{"id":5728,"date":"2021-02-15T13:30:33","date_gmt":"2021-02-15T11:30:33","guid":{"rendered":"http:\/\/www.ifas.org.za\/research\/?p=5728"},"modified":"2022-12-07T15:04:22","modified_gmt":"2022-12-07T13:04:22","slug":"appel-a-contributions-call-for-papers","status":"publish","type":"post","link":"https:\/\/www.ifas.org.za\/research\/uncategorized\/appel-a-contributions-call-for-papers\/","title":{"rendered":"Appel \u00e0 contributions\/ Call for papers"},"content":{"rendered":"<p>&nbsp;<\/p>\n\n\n<p class=\"wp-block-paragraph\"><strong>La cr\u00e9ation documentaire et cin\u00e9matographique dans l&#8217;Oc\u00e9an Indien<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La revue Tsingy (Sud-Ouest oc\u00e9an Indien) souhaite \u00e9diter au&nbsp;<strong>second semestre 2021&nbsp;<\/strong>un num\u00e9ro \u00ab Cin\u00e9ma et T\u00e9l\u00e9vision \u00bb. Cette publication portera une attention particuli\u00e8re \u00e0 la cr\u00e9ation documentaire insulaire t\u00e9l\u00e9vis\u00e9e et\/ou cin\u00e9matographique de l&#8217;oc\u00e9an Indien, sans pour autant n\u00e9gliger la production de fictions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Il s\u2019agira \u00e9galement d\u2019inscrire ces productions dans un cadre chronologique \u00e9largi, des premiers films r\u00e9alis\u00e9s par les colonisateurs, aux vues amateurs en passant par les films ethnographiques et de commandes, le documentaire ayant emprunt\u00e9 diff\u00e9rentes voies, de la production de films&nbsp;d\u2019actualit\u00e9s \u00e0 la t\u00e9l\u00e9vision en passant par le&nbsp;cin\u00e9ma. De plus en plus, le secteur se professionnalise&nbsp;dans les \u00eeles de l\u2019oc\u00e9an Indien occidental. La dimension technique aura ainsi toute sa place dans ce num\u00e9ro de la revue. Par exemple, \u00e0 Madagascar, des formations \u00e0&nbsp;l\u2019\u00e9criture documentaire ont \u00e9t\u00e9 initi\u00e9es par le biais de partenariats, tels T\u00ebnk \u00e0 Toamasina. La&nbsp;mobilisation des r\u00e9seaux (Africadoc) encourage une plus large diffusion des documentaires produits localement. La reconnaissance internationale s\u2019accentue avec les prix re\u00e7us par LovaNantenaina (<em>Zanaka, Teny nomen\u2019i F\u00e9lix<\/em>, poulain d&#8217;argent au FESPACO 2019) ou Micha\u00ebl Andrianaly (<em>Nofinofy,&nbsp;<\/em>\u00e9toile de la Scam 2020) et des s\u00e9lections dans des festivals (International Documentary&nbsp;Festival d\u2019Amsterdam,&nbsp;Cin\u00e9ma du R\u00e9el \u00e0 Paris, etc.).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Privil\u00e9giant une approche pluridisciplinaire, les articles de ce num\u00e9ro analyseront les films&nbsp;documentaires ayant une approche r\u00e9aliste, les relations de production, les r\u00e9seaux d\u2019artistes,&nbsp;les canaux de diffusion, les formations aux m\u00e9tiers de documentaristes mais aussi les spectateurs dans cette r\u00e9gion du monde (Madagascar, Ile de la R\u00e9union, Ile Maurice, Seychelles, Comores, Mayotte, Zanzibar). Regards historiques, ou contemporains, quels sont les mouvements dans la cr\u00e9ation documentaire de cette r\u00e9gion du monde ?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans une perspective comparative, les contributions sur l\u2019ensemble de l\u2019espace africain (en particulier l\u2019Afrique de l\u2019Est et du Sud),&nbsp;ainsi que des autres pays riverains de l\u2019oc\u00e9an Indien&nbsp;seront les bienvenues.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le but de ce num\u00e9ro est ainsi d&#8217;\u00e9tudier les enjeux du cin\u00e9ma documentaire et ses liens avec les autres m\u00e9dias (webs documentaires, t\u00e9l\u00e9vision) : impact des formats, financements, nouvelles \u00e9critures, jeunes auteurs dans le contexte&nbsp;sp\u00e9cifique de l\u2019insularit\u00e9.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les contributions pourront porter sur un r\u00e9alisateur, un film, des \u00e9tudes de r\u00e9ception, des analyses comparatives historiques ou g\u00e9ographiques, les r\u00e9seaux de collaboration entre les pays, les politiques sp\u00e9cifiques li\u00e9es au documentaire, les modalit\u00e9s de production, de&nbsp;diffusion<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Les propositions d\u2019article en fran\u00e7ais&nbsp;(et en anglais) devront \u00eatre envoy\u00e9es par mail \u00e0 Karine Blanchon (blanchon.K@wanadoo.fr) avant le 15 mars 2021.&nbsp;Elles seront accompagn\u00e9es d\u2019une&nbsp;courte pr\u00e9sentation de leur auteur (4 \u00e0 5 lignes).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Calendrier indicatif :<br>Validation des propositions avril 2021<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pour laisser une grande marge de libert\u00e9 aux auteurs, les articles pourront faire &nbsp; entre &nbsp; 20 000 et 100 000 signes. Les normes d&#8217;\u00e9dition seront transmises apr\u00e8s la validation des propositions. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Comit\u00e9 scientifique :<\/strong><br><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Jean-Fran\u00e7ois F\u00e9vrier<\/strong>, r\u00e9alisateur et directeur de la Direction de l&#8217;Audiovisuel, du Multim\u00e9dia et de l&#8217;Accessibilit\u00e9 Num\u00e9rique (DAMAN), Universit\u00e9 de la R\u00e9union.<\/li><li><strong>Catherine Fournet-Gu\u00e9rin<\/strong>, professeur des Universit\u00e9s, UFR de G\u00e9ographie et Am\u00e9nagement, Paris-Sorbonne.<\/li><li><strong>Odile Goerg<\/strong>, professeur \u00e9m\u00e9rite d&#8217;Histoire de l&#8217;Afrique contemporaine, Universit\u00e9 de Paris-<\/li><li>CESSMA (UMR 245).<\/li><li><strong>Caroline Lardy<\/strong>, ma\u00eetre de conf\u00e9rences en Etudes cin\u00e9matographiques et directrice du d\u00e9partement des M\u00e9tiers de la Culture, Universit\u00e9 de Clermont Auvergne.<\/li><li><strong>Noro Rakotobe d&#8217;Alberto<\/strong>, chercheure DIRE, Universit\u00e9 de la R\u00e9union.<\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Coordination du num\u00e9ro:&nbsp;<strong>Karine Blanchon<\/strong>, chercheure MICA, Universit\u00e9 Bordeaux Montaigne.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>R\u00e9f\u00e9rences cit\u00e9es :<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Delphe Kifouani ; Fran\u00e7ois Fronty (dir). 2015.&nbsp;<em>La diversit\u00e9 du documentaire de cr\u00e9ation en Afrique<\/em>, L\u2019Harmattan,&nbsp;(Coll. \u00abimages plurielles), 206 pages.<br>Julie Peghini. 2016. Ile r\u00eav\u00e9e, \u00eele r\u00e9elle :&nbsp;le multiculturalisme \u00e0 l\u2019\u00eele Maurice. Paris, PUV. 297&nbsp;pages.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Claude Alain Randriamihaingo. 2010. \u00ab Le film documentaire, une base pour la relance du cin\u00e9ma malgache : de quelques v\u00e9h\u00e9mentes p\u00e9r\u00e9grinations (1980-2000) \u00bb,&nbsp;<em>\u00c9tudes oc\u00e9an Indien<\/em>, 44. pp 215-226.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">Call for papers<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Documentary and cinematographic creation in the Indian Ocean<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The journal Tsingy (South-West Indian Ocean) wishes to publish a \u201cCinema and Television\u201d issue in the second half of 2021. This publication will pay particular attention to the creation of television and \/ or cinematographic documentaries films from the Indian Ocean, without neglecting the production of fictions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this part of the world, research on documentaries films is very often included in general questions on industry in Africa (Fronty \/ Kifouani 2015). Films also serve as a medium for a more in-depth study of the societies they address. Claude Alain Randriamihaingo (2010) underlined the historical and political links in the creation of Malagasy documentaries. Likewise, Julie Peghini (2016) insisted on cultural diversity in Mauritian production. The &#8220;real&#8221; side of documentary cinema should not, however, obscure the artistic aspect of the film, which presupposes a point of view, a bias, and therefore a sometimes one-sided, necessarily subjective, gaze.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The papers of this issue will also be interested in these productions in a broader chronological framework, from the first films made by the colonizers, to amateur views, including ethnographic and commissioned films. The documentary having taken different routes, from the production of films of news on television through the cinema. Increasingly, the sector is becoming more professional in the islands of the western Indian Ocean. The technical dimension will thus have its place in this issue of the journal. For example, in Madagascar, documentary writing training has been initiated through partnerships, such as T\u00ebnk in Toamasina. The mobilization of networks (Africadoc) encourages a wider distribution of documentaries produced locally. International recognition is growing with the prizes received by Lova Nantenaina (Zanaka, Tenynomen&#8217;i F\u00e9lix, at FESPACO 2019) or Micha\u00ebl Andrianaly (Nofinofy, star of Scam 2020) and selections in festivals (International Documentary Amsterdam Festival, Cin\u00e9ma du R\u00e9el in Paris,&#8230;).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This issue will focused on a multidisciplinary approach in order to analyze documentary films with a realistic approach, production relations, artist networks, distribution channels, training for documentary filmmakers but also viewers in this region of the world. (Madagascar, Reunion Island, Mauritius, Seychelles, Comoros, Mayotte, Zanzibar). Historical or contemporary perspectives, what are the movements in documentary creation in this region of the world?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From a comparative perspective, contributions from across the African space (in particular East and South Africa), as well as from other countries bordering the Indian Ocean will be welcome.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The aim of this issue is to study the challenges of documentary cinema and its links with other media (documentary webs, television): impact of formats, funding, new writings, young authors in the specific context of insularity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Contributions may relate to a director, a film, reception studies, comparative historical or geographic analyze, collaboration networks between countries, specific policies linked to documentaries, production methods, distribution, &#8230;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Article proposals in French (and in English) must be sent by email to Karine Blanchon (blanchon.k@wanadoo.fr) before March 15, 2021. They will be accompanied by a short presentation of their author (4 to 5 lines).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indicative timetable:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Validation of proposals March 2021<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sending of complete texts for submission to the scientific committee (double-blind evaluation) July 2021<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Issue number 26 published in November 2021<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Articles can be between 20,000 and 100,000 signs. The publishing standards will be transmitted after validation of the proposals.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Scientific committee:<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>Jean-Fran\u00e7ois February<\/strong>, director and director of the Audiovisual, Multimedia and Digital Accessibility Department (DAMAN), University of Reunion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>Catherine Fournet-Gu\u00e9rin<\/strong>, professor, UFR of Geography and Planning, Paris-Sorbonne.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>Odile Goerg<\/strong>, Emeritus Professor of Contemporary African History, University of Paris-CESSMA (UMR 245).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>Caroline Lardy<\/strong>, Senior Lecturer in Film Studies and Director of the Cultural Department, University of Clermont Auvergne.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2022 <strong>Noro Rakotobe d&#8217;Alberto<\/strong>, DIR researcher, University of Reunion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Coordination of the issue: Karine Blanchon, MICA researcher, Bordeaux Montaigne University.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>References cited:<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Delphe Kifouani ; Fran\u00e7ois Fronty&nbsp;(dir). 2015.&nbsp;<em>La diversit\u00e9 du documentaire de cr\u00e9ation en Afrique<\/em>, L\u2019Harmattan,&nbsp;(Coll. \u00abimages plurielles), 206 pages.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Julie Peghini. 2016.&nbsp;<em>Ile r\u00eav\u00e9e, \u00eele r\u00e9elle&nbsp;: le multiculturalisme \u00e0 l\u2019\u00eele Maurice<\/em>. Paris, PUV.&nbsp;&nbsp;297 pages.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Claude&nbsp;Alain<strong>&nbsp;<\/strong>Randriamihaingo. 2010. \u00ab&nbsp;Le film documentaire, une base pour la relance du cin\u00e9ma malgache : de quelques v\u00e9h\u00e9mentes p\u00e9r\u00e9grinations (1980-2000)&nbsp;\u00bb,&nbsp;<em>\u00c9tudes oc\u00e9an Indien<\/em>, 44. pp 215-226.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; La cr\u00e9ation documentaire et cin\u00e9matographique dans l&#8217;Oc\u00e9an Indien La revue Tsingy (Sud-Ouest oc\u00e9an Indien) souhaite \u00e9diter au&nbsp;second semestre 2021&nbsp;un num\u00e9ro \u00ab Cin\u00e9ma et T\u00e9l\u00e9vision \u00bb. Cette publication portera une attention particuli\u00e8re \u00e0 la cr\u00e9ation documentaire insulaire t\u00e9l\u00e9vis\u00e9e et\/ou cin\u00e9matographique de l&#8217;oc\u00e9an Indien, sans pour autant n\u00e9gliger la production de fictions. Il s\u2019agira \u00e9galement d\u2019inscrire [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":5745,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,4,21,1],"tags":[],"class_list":["post-5728","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-calls","category-news","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/5728","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/comments?post=5728"}],"version-history":[{"count":15,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/5728\/revisions"}],"predecessor-version":[{"id":5744,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/5728\/revisions\/5744"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media\/5745"}],"wp:attachment":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media?parent=5728"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/categories?post=5728"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/tags?post=5728"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}