Transnationalisme

Filmed in 1962, Lawrence of Arabia offers a critical look on British imperialism. Yet this British and American co-production draws on the Empire films of the 1930’s: it focuses on one of the

The concept of transnational post-Westerns stems from Neil Campbell’s definition of post-Westerns as films “coming after and going beyond the traditional Western [genre] while engaging with and

Amit V. Masurkar’s 2017 film, Newton is simultaneously a satire and reconfirmation of the myths of democratic nationhood, exploring a postcolonial narrative of internal colonisation in the creation

Allocution de bienvenue, Marie-Christine JAILLET (Directrice de recherche et VP du Conseil Scientifique, UTM). Colloque international "Santé et mobilités au Nord et au Sud : circulations des acteurs,

Reflecting on the Western’s development after WWII, André Bazin noted, “Its roots continue to spread under the Hollywood humus and…robust suckers spring up in the midst of the seductive but sterile

Présentation générale du colloque, Stéphanie MULOT (co-responsable scientifique). Colloque international "Santé et mobilités au Nord et au Sud : circulations des acteurs, évolutions des pratiques"

« Les enclaves transnationales du tourisme en Inde », Laurent Pordié (Institut français de Pondichéry, Inde, Université de Heidelberg, Allemagne). Colloque international "Santé et mobilités au Nord et

Colloque international "Santé et mobilités au Nord et au Sud" : discours de bienvenue / Aline SARRADON-ECK (Présidente de l'Association AMADES). Colloque international organisé par l'Université de

«Mobilités des savoirs et des pratiques magico-thérapeutiques à Ste-Lucie, Stratégies et discours de légitimation des guérisseurs». Marie MEUDEC, Doctorante en anthropologie, Université Laval, Québec.

The Covered Wagon (1923) has long been regarded as a landmark in the development of both the western genre and the historical film. Paramount’s epic, along with the cycle of large-form westerns

Loosely based on James Warner Bellah’s stories published on Saturday Evening Post, Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950) are pervaded with a jingoism totally

When Nobody, the native American character in Dead Man (Jim Jarmusch, 1995), recounts his travels as “an exhibit” in Europe, he explains that, to avoid attracting the attention he started to imitate