{"product_id":"renversements-1","title":"Renversements 1","description":"\u003cp class=\"\" style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eAuthor(s)\u003cstrong\u003e Érik Bullot\u003cbr\u003e\u003c\/strong\u003eFormat\u003cstrong\u003e softcover\u003cbr\u003e\u003c\/strong\u003eYear\u003cstrong\u003e 2009\u003cbr\u003e\u003c\/strong\u003eLanguage(s)\u003cstrong\u003e French\u003cbr\u003e\u003c\/strong\u003ePages\u003cstrong\u003e 172 pages\u003c\/strong\u003e\u003c\/p\u003e\u003ch4 style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eDescription\u003c\/h4\u003e\u003cp class=\"\" style=\"white-space:pre-wrap;\" data-rte-preserve-empty=\"true\"\u003e\u003cspan\u003eIn the age of exhibition cinema and the screening of films on the domestic screens of computers or mobile phones, cinema seems to be undergoing a profound transformation.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIs it being overturned, in the sense of the end of a reign, by new media and new practices, or is it inverting, in dialectical terms, its own elements with a view to its supersession? \"The reverse is worth the obverse,\" wrote Jean Epstein as early as the 1920s. Curiously, the motif of reversal, whether optical, plastic, dramatic, structural or musical, has long haunted the history of the medium.\u003c\/span\u003e\u003c\/p\u003e","brand":"Érik Bullot","offers":[{"title":"Default Title","offer_id":56788936884555,"sku":"SQ0611533","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/3034\/9643\/files\/BOOK--Renversements1-Bullot.webp?v=1773411927","url":"https:\/\/re-voir.com\/en\/products\/renversements-1","provider":"Re:Voir","version":"1.0","type":"link"}