale des chartes<\/strong><\/p>\n<p>10.30-10.55 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Mademoiselle Docteur\u00a0: de la spoliation \u00e0 la restitution.<\/p>\n<p>Eric Le Roy, expert-conseiller en patrimoines cin\u00e9matographiques et photographiques<\/p>\n<p>\u00a0<\/p>\n<p>10.55-11.20 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Un cas complexe de recherche de provenance\u00a0: Les saisies de films am\u00e9ricains par l\u2019arm\u00e9e allemande en France (1940-1944)<\/p>\n<p>C\u00e9lia de Saint Riquier, Ecole nationale des chartes, Centre Jean Mabillon\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>11.20-11.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Les films de Jean Benoit-L\u00e9vy dans la tourmente de la Seconde Guerre mondiale<\/p>\n<p>Suzanne Langlois, Universit\u00e9 York, Toronto (Canada)<\/p>\n<p>\u00a0<\/p>\n<p>11.45-12.00 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Discussion\u00a0<\/p>\n<p>12.00-13.15 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Pause d\u00e9jeuner<\/p>\n<p>\u00a0<\/p>\n<p><strong>S\u00e9ance 1 \u00a0 \u00a0 \u00a0 \u00a0Pellicules restitu\u00e9es \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong><\/p>\n<p>13.15-13.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Projections\u00a0<\/p>\n<p>\u00a0Maurice de Canonge, Grisou, France, 1938, g\u00e9n\u00e9rique, 3 min.<\/p>\n<p>\u00a0Jean Beno\u00eet-L\u00e9vy, Histoire d\u2019une commande, France, 1930, 11 min.\u00a0<\/p>\n<p>\u00a0Franciszka et Stefan Themerson, L\u2019Aventure du Bon Citoyen, Pologne, 1937, 12 min.<\/p>\n<p>\u00a0<\/p>\n<p>13.45-14.15 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Table-ronde autour des films projet\u00e9s<\/p>\n<p>Klaudia Podsiadlo, Eric Le Roy, Ellen Schafer<\/p>\n<p>\u00a0<\/p>\n<p>14.15-14.30 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Pause<\/p>\n<p>\u00a0<\/p>\n<p><strong>Les spoliations 1933-1945 \u00e0 l\u2019\u00e9cran \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/strong><\/p>\n<p><strong>Mod\u00e9ration\u00a0: H\u00e9l\u00e8ne Ivanoff, Centre Georg Simmel (UMR 8131-CNRS)\/EHESS<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>14.30-14.55 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0La Spoliation des biens juifs dans le cin\u00e9ma polonais (1945-1967)<\/p>\n<p>Ania Szczepanska, Universit\u00e9 Paris 1 (laboratoire HiCSA)\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>14.55-15.20 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Les repr\u00e9sentations des spoliations et de la r\u00e9cup\u00e9ration, entre images d\u2019actualit\u00e9 et de propagande et images recr\u00e9es\u00a0: <\/p>\n<p>The Train de J. Frankenheimer (1964) et Monuments Men de George Clooney (2014).<\/p>\n<p>Didier Schulmann, Mus\u00e9e national d&rsquo;art moderne- Centre Pompidou\u00a0<\/p>\n<p>En discussion avec Natacha Pernac<\/p>\n<p>\u00a0<\/p>\n<p>15.20-15.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0From Screen to Statute\u00a0: The Role of Cinema in Shaping Nazi-Looted Art Restitution Policy<\/p>\n<p>Livia Solaro, Maastricht University (Pays-Bas)<\/p>\n<p>\u00a0<\/p>\n<p>15.45-16.00 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Discussion<\/p>\n<p>16.00-16.15 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Pause<\/p>\n<p>\u00a0<\/p>\n<p><strong>S\u00e9ance 2 \u00a0 \u00a0 \u00a0 \u00a0Le Jeu de Paume\u00a0: fictions, circulations \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/p>\n<p>16.15-16.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Digital Raubkunst (Rose)\u00a0: pr\u00e9sentation de la cr\u00e9ation en ligne pour le Jeu de Paume<\/p>\n<p><a href=\"https:\/\/jeudepaume.org\/evenement\/digital-raubkunst-rose\/\" target=\"_blank\" rel=\"noopener\">https:\/\/jeudepaume.org\/evenement\/digital-raubkunst-rose\/<\/a><\/p>\n<p>Aur\u00e9lien Bambagioni, artiste\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>16.45-19.15\u00a0: \u00a0 \u00a0 \u00a0 \u00a0 Projection<\/p>\n<p>John Frankenheimer, Le Train, \u00c9tats-Unis, France, 1964, 133 min.<\/p>\n<p><strong>VENDREDI 6 FEVRIER \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 INHA, auditorium Jacqueline Lichtenstein<\/strong><\/p>\n<p>9.15-9.30 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Accueil<\/p>\n<p>\u00a0<\/p>\n<p><strong>Arts et pr\u00e9dations \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong><\/p>\n<p><strong>Mod\u00e9ration\u00a0: Ya\u00eblle Biro, Institut national d\u2019histoire de l\u2019art.<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>9.30-9.55 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Forgeries at the cabaret!: Authenticity and the Anti-modernism of Hans Zerlett\u2019s Venus vor Gericht (1941)<\/p>\n<p>Alexandra Germer, Princeton University (USA)<\/p>\n<p>\u00a0<\/p>\n<p>9.55-10.20 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0La mise en sc\u00e8ne de la spoliation dans le cin\u00e9ma des ann\u00e9es soixante et soixante-dix\u00a0:\u00a0<\/p>\n<p>Les Quatre Cavaliers de l&rsquo;Apocalypse (Vincente Minnelli, 1962) et Monsieur Klein (Joseph Losey, 1976)<\/p>\n<p>Th\u00e9o Esparon, Universit\u00e9 Paris Nanterre<\/p>\n<p>\u00a0<\/p>\n<p>10.20-10.35 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Pause caf\u00e9<\/p>\n<p>10.35-11.00 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Le geste de Spolia, entre pr\u00e9dation et r\u00e9sistance cin\u00e9matographique<\/p>\n<p>Paolo Lasagni, Universit\u00e9 Paris 8\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>11.00-11.30 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Discussion<\/p>\n<p>11.30-12.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Pause d\u00e9jeuner<\/p>\n<p>\u00a0<\/p>\n<p><strong>S\u00e9ance 3 \u00a0 \u00a0 \u00a0 \u00a0 Mettre au jour les statues \u00a0 \u00a0 \u00a0 \u00a0 <\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>12.45-13.50 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Projection introduite par Maureen Murphy (Universit\u00e9 Paris Nanterre)<\/p>\n<p>\u00a0Alain Resnais, Chris Marker, Les Statues meurent aussi, France, 1953, 30 min.<\/p>\n<p>\u00a0Susan M. Vogel, Fang, une \u00e9pop\u00e9e, \u00c9tats-Unis, 2001, 8 min.<\/p>\n<p>\u00a0Sarah Maldoror, Et les chiens se taisaient, France, 1978, 13 min.<\/p>\n<p>\u00a0Nii Kwate Owoo, You Hide Me, Ghana, 1970, 16 min.<\/p>\n<p>\u00a0<\/p>\n<p>13.50-14.20 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Discussion en anglais entre Maureen Murphy et Matthias de Groof, r\u00e9alisateur\u00a0<\/p>\n<p>\u00a0<\/p>\n<p><strong>Cin\u00e9ma et translocations dans le contexte colonial \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/strong><\/p>\n<p><strong>Mod\u00e9ration\u00a0: Damien Mottier, Ecole Pratique des Hautes Etudes<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>14.20-14.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Spoliation(s) et restitution(s) \u00e0 l\u2019\u00e9preuve du r\u00e9cit de filiation\u00a0: imaginaire g\u00e9n\u00e9alogique et formes d\u2019h\u00e9ritage m\u00e9moriel dans Les statues meurent aussi d\u2019Alain Resnais et Chris Marker et Dahomey de Mati Diop<\/p>\n<p>Delphe Kifouani, Universit\u00e9 Gaston Berger, Saint-Louis (S\u00e9n\u00e9gal)<\/p>\n<p>\u00a0<\/p>\n<p>14.45-15.10 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Les films meurent aussi &#8211; Restituer le cri anticolonialiste d\u2019Afrique 50 de Ren\u00e9 Vautier<\/p>\n<p>Mo\u00efra Chappedelaine-Vautier, productrice, autrice et r\u00e9alisatrice\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>15.10-15.35 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Filmic engagements with the Africa Museum<\/p>\n<p>Matthias De Groof, r\u00e9alisateur<\/p>\n<p>\u00a0<\/p>\n<p>15.35-16.00 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Discussion<\/p>\n<p>16.00-16.10 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Pause<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<strong>S\u00e9ance 4 \u00a0 \u00a0 \u00a0 \u00a0 Resituer, Restituer \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/p>\n<p>16.10-17.20 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Projection<\/p>\n<p>Mati Diop, Dahomey, France, 2023, 68 min.<\/p>\n<p>\u00a0<\/p>\n<p>17.20-18.00 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Discussion (sous r\u00e9serve) avec Mati Diop, r\u00e9alisatrice, et Gildas Adannou, Universit\u00e9 de Toulouse<\/p>\n<p><strong>SAMEDI 7 FEVRIER \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0INHA, auditorium Jacqueline Lichtenstein<\/strong><\/p>\n<p>9.15-9.30 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Accueil<\/p>\n<p>\u00a0<\/p>\n<p><strong>Reconnexions et films du retour \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/strong><\/p>\n<p><strong>Mod\u00e9ration\u00a0: Maureen Murphy, universit\u00e9 Paris Nanterre<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>9.30-9.55 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Entre diplomatie, m\u00e9moire et cin\u00e9ma\u00a0: le vol et la restitution silencieuse du Codex Tonalamatl-Aubin (1982)<\/p>\n<p>Ana Angel, Paris, EHESS\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>9.55-10.20 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Les films du retour\u00a0: cin\u00e9ma d\u2019exp\u00e9dition et mise en sc\u00e8ne de la restitution des images aux communaut\u00e9s autochtones<\/p>\n<p>Caroline Damiens, universit\u00e9 Paris Nanterre\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>10.20-10.35 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Discussion<\/p>\n<p>10.35-10.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Pause caf\u00e9<\/p>\n<p>\u00a0<\/p>\n<p>10.45-11.10 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Paulin S. Vieyra\u2019s Archival Futures: Toward Restitutive and Reparative Imaginaries for Africa\u2019s Displaced Film Heritage<\/p>\n<p>Nikolaus Perneczky, London, Queen Mary University\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>11.10-11.35 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Restituer les biens spoli\u00e9s sous le colonialisme italien\u00a0: l&rsquo;art vid\u00e9o face au silence cin\u00e9matographique<\/p>\n<p>Sara Sicolo, Universit\u00e9 Panth\u00e9on-Sorbonne\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>11.35-12.15 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Discussion<\/p>\n<p>12.15-13.30 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Pause d\u00e9jeuner<\/p>\n<p>\u00a0<\/p>\n<p><strong>S\u00e9ance 5 \u00a0 \u00a0 \u00a0 \u00a0Images, archives et \u00e9thique<\/strong> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>13.30-14.05 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Projection<\/p>\n<p>\u00a0\u00c2ngela Ferreira, Adventures in Mozambique and the Portuguese Tendency to Forget,\u00a0Portugal, Afrique du Sud, 2015, 20 min.<\/p>\n<p>\u00a0Anathi Conjwa, Whisper Gatherer, South Africa, 2023, 4 min.<\/p>\n<p>\u00a0<\/p>\n<p>14.05-14.35 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Table-ronde avec\u00a0<\/p>\n<p>Raquel Schefer, universit\u00e9 Sorbonne Nouvelle, G\u00e9raldine Poels, INA et\u00a0<\/p>\n<p>Julien Faure-Conorton, Mus\u00e9e d\u00e9partemental Albert-Kahn\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>14.35-15.00 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Citer, liciter, restituer\u00a0: Ethique et modalit\u00e9s de restitution des archives filmiques dans la production\u00a0<\/p>\n<p>documentaire europ\u00e9enne aujourd&rsquo;hui.<\/p>\n<p>Nora Philippe, autrice et r\u00e9alisatrice<\/p>\n<p>\u00a0<\/p>\n<p>15.00-15.20 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Pause<\/p>\n<p>\u00a0<\/p>\n<p><strong>Images, archives et \u00e9thique<\/strong><strong> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong><\/p>\n<p><strong>Mod\u00e9ration\u00a0: Ghislaine Glasson-Deschaumes, MSH Mondes<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>15.20-15.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Restituer les archives cin\u00e9matographiques palestiniennes spoli\u00e9es \u00e0 Beyrouth en 1982\u00a0:\u00a0<\/p>\n<p>que peuvent les images quand le droit \u00e9choue\u00a0?<\/p>\n<p>L\u00e9a Vicente, universit\u00e9 Paris Nanterre<\/p>\n<p>\u00a0<\/p>\n<p>15.45-17.10 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Projection<\/p>\n<p>\u00a0Kamal Aljafary, A Fidai film, Palestine, Allemagne, Qatar, Br\u00e9sil, France, 2024, 78 min.<\/p>\n<p>\u00a0<\/p>\n<p>17.10-17.45 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Discussion avec\u00a0<\/p>\n<p>Marie Cornu, CNRS (sous r\u00e9serve), Charlotte Schwarzinger, EHESS, Francesca Bozzano, Cin\u00e9math\u00e8que de Toulouse<\/p>\n<p>\u00a0<\/p>\n<p>18.00-19.00 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Pot de cl\u00f4ture<\/p>\n<p><strong>Comit\u00e9 d\u2019organisation\u00a0<\/strong><\/p>\n<p>Th\u00e9o Esparon, docteur en \u00e9tudes cin\u00e9matographiques, HAR<br \/>Barbara Le Ma\u00eetre, professeure en \u00e9tudes cin\u00e9matographiques, HAR<br \/>Maureen Murphy, professeure d\u2019histoire de l\u2019art contemporain, HAR<br \/>Natacha Pernac, ma\u00eetresse de conf\u00e9rences en histoire de l\u2019art moderne, HAR<br \/>Klaudia Podsiadlo, historienne de l&rsquo;art, chercheuse de provenance ind\u00e9pendante<br \/>Ghislaine Glasson-Deschaumes, directrice de la MSH Mondes<br \/>La programmation cin\u00e9matographique a \u00e9t\u00e9 dirig\u00e9e par Th\u00e9o Esparon.<\/p>\n<p><strong>Comit\u00e9 scientifique\u00a0<\/strong><\/p>\n<p>Aurore Chaigneau, professeure de droit, CEJEC (centre d\u2019\u00e9tudes juridiques europ\u00e9ennes et compar\u00e9es), universit\u00e9 Paris Nanterre\u00a0<br \/>Margaux Dumas, post-doctorante en histoire, MSH Mondes<br \/>Christophe Gauthier, professeur en histoire du cin\u00e9ma, Ecole des Chartes<br \/>Monica Heintz, professeure en anthropologie, LESC, projet CINEMAF, Images anim\u00e9es, m\u00e9moires controvers\u00e9es, universit\u00e9 Paris Nanterre\u00a0<br \/>Nora Philippe, autrice, r\u00e9alisatrice et productrice de cin\u00e9ma<br \/>B\u00e9n\u00e9dicte Savoy, professeure d\u2019histoire de l\u2019art, Technische Universit\u00e4t, Berlin<br \/>Didier Schulmann, conservateur honoraire, Mus\u00e9e national d&rsquo;art moderne- Centre Pompidou<br \/>et Th\u00e9o Esparon, Barbara Le Ma\u00eetre, Maureen Murphy, Natacha Pernac, Klaudia Podsiadlo,\u00a0<br \/>Ghislaine Glasson-Deschaumes<\/p>\n<p><strong>Le comit\u00e9 d\u2019organisation adresse ses vifs remerciements \u00e0\u00a0<\/strong><br \/>Marta Ponsa, M\u00e9lanie Lemar\u00e9chal et toute l\u2019\u00e9quipe du Jeu de Paume,\u00a0<br \/>Marianne Cojannot-Le Blanc, Olivier Hernan et Thierry Dufr\u00eane (HAR),\u00a0<br \/>Marina Egidi et Nathalie Cl\u00e9quin (MSH Mondes),\u00a0<br \/>Sabine Boussard, Nicole Armoudon (UFR DSP Universit\u00e9 Paris Nanterre)\u00a0<br \/>L\u2019ensemble des distributeurs et ayant-droits\u00a0: Ren\u00e9 Ch\u00e2teau, Liliane Jolivet, Lux, Jaisa Reichardt, Park Circus, Pr\u00e9sence Africaine Editions, Chantal Wintrebert, Annouchka de Andrade, Bob Hunter, Icarus Film, Gesa Knolle, Arsenal Berlin\u2013 Institut f\u00fcr Film und Videokunst, Les Films du Losange, \u00c2ngela Ferreira, Centre for the Less Good Idea, Light Cone<br \/>pour leurs contributions essentielles \u00e0 la tenue du colloque.<\/p>\n<p><strong>Le colloque b\u00e9n\u00e9ficie du soutien des acteurs suivants\u00a0:<\/strong><br \/>HAR, \u00e9quipe HMod-HCont et \u00e9quipe Cin\u00e9ma\u00a0<br \/>MSH Mondes<br \/>Jeu de Paume<br \/>Commission Recherche de l\u2019universit\u00e9 Paris Nanterre,\u00a0<br \/>Programme Sciences pour la Soci\u00e9t\u00e9<\/p>\n","protected":false},"excerpt":{"rendered":"Colloque international \u00ab\u00a0Cin\u00e9ma, spoliations, restitutions\u00a0\u00bb, Universit\u00e9 Paris Nanterre Ce colloque s\u2019inte\u0301resse aux spoliations du cine\u0301ma et a\u0300 la&hellip;\n","protected":false},"author":2,"featured_media":662443,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1888],"tags":[11,1777,674,1011,27,12,626,25],"class_list":{"0":"post-662442","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-paris","8":"tag-actualites","9":"tag-eu","10":"tag-europe","11":"tag-fr","12":"tag-france","13":"tag-news","14":"tag-paris","15":"tag-republique-francaise"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@fr\/115892343584894792","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/662442","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/comments?post=662442"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/662442\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media\/662443"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media?parent=662442"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/categories?post=662442"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/tags?post=662442"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}