[et_pb_section bb_built=\u00a0\u00bb1″ _builder_version=\u00a0\u00bb3.22″ next_background_color=\u00a0\u00bb#000000″][et_pb_row _builder_version=\u00a0\u00bb3.22″ background_size=\u00a0\u00bbinitial\u00a0\u00bb background_position=\u00a0\u00bbtop_left\u00a0\u00bb background_repeat=\u00a0\u00bbrepeat\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbintro\u00a0\u00bb module_id=\u00a0\u00bbintro\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ z_index_tablet=\u00a0\u00bb500″ text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ text_orientation=\u00a0\u00bbjustified\u00a0\u00bb]<\/p>\n
Journ\u00e9e d’\u00e9tude<\/p>\n
Femmes d’Image, Images de femmes<\/strong><\/p>\n Pour une approche transversale de la place des femmes dans les cin\u00e9mas d’Europe centrale, orientale et balkanique<\/strong><\/p>\n Universit\u00e9 Paris Cit\u00e9 (Campus des Grands Moulins)\u00a0<\/p>\n Le 10 juin 2026<\/p>\n Comit\u00e9 d\u2019organisation :<\/u><\/strong><\/p>\n \u00a0<\/p>\n Comit\u00e9 scientifique :\u00a0<\/u><\/strong><\/p>\n \u00a0<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_id=\u00a0\u00bbimage-page-type\u00a0\u00bb _builder_version=\u00a0\u00bb3.22″][et_pb_column type=\u00a0\u00bb4_4″][et_pb_image admin_label=\u00a0\u00bbImage 1920 x 1080″ src=\u00a0\u00bbhttps:\/\/u-paris.fr\/cerilac\/wp-content\/uploads\/sites\/7\/2025\/11\/te\u0301le\u0301chargement.jpeg\u00a0\u00bb align=\u00a0\u00bbcenter\u00a0\u00bb module_id=\u00a0\u00bbimage-page\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ z_index_tablet=\u00a0\u00bb500″ \/][et_pb_text _builder_version=\u00a0\u00bb3.22.1″ text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ z_index_tablet=\u00a0\u00bb500″]<\/p>\n \u00a9 Archives d’Esther Krumbachova\u00a0<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\u00a0\u00bb3.22″ background_size=\u00a0\u00bbinitial\u00a0\u00bb background_position=\u00a0\u00bbtop_left\u00a0\u00bb background_repeat=\u00a0\u00bbrepeat\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text module_id=\u00a0\u00bbcontenu\u00a0\u00bb _builder_version=\u00a0\u00bb3.22.1″ text_orientation=\u00a0\u00bbjustified\u00a0\u00bb z_index_tablet=\u00a0\u00bb500″ text_text_shadow_horizontal_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_vertical_length=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ text_text_shadow_blur_strength=\u00a0\u00bbtext_text_shadow_style,%91object Object%93″ link_text_shadow_horizontal_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_vertical_length=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ link_text_shadow_blur_strength=\u00a0\u00bblink_text_shadow_style,%91object Object%93″ ul_text_shadow_horizontal_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_vertical_length=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ul_text_shadow_blur_strength=\u00a0\u00bbul_text_shadow_style,%91object Object%93″ ol_text_shadow_horizontal_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_vertical_length=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ ol_text_shadow_blur_strength=\u00a0\u00bbol_text_shadow_style,%91object Object%93″ quote_text_shadow_horizontal_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_vertical_length=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ quote_text_shadow_blur_strength=\u00a0\u00bbquote_text_shadow_style,%91object Object%93″ header_text_shadow_horizontal_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_vertical_length=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_text_shadow_blur_strength=\u00a0\u00bbheader_text_shadow_style,%91object Object%93″ header_2_text_shadow_horizontal_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_vertical_length=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_2_text_shadow_blur_strength=\u00a0\u00bbheader_2_text_shadow_style,%91object Object%93″ header_3_text_shadow_horizontal_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_vertical_length=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_3_text_shadow_blur_strength=\u00a0\u00bbheader_3_text_shadow_style,%91object Object%93″ header_4_text_shadow_horizontal_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_vertical_length=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_4_text_shadow_blur_strength=\u00a0\u00bbheader_4_text_shadow_style,%91object Object%93″ header_5_text_shadow_horizontal_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_vertical_length=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_5_text_shadow_blur_strength=\u00a0\u00bbheader_5_text_shadow_style,%91object Object%93″ header_6_text_shadow_horizontal_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_vertical_length=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″ header_6_text_shadow_blur_strength=\u00a0\u00bbheader_6_text_shadow_style,%91object Object%93″]<\/p>\n De\u00a0La M\u00e8re\u00a0<\/em>(\u041c\u0430\u0442\u044c<\/em>, 1955) de Dovjenko au personnage d\u2019Agnieszka (Krystyna Janda) dans\u00a0L\u2019homme de marbre<\/em>\u00a0(Cz\u0142owiek z marmuru<\/em>, 1977) de Andrzej Wajda, ou Veronika (Tatiana Samo\u00eflova)\u00a0l\u2019h\u00e9ro\u00efne de\u00a0Quand passent les cigognes<\/em>\u00a0(Letiat jouravli<\/em>, 1957) de Mikha\u00efl Kalatozov, les cin\u00e9matographies de l\u2019Est ont su mettre en sc\u00e8ne des personnages f\u00e9minins complexes et magistralement interpr\u00e9t\u00e9s, qui ont boulevers\u00e9 les spectateurs \u00e0 travers le monde. Cependant, ce que nous disent ces h\u00e9ro\u00efnes des soci\u00e9t\u00e9s dans lesquelles elles ont \u00e9t\u00e9 fa\u00e7onn\u00e9es n\u2019a pas toujours \u00e9t\u00e9 bien compris, notamment \u00e0 l\u2019Ouest o\u00f9 elles ont souvent \u00e9t\u00e9 analys\u00e9es \u00e0 partir d\u2019un point de vue occidental. Comme l\u2019ont montr\u00e9 des travaux d\u2019historiens et de sp\u00e9cialistes du genre, les divisions genr\u00e9es \u00e0 l\u2019\u0153uvre dans les soci\u00e9t\u00e9s socialistes se distinguent largement de celles observ\u00e9es dans le monde de l\u2019autre c\u00f4t\u00e9 du rideau de fer. Ainsi que le souligne la sociologue Sarah Ashwin dans l\u2019introduction de l\u2019ouvrage collectif intitul\u00e9\u00a0Gender, state and society in Soviet and post-Soviet Russia<\/em>, le \u00ab genre a toujours \u00e9t\u00e9 un principe organisateur cl\u00e9 du syst\u00e8me sovi\u00e9tique \u00bb dans la mesure o\u00f9 \u00ab les hommes et les femmes avaient des r\u00f4les distinctifs \u00e0 jouer dans la construction du communisme \u00bb (Ashwin, 2000 : 1). Cette r\u00e9partition genr\u00e9e ne fut pas seulement la base d\u2019un syst\u00e8me \u00e9conomique et social, mais consolida \u00e9galement l\u2019autorit\u00e9 d\u2019un r\u00e9gime qui s\u2019est maintenu pendant pr\u00e8s de 73 ans, en infusant son mod\u00e8le dans des \u00c9tats voisins (ibid.<\/em>, 3). Tout au long de l\u2019existence du bloc de l\u2019Est, le cin\u00e9ma, \u00ab le plus important de tous les arts \u00bb selon les mots attribu\u00e9s \u00e0 L\u00e9nine, joua ind\u00e9niablement un r\u00f4le dans l\u2019accompagnement de changements soci\u00e9taux, autant qu\u2019il en fut le miroir. Cela se manifeste \u00e0 l\u2019\u00e9cran par la construction d\u2019arch\u00e9types f\u00e9minins, ou au contraire par des ruptures radicales dans les repr\u00e9sentations des r\u00f4les sociaux attribu\u00e9s aux femmes d\u2019une p\u00e9riode \u00e0 l\u2019autre (Rojavin, Harte, 2018). Comment \u00e9crire une histoire de la repr\u00e9sentation des femmes \u00e0 l\u2019\u00e9cran dans les cin\u00e9mas d\u2019Europe de l\u2019Est, centrale et des Balkans ? Quelle est l\u2019\u00e9volution de ces repr\u00e9sentations et comment accompagne-t-elle les bouleversements politiques et sociaux qui ont influenc\u00e9 les divisions genr\u00e9es dans ces soci\u00e9t\u00e9s, \u00e0 la fois dans la sph\u00e8re publique et dans la sph\u00e8re priv\u00e9e ? Quels apports esth\u00e9tiques les r\u00e9alisatrices de cette zone g\u00e9ographique ont-elles propos\u00e9s et sous quelles formes cin\u00e9matographiques ? Comment la place des femmes pendant la p\u00e9riode socialiste est-elle repr\u00e9sent\u00e9e aujourd\u2019hui par le cin\u00e9ma contemporain ? Toutes ces questions guideront les r\u00e9flexions de cette journ\u00e9e d\u2019\u00e9tude qui visera \u00e0 dresser un panorama de la place des femmes \u00e0 l\u2019\u00e9cran dans les cin\u00e9mas de l\u2019ancien bloc de l\u2019Est. Les communicant\u00b7e\u00b7s, sp\u00e9cialistes ou non des cin\u00e9matographies qui font l\u2019objet de cette journ\u00e9e, pourront inscrire leurs communications dans des approches esth\u00e9tiques, historiques ou sociologiques selon un ou plusieurs des axes suivants (la pr\u00e9sentation des axes d\u00e9taill\u00e9e est \u00e0 retrouver dans le document joint) :\u00a0<\/p>\n Axe 1 : Histoire des femmes \u00e0 l\u2019\u00e9cran, les repr\u00e9sentations de personnages f\u00e9minins et leur \u00e9volution dans les pays socialistes<\/strong><\/p>\n Dans une perspective historique, les communications pourront proposer des \u00e9tudes de cas autour d\u2019un ou plusieurs films, r\u00e9alis\u00e9s par des hommes ou des femmes, pour \u00e9tudier les repr\u00e9sentations de personnages f\u00e9minins \u00e0 l\u2019\u00e9cran, et ce qu\u2019elles disent des divisions genr\u00e9es dans leurs soci\u00e9t\u00e9s respectives. Elles pourront s’int\u00e9resser aux formes esth\u00e9tiques mobilis\u00e9es \u00e0 l\u2019\u00e9cran pour traduire ces exp\u00e9riences f\u00e9minines. Selon quelles modalit\u00e9s les enjeux de genre rencontrent-ils des questions id\u00e9ologiques ? Elles pourront enfin examiner les st\u00e9r\u00e9otypes de genre, en explorant comment ils peuvent servir ou non des int\u00e9r\u00eats id\u00e9ologiques, en engageant un \u00e9change entre les \u00e9poques et les nations, dans une approche comparatiste.<\/p>\n Axe 2 : Faire sortir les femmes des\u00a0<\/strong>\u00ab\u00a0marges de l\u2019histoire \u00bb (Mazierska, 2001), regards contemporains sur des enjeux pass\u00e9s<\/strong><\/p>\n On pourra ainsi s\u2019int\u00e9resser \u00e0 la mani\u00e8re dont le cin\u00e9ma contemporain dans ces territoires repr\u00e9sente, interroge, ou propose une relecture de la p\u00e9riode communiste, d\u2019un point de vue f\u00e9minin, ainsi que les modalit\u00e9s esth\u00e9tiques et g\u00e9n\u00e9riques de ce regard sur le pass\u00e9. Les communicant\u00b7e\u00b7s pourront \u00e9tudier le dialogue qu\u2019entretiennent les repr\u00e9sentations cin\u00e9matographiques avec les politiques m\u00e9morielles mises en place (ou non) dans ces pays. Une attention particuli\u00e8re pourra \u00eatre port\u00e9e \u00e0 la place des figures f\u00e9minines dans la mani\u00e8re dont le cin\u00e9ma participe \u00e0 l\u2019\u00e9laboration d\u2019une m\u00e9moire collective de la p\u00e9riode communiste dans toute sa complexit\u00e9.\u00a0<\/p>\n Axe 3 : Pour une histoire d\u2019un cin\u00e9ma f\u00e9minin\/f\u00e9ministe \u00e0 l\u2019Est<\/strong><\/p>\n Des analyses politico-esth\u00e9tiques autour du langage formel des films des r\u00e9alisatrices et la mani\u00e8re dont ils peuvent traduire un engagement politique pour l\u2019\u00e9volution des droits des femmes dans ces soci\u00e9t\u00e9s pourront ainsi \u00eatre propos\u00e9es, en regard ou non de l\u2019engagement connu des cin\u00e9astes elles-m\u00eames. Des \u00e9tudes de r\u00e9ception seront \u00e0 m\u00eame d\u2019\u00e9clairer les lectures contradictoires de certains de ces films \u00e0 l\u2019Est et \u00e0 l\u2019Ouest. Des approches comparatistes pourront \u00e9galement s\u2019int\u00e9resser au dialogue formel entre les territoires, dans le cas de cin\u00e9astes qui ont \u00e9tudi\u00e9 dans d\u2019autres pays du bloc de l\u2019Est \u00e0 l\u2019instar d\u2019Agnieszka Holland, ou encore entre les \u00e9poques, en proposant d\u2019\u00e9ventuelles filiations entre des r\u00e9alisatrices de la p\u00e9riode communiste et celles d\u2019aujourd\u2019hui.\u00a0<\/p>\n Modalit\u00e9s de participation :<\/strong><\/p>\n La journ\u00e9e d\u2019\u00e9tude aura lieu le 10 juin 2026 \u00e0 l\u2019Universit\u00e9 Paris Cit\u00e9 (Campus des Grands Moulins).<\/p>\n Les communications dureront environ 30 minutes et seront suivies d\u2019une discussion. Les titres et propositions de communications (400-500 mots) sont \u00e0 envoyer par mail, accompagn\u00e9s d\u2019une courte bio-bibliographie d\u2019ici le 1er f\u00e9vrier 2026 (lea.dabrowski@unicaen.fr,\u00a0<\/a>garance.fromont@cefres.cz<\/a>,\u00a0david.vasse@unicaen.fr<\/a>). Les r\u00e9ponses seront envoy\u00e9es au plus tard le 28 f\u00e9vrier 2026.<\/p>\n Cette journ\u00e9e d’\u00e9tude s’inscrit dans le cadre de la \u00ab\u00a0Quinzaine du genre centre-europ\u00e9en\u00a0\u00bb, un \u00e9v\u00e9nement qui r\u00e9unira projection, table ronde ainsi que le colloque international \u00ab\u00a0Femmes de(s) Collision(s) : F\u00e9minins et narrations dans les modernismes en Europe balkanique, centrale et orientale (1870-1970)\u00a0\u00bb<\/a>.<\/p>\n T\u00e9l\u00e9charger la version pdf de l’appel \u00e0 communication<\/a><\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section bb_built=\u00a0\u00bb1″ _builder_version=\u00a0\u00bb3.22″ custom_padding=\u00a0\u00bb0px||0px|\u00a0\u00bb prev_background_color=\u00a0\u00bb#000000″][et_pb_row _builder_version=\u00a0\u00bb3.22″][et_pb_column type=\u00a0\u00bb4_4″][et_pb_text admin_label=\u00a0\u00bbArticles similaires\u00a0\u00bb _builder_version=\u00a0\u00bb3.16.1″]<\/p>\n [\/et_pb_text][et_pb_blog posts_number=\u00a0\u00bb4″ include_categories=\u00a0\u00bb38,45,14,12,11,15,1,13″ show_author=\u00a0\u00bboff\u00a0\u00bb show_date=\u00a0\u00bboff\u00a0\u00bb show_pagination=\u00a0\u00bboff\u00a0\u00bb module_id=\u00a0\u00bbpage_type_blog\u00a0\u00bb _builder_version=\u00a0\u00bb3.21″ header_level=\u00a0\u00bbh4″ border_width_bottom_fullwidth=\u00a0\u00bb1px\u00a0\u00bb border_color_bottom_fullwidth=\u00a0\u00bbrgba(51,51,51,0.18)\u00a0\u00bb custom_padding=\u00a0\u00bb||50px|\u00a0\u00bb \/][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Journ\u00e9e d’\u00e9tudeFemmes d’Image, Images de femmesPour une approche transversale de la place des femmes dans les cin\u00e9mas d’Europe centrale, orientale et balkaniqueUniversit\u00e9 Paris Cit\u00e9 (Campus des Grands Moulins)\u00a0Le 10 juin 2026Comit\u00e9 d\u2019organisation :L\u00e9a Dabrowski (Universit\u00e9 de Caen Normandie)Garance Fromont (Universit\u00e9 Paris Cit\u00e9, Cefres)David Vasse (Universit\u00e9 de Caen Normandie)\u00a0Comit\u00e9 scientifique :\u00a0Na\u00efma Berkane (Sorbonne universit\u00e9)Fr\u00e9d\u00e9rique Berthet (Universit\u00e9… Lire la suite AAC – \u00ab\u00a0Femmes d’Image, Images de Femmes : Pour une approche transversale de la place des femmes dans les cin\u00e9mas d\u2019Europe centrale, orientale et balkanique\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":620,"featured_media":6460,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[31,25,1],"tags":[],"coauthors":[68],"class_list":["post-6454","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-agenda","category-appels-a-communications","category-cerilac"],"_links":{"self":[{"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/posts\/6454","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/users\/620"}],"replies":[{"embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/comments?post=6454"}],"version-history":[{"count":3,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/posts\/6454\/revisions"}],"predecessor-version":[{"id":6462,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/posts\/6454\/revisions\/6462"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/media\/6460"}],"wp:attachment":[{"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/media?parent=6454"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/categories?post=6454"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/tags?post=6454"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/u-paris.fr\/cerilac\/wp-json\/wp\/v2\/coauthors?post=6454"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
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