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Dispositif d’éducation à l’image hors temps scolaire, en direction des publics ayant des difficultés d’accès aux pratiques cinématographiques. Un regroupement de coordinations locales (près de 400), régionales (27) et nationale (1), de partenaires nationaux et régionaux, de collectivités territoriales, de professionnels du cinéma et de l’audiovisuel, d’associations...

Accueil > Image education > Stakes of Image Education > Experience stories

Experience stories


Dans cette rubrique : Experience stories

  • Everybody’s Somebody’s Stranger

    Encountering others and differences. How to define racism ? Children of Pauillac have worked on this topic in the summer. At stake, a new way to look at others and at their cultures ... What is racism ? This term, that only those who face it can define, is probably not so easy to address for the fourteen children from the Garosse Social Centre in Pauillac in Aquitaine who had to work on it. They were young, between 9 and 13, and thus lacked experienced on the topic. This summer, in a (...)

  • Like a midwife giving birth to words

    The workshop un été au ciné/cinéville (N.B. : now called Passeurs d’images) in Lille : an exemplary experience, two wonderful films... “We did not want to do a fiction… You see it everyday on television”, said Moktal. Live, on the stage of the cinema L’Univers in Lille, words go through the room. Images create meaning, they spark off debates. Images are here, embodied by the participants in Lille of the workshop un été au ciné/cinéville (N.B. : now called Passeurs d’images) from last July. We are far (...)

  • Memories of a workshop in Marseilles

    Patrick Zachmann has been working as a photographer since the early eighties. He directed several documentaries abroad, which quite often gave birth to books, or even films. During this speech, he recalls a workshop on photography, which he had led in 1984 in Marseilles – at the origin of the book Ma Proche Banlieue (“My close suburb”) and of the film Bar centre des autocars (“Bar Centre of Coaches”) – and the importance of memory and identity in his own work. His intervention follows Denis (...)



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