Dossier coordonn\u00e9 par Mathieu Capel<\/p>\n\n\n\n
Tous les articles de ce num\u00e9ro sont en acc\u00e8s libre sur Open Edition => https:\/\/journals.openedition.org\/ebisu\/6593<\/a><\/p>\n\n\n\n Distribution, production, cr\u00e9ation : du roman porno<\/em> Nikkatsu \u00e0 Netflix Mathieu Capel <\/strong>Introduction. Notes sur le paysage contemporain du cin\u00e9ma japonais. Quarante ans d\u2019histoire du cin\u00e9ma<\/a> <\/p>\n\n\n\n Dimitri Ianni <\/strong>R\u00f4le et trajectoires des producteurs du roman porno<\/em> Nikkatsu<\/a> <\/p>\n\n\n\n Tom Mes <\/strong>La retenue et l\u2019exc\u00e8s : comment Miike Takashi a acc\u00e9d\u00e9 au circuit des festivals internationaux<\/a> <\/p>\n\n\n\n Christopher P. Hood<\/strong> <\/a>Les r\u00e9cits de catastrophe japonais du d\u00e9but du xxie<\/sup> si\u00e8cle : continuit\u00e9 et changement<\/a><\/p>\n\n\n\n El\u00e9onore Mahmoudian<\/strong> <\/a>Le collectif Kuzoku et le cin\u00e9ma ind\u00e9pendant japonais au tournant des ann\u00e9es 2010<\/a><\/p>\n\n\n\n Fabien Carpentras<\/strong> <\/a>Les films r\u00e9alis\u00e9s en coop\u00e9ration avec les Forces japonaises d\u2019autod\u00e9fense. Une forme de propagande indirecte dans un monde multicentrique<\/a> <\/p>\n\n\n\n Rapha\u00eblle Yokota<\/strong> <\/a>Plateformes de vid\u00e9os \u00e0 la demande : quel r\u00f4le dans la production cin\u00e9matographique contemporaine au Japon ?<\/a> <\/p>\n\n\n\n Hao Wen<\/strong> <\/a>Le cin\u00e9ma japonais ind\u012bzu<\/em> et la fabrique n\u00e9olib\u00e9rale de l\u2019auteur et de l\u2019autrice : l\u2019exemple de MOOSIC LAB<\/a> <\/p>\n\n\n\n Critique\u202f: le \u00ab ph\u00e9nom\u00e8ne \u00bb Hasum Mathieu Capel<\/strong> <\/a>Introduction. Hasumi Shigu\u00e9hiko, le film comme \u00e9v\u00e9nement<\/a> <\/p>\n\n\n\n Ry\u016bsuke Hamaguchi<\/strong> <\/a>Rencontre et \u00e9branlement<\/a> <\/p>\n\n\n\n Chika Kinoshita<\/strong> <\/a>Femmes et enfants en lutte. Sur la spectatorialit\u00e9 dans les critiques de cin\u00e9ma de Hasumi Shigu\u00e9hiko<\/a> <\/p>\n\n\n\n Daisuke Watanabe<\/strong> <\/a>Sur le devenir du double tournant historique\/tournant de la th\u00e9orie des m\u00e9dias<\/em>. Hasumi Shigu\u00e9hiko et la condition postm\u00e9dium<\/em><\/a> <\/p>\n\n\n\n Shigu\u00e9hiko Hasumi <\/strong>Le cin\u00e9ma comme institution<\/a> <\/p>\n\n\n\n Shigu\u00e9hiko Hasumi<\/strong> <\/a>Cin\u00e9ma et critique<\/a><\/p>\n\n\n\n Shigu\u00e9hiko Hasumi<\/strong> <\/a>Cin\u00e9ma et litt\u00e9rature<\/a><\/p>\n\n\n\n Shigu\u00e9hiko Hasumi<\/strong> <\/a>Le r\u00e9cit, la narration et leurs discours<\/a><\/p>\n\n\n\n Index<\/p>\n\n\n\n Index des films cit\u00e9s<\/a> \u00c9tabli par Amira Zegrour<\/p>\n\n\n\n Varia<\/strong><\/p>\n\n\n\n Delphine Mulard<\/strong> <\/a>Le corps dans la peinture narrative des xvie<\/sup> et xviie<\/sup> si\u00e8cles \u00e0 travers l\u2019exemple du Bunsh\u014d z\u014dshi<\/em><\/a> <\/p>\n\n\n\n Livres \u00e0<\/em> lire<\/strong><\/p>\n\n\n\n Comptes rendus<\/p>\n\n\n\n Christophe Marquet <\/strong>Berlinguez-K\u00f4no Noriko (dir.), La Gen\u00e8se des \u00e9tudes japonaises en Europe. Autour du fonds L\u00e9on de Rosny de Lille \/ Y\u014droppa ni okeru Nihon-gaku no genry\u016b : R\u012bru-shi Reon do ron\u012b bunko o megutte<\/em> | Machi Senjur\u014d \u753a\u6cc9\u5bff\u90ce (dir.), Reon do Ron\u012b to j\u016bky\u016b seiki \u014csh\u016b t\u014dy\u014dgaku. Ky\u016bz\u014d kanseki no mokuroku to keny\u016b<\/em><\/a> <\/p>\n\n\n\n Gilles Campagnolo<\/strong> <\/a>Takamura K\u014dtar\u014d, Po\u00e8mes \u00e0 Chieko, <\/em>trad. de Nakazato Makiko avec la collaboration d\u2019\u00c9ric Beno\u00eet<\/a> <\/p>\n\n\n\n Claude Est\u00e8be<\/strong> <\/a>Souyri Pierre-Fran\u00e7ois & Pons Philippe, L\u2019Esprit de plaisir : une histoire de la sexualit\u00e9 et de l\u2019\u00e9rotisme au Japon (17<\/em>e<\/em><\/sup>-20<\/em>e<\/em><\/sup> si\u00e8cle)<\/em><\/a> <\/p>\n\n\n\n Thomas Garcin<\/strong> <\/a>Sakai C\u00e9cile & Sawada Nao (dir.), Pour une autre litt\u00e9rature mondiale : la traduction franco-japonaise en perspective<\/em><\/a> <\/p>\n\n\n\n Kanae Sarugasawa<\/strong> <\/a>L\u00e9vy Christine & Lef\u00e8vre Brigitte (dir.), Parcours f\u00e9ministes dans la litt\u00e9rature et dans la soci\u00e9t\u00e9 japonaise de 1910 \u00e0 1930. De <\/em>Seit\u014d aux mod\u00e8les de politique sociale<\/em><\/a><\/p>\n\n\n\n Xavier Mellet<\/strong> <\/a>Oguma Eiji \u5c0f\u718a\u82f1\u4e8c, Nihon shakai no shikumi. Koy\u014d, ky\u014diku, fukushi no rekishi shakai-gaku <\/em>\u65e5\u672c\u793e\u4f1a\u306e\u3057\u304f\u307f \u96c7\u7528\u30fb\u6559\u80b2\u30fb\u798f\u7949\u306e\u6b74\u53f2\u793e\u4f1a\u5b66 (Les m\u00e9canismes de la soci\u00e9t\u00e9 japonaise. Sociologie historique de l\u2019emploi, de l\u2019\u00e9ducation et de la protection sociale)<\/a><\/p>\n\n\n\n Recension<\/strong><\/p>\n\n\n\n Rapha\u00ebl\u00a0Languillon-Aussel<\/strong> Pelletier\u00a0Philippe,\u00a0L\u2019Invention du Japon<\/em><\/a><\/p>\n\n\n\n Ouvrages re\u00e7us<\/a><\/p>\n","protected":false},"excerpt":{"rendered":" Dossier. Films en miroir. Quarante ans de cin\u00e9ma au Japon (1980-2020) \u7279\u96c6\u3000\u93e1\u306e\u6620\u753b\u305f\u3061\uff1a\u65e5\u672c\u6620\u753b\u306e40\u5e74\uff081980\u5e74\u301c2020\u5e74\uff09Feature. Films in the Mirror: Forty Years of Cinema in Japan (1980-2020) Dossier coordonn\u00e9 par Mathieu Capel Tous les articles de ce num\u00e9ro sont en acc\u00e8s libre sur Open… Lire la suite<\/a><\/p>\n","protected":false},"author":3,"featured_media":2712,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"categories":[28,2],"tags":[],"class_list":["post-2707","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actualites","category-publications"],"_links":{"self":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts\/2707","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2707"}],"version-history":[{"count":2,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts\/2707\/revisions"}],"predecessor-version":[{"id":2714,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/posts\/2707\/revisions\/2714"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=\/wp\/v2\/media\/2712"}],"wp:attachment":[{"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2707"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2707"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/sfej.asso.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2707"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Sommaire<\/h2>\n\n\n\n
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Distribution, Production, Creation: From the Nikkatsu Roman Porno<\/em> to Netflix<\/p>\n\n\n\n
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Film Critic: The Hasumi \u201cPhenomenon\u201d<\/p>\n\n\n\n