Quel bruit fait l'exotisme dans les films ? Comment double-t-on un accent ou traduit-on une spécificité langagière et culturelle ? Comment le cinéma fait-il parler l’autre ? Comment le cinéma recycle-t-il et invente-t-il des « clichés sonores » de l'exotisme, dans ses bruits, ses tons, ses rythmes ? Et à l’inverse, comment impose-t-il le silence à des corps, des objets, des lieux ? Ce colloque international sera l'occasion d'étudier un autre aspect de ces interactions de l'exotisme entre écoutant et écouté. L'exotisme n'est pas qu'un spectacle pour les yeux, il est également unspectacle pour les oreilles. Mais écoutons-nous vraiment ?Q u'entendons-nous au juste, sinon peutêtrece que nous voulons entendre de l'autre, ou ce que nous croyons être « le bruit de l'autre » ?

13th and 14th November 2019

Organisation

• IRCAV-Université Sorbonne Nouvelle
• Centre d'études sur la Chine moderne et contemporaine
• EHESS-CNRS

Argument

What sound does exoticism make in movies? How do you dub an accent or translate a linguisticand cultural specificity? How does cinema recycle and imagine "sound clichés" of exoticism, in itsnoises, tones and rhythms?

For a year, we explored, in the form of a workshop, various back and forth journeys from exoticismin fiction film, from China to the United States, Iran, India, Taiwan, Japan or Soviet Russia - whatwe call the shot/reverse shot between the ones looking and those ones being watched, between “us”and “the others”.

This international symposium will be an opportunity to study another aspect of these interactions ofexoticism between the ones listening and the ones being listened at. Exoticism is not only aspectacle for the eyes, it is also a spectacle for the ears. But are we really listening? What exactly dowe hear, if not perhaps what we want to hear from the other, or what we think is "the noise of theother"?

This conference will focus on every geographical area concerned with production, reception andcirculation of films: China, Japan and India for example, when they are watched, represented,listened to and broadcasted outside the territory (but why not also within the country itself, in anexotic interior) and also when they use Western music (for example jazz, associated with urbanity).It will cover the entire history of cinema, including silent cinema, which is not to be outdone interms of exotic musical accompaniment in a search for atmosphere. Cinema is then conceived as amedium among other media and other sound industries: music recording industry, radio,entertainment (theatre, opera, musical), etc. Their histories are inseparable from that of cinema andwe will see how exoticism circulates from art to art. The reflection is thus open to researchers fromother disciplines (musicology, anthropology, history, art history...).

This conference will also be an opportunity to study specific cases of sound, musical, verbal andrhythmic forms specific to cinema producing or receiving exoticism: sound inserts, musicalaccompaniment, film music composition or recycling and "potpourri", adaptation of melodies andtunes, sound effects and sound designing, animal cries, voice dubbing or dialogue subtitling,translation of titles, etc.

Submission guidelines

Abstracts of 2 000 signs, plus a biographical note, should be sent

by 10th April 2019

to exotisme18@gmail.com.

Acceptance signification: 15th May 2019.

Scientific committee & Organization

• Amandine D’Azevedo,
• Térésa Faucon,
• Marion Polirsztok (Université Sorbonne Nouvelle-Paris 3 IRCAV),
• Anne Kerlan (CNRS-EHESS, UMR Chine Corée Japon).