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If you did not make this change and believe your {site_name} account has been compromised, please contact us at the following email address: {admin_email}

Thanks,
{site_name}\";s:23:\"changedaccount_email_on\";b:1;s:24:\"changedaccount_email_sub\";s:39:\"Your account at {site_name} was updated\";s:20:\"changedaccount_email\";s:278:\"Hi {display_name},

You recently updated your {site_name} account.

If you did not make this change and believe your {site_name} account has been compromised, please contact us at the following email address: {admin_email}

Thanks,
{site_name}\";s:24:\"notification_new_user_on\";b:1;s:25:\"notification_new_user_sub\";s:30:\"[{site_name}] New user account\";s:21:\"notification_new_user\";s:211:\"{display_name} has just created an account on {site_name}. To view their profile click here:

{user_profile_link}

Here is the submitted registration form:

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To review this member please click the following link:

{user_profile_link}

Here is the submitted registration form:

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to learn more about WordPress 6.3, planned for release on August 8, 2023? Join the WordPress community for a first look at 6.3 in action during a live product demonstration.\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:11:\"Dan Soschin\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:40:\"http://purl.org/rss/1.0/modules/content/\";a:1:{s:7:\"encoded\";a:1:{i:0;a:5:{s:4:\"data\";s:3601:\"\n
\"WordPress
\n\n\n\n

Want to learn more about WordPress 6.3, planned for release on August 8, 2023? Join the WordPress community for a first look at 6.3 in action during a live product demonstration.

\n\n\n\n

6.3 release squad members, Anne McCarthy and Rich Tabor, will team up with moderator, Nathan Wrigley, to guide attendees through the anticipated highlights of the upcoming release. This event will follow a similar format to the live demo for 6.2.

\n\n\n\n

Attendees will see recent improvements to the Site Editor, Patterns, Command Palette, and more. Following the demo, there will be a Q&A session, and you may submit questions in advance via Slack. 

\n\n\n\n

Date, Time, and Location

\n\n\n\n

Thursday, July 20, 2023 at 16:00 UTC
Zoom Link | Save this link and use it on July 20 to join the event.

\n\n\n\n

The event will be recorded, archived for on-demand viewing on WordPress.tv, and shared in a recap post shortly afterward.

\n\n\n\n

About WordPress 6.3

\n\n\n\n

To learn more about WordPress 6.3, please visit the following resources:

\n\n\n\n\n\n\n\n

Props to our panelists and moderator, and to @jpantani, @meher, @eidolonnight, and @dansoschin for helping prepare this announcement and supporting event logistics.

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WordPress 6.3 Beta 3 is ready for download and testing!

\n\n\n\n

This version of the WordPress software is under development. Please do not install, run, or test this version on production or mission-critical websites. Instead, it is recommended you evaluate Beta 3 on a test server and site. 

\n\n\n\n

Get an overview of the 6.3 release cycle, and check the Make WordPress Core blog for 6.3-related posts in the coming weeks for further details. Also, save the date for a live product demo tentatively scheduled for Thursday, July 20, 2023 at 16:00 UTC (link TBD). This will be a great opportunity to join the WordPress community to celebrate the accomplishments of 6.3 and this final chapter of Phase 2.

\n\n\n\n

Beta 3 highlights

\n\n\n\n

Thanks to the many WordPress beta testers, this release contains approximately 34 (Site Editor) and 40+ (Trac) updates since the Beta 2 release. Nice work, team!

\n\n\n\n

Testers should note that the “Patterns Library” is now simply called Patterns in the UI. Additionally, pattern details now include a sync status and a lock icon is added for theme patterns.

\n\n\n\n

Browse the technical details for issues addressed since Beta 2 using these queries:

\n\n\n\n\n\n\n\n

Test the new features in WordPress 6.3

\n\n\n\n

Testing for issues is a critical part of developing any software, and it’s a meaningful way for anyone to contribute—whether you have experience or not. 

\n\n\n\n

While testing the upgrade process is essential, trying out new features is too. Review the many new features in WordPress 6.3 and focus your testing efforts on those areas in particular.

\n\n\n\n\n\n\n\n

Vulnerability bounty doubles during the Beta/RC phases

\n\n\n\n

Between the Beta 1 release and the final release candidate (RC), the monetary reward for reporting new, unreleased security vulnerabilities is double. Please follow responsible disclosure practices as detailed in the project’s security practices and policies outlined on the HackerOne page and in the security white paper.

\n\n\n\n

Get WordPress 6.3 Beta 3

\n\n\n\n

You can test WordPress 6.3 Beta 3 in three ways:

\n\n\n\n\n\n\n\n

The current target for the final release is August 8, 2023, which is about five weeks away. Your help testing this version ensures everything in this release is the best.

\n\n\n\n

A Beta 3 Haiku for You

\n\n\n\n

Beta three, a peek
Summer here and winter there
A fourth in one week

\n\n\n\n

Thank you to the contributors who collaborated on this post: @DanSoschin, @Meher, @JPantani, @eidolonnight, @davidbaumwald, @priethor, and @DanSoschin for the Haiku.

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Join WordPress Executive Director Josepha Haden Chomphosy in the 59th episode of the WordPress Briefing. Today she invites guest speaker Alex Kirk to discuss Polyglots’ work to continue to help bring translation to WordPress.

\n\n\n\n

Have a question you’d like answered? You can submit them to wpbriefing@wordpress.org, either written or as a voice recording.

\n\n\n\n

Credits

\n\n\n\n

Host: Josepha Haden Chomphosy
Guests: Alex Kirk
Editor: Dustin Hartzler
Logo: Javier Arce
Production: Brett McSherry and Nicholas Garofalo
Song: Fearless First by Kevin MacLeod

\n\n\n\n

Show Notes

\n\n\n\n\n\n\n\n

Transcript

\n\n\n\n\n\n\n\n

( Intro music )

\n\n\n\n

[Josepha Haden Chomphosy  00:00:10] 

\n\n\n\n

Hello everyone, and welcome to the WordPress Briefing, the podcast where you can catch quick explanations of the ideas behind the WordPress open source project, some insight into the community that supports it, and get a small list of big things coming up in the next two weeks. I’m your host, Josepha Haden Chomphosy. Here we go.

\n\n\n\n

( Intro music )

\n\n\n\n

[Josepha Haden Chomphosy  00:00:39] 

\n\n\n\n

I have with me Alex Kirk, who is a longtime WordPress contributor and who has been instrumental in recent innovations in the Polyglots’ work. Phase four of the Gutenberg project is native multilingual support, and so I see this work that is being done as instrumental, not only for our global community but in support of what’s to come in that specific roadmap.

\n\n\n\n

[Josepha Haden Chomphosy  00:00:59] 

\n\n\n\n

So without further ado, Alex Kirk, welcome to the WordPress Briefing.

\n\n\n\n

[Alex Kirk  00:01:03]

\n\n\n\n

Hello, how are you doing? 

\n\n\n\n

[Josepha Haden Chomphosy  00:01:05]

\n\n\n\n

I’m good. I’m good. Can you, let’s, because I bet that not a lot of people know who you are, can you first start by just telling me a bit about your work with WordPress, and then let us know what GlotPress is, for those of us who don’t know yet? 

\n\n\n\n

[Alex Kirk  00:01:19]

\n\n\n\n

All right. So, Automattic sponsors me to work in the WordPress project on the Meta team and on the Polyglots team. So I spent time on improving or helping improve the software that powers the translation on WordPress.org. But I also work on the meta team on things like Matrix and evaluating if it would be a good fit for WordPress to switch to Matrix for their chat system.

\n\n\n\n

[Josepha Haden Chomphosy  00:01:46]

\n\n\n\n

So a lot of really big projects that you work on, all of that kind of stuff that has no easy solutions anymore, is where you are right now. Huh?

\n\n\n\n

[Alex Kirk  00:01:56]

\n\n\n\n

Yeah, there’s no clear path, but it’s our mission to find it. So that’s part of what makes things interesting.

\n\n\n\n

[Josepha Haden Chomphosy  00:02:05]

\n\n\n\n

Cool. So for folks who don’t know too much about the Polyglots team or generally translating WordPress, the software, can you let us know a bit about what GlotPress is?

\n\n\n\n

[Alex Kirk  00:02:16]

\n\n\n\n

Right. So the translation system that powers WordPress.org is called GlotPress. It used to be a standalone software that was developed a couple of years ago, and it was transformed into a WordPress plugin at some point, and now powers the translation that happens on WordPress.org. So we translate WordPress core there from English to other languages, plugins, themes, block patterns, and it all happens through this software called GlotPress. There are a couple GlotPress installations around the world, but I think the WordPress.org one is one of the bigger ones.

\n\n\n\n

[Josepha Haden Chomphosy  00:02:55]

\n\n\n\n

Probably, WordPress.org is pretty, pretty massive. Also, I think it’s great that you said that GlotPress was created a couple of years ago, like that, that indicates to me that you’re working on a really different timescale than a lot of folks are in WordPress. 

\n\n\n\n

[Josepha Haden Chomphosy  00:03:10]

\n\n\n\n

So Alex, tell me a little bit about what it takes to ship translated WordPress software. So, I mean, for people who don’t need translated WordPress, like obviously we don’t have a good idea of what it takes to make sure that WordPress is available in so many languages. So what goes into the work of making sure that that happens?

\n\n\n\n

[Alex Kirk  00:03:32]

\n\n\n\n

All right, so typically the WordPress software and plugins and themes are primarily created in English. And for it to be available in other languages, it needs to be translated. And for that to be able to happen, the programmers need to make the software translatable. Basically, they’re providing each English string for the translation software to be available to be transformed, so to speak, into another language and to what it’s being transformed to. This is what the translators do. So they go into the GlotPress software and see the list of texts that need to be translated and translate it to their language that they speak. Typically there is a process around this.

\n\n\n\n

[Alex Kirk  00:03:32]

\n\n\n\n

So, we’ve got people who have lots of experience in translation. And specifically in translating WordPress or WordPress plugins. And they’re kind of the, the people who help ensure good quality of translation. So anybody who’s working the WordPress project, so basically who has a WordPress.org account, can come in and address the translation. And that translation enters the system, so to speak, in a waiting state. And then somebody who we promoted to be a Translation Editor will come along and take a look at your translation and will approve it or will give you suggestions how to do the translation in a better way, or come up with maybe even a better translation.

\n\n\n\n

[Alex Kirk  00:05:03]

\n\n\n\n

You know, when you have like a small thing that’s just not right, like a missing full stop or something like that. They might just add it for you. And well, as soon as the plugin or software is translated to a certain level of translations those translations will be shipped out to the WordPress installs.

\n\n\n\n

[Alex Kirk  00:05:20]

\n\n\n\n

So, for example, for a plugin, you would reach 90% of translated strings. Those translations will then be basically packed up into zip file, a language pack and delivered to each WordPress so that you can have the translations available there.

\n\n\n\n

[Josepha Haden Chomphosy  00:05:35]

\n\n\n\n

And is 90% the threshold for plugins only, or is that also the threshold for like themes and the CMS itself?

\n\n\n\n

[Alex Kirk  00:05:34]

\n\n\n\n

Well. We strive for 100%, I would say. 

\n\n\n\n

[Josepha Haden Chomphosy  00:05:47]

\n\n\n\n

Good. ( laughs )

\n\n\n\n

[Alex Kirk  00:05:48]

\n\n\n\n

And, 90% more of a motivational point. To be actually honest, I’m not sure if the threshold is 90% for every project or even if it’s actually 90%. It’s different between different GlotPress installations and it’s basically something that is made as a setting that can be changed. There’s, it’s an arbitrary number. Typically you’d actually want to make sure that the most important strings are translated first. So the ones like, if you look at the whole picture, software usually consists of many parts, many of whom are not encountered by people on a regular basis. For example, error messages that could be like obscure error messages, and you could argue that those might be not as important. Or even sometimes you could even say like, do they need to be translated? Because if you encounter an error message and you search the internet, wouldn’t you probably want everybody to search for the English one to find the solution? But that set-aside, it’s important to have like the headline of the plugin or like the most important strings translated, and typically translating those most important strings will take you to a pretty high percentage so that we can then say it’s good enough to be shipped.

\n\n\n\n

[Josepha Haden Chomphosy  00:07:02]

\n\n\n\n

Gotcha. I see, I see. Okay. Well, we talked a bit earlier about GlotPress’s timeline. It has been around for a bit, I know. But with that kind of in mind, have there been any notable changes to GlotPress recently? 

\n\n\n\n

[Alex Kirk  00:07:19]

\n\n\n\n

Yeah, so I think for GlotPress there’s been a bit of an up and down over time in terms of engagement and progress on the software. But in, in the recent year, I think we’ve added a couple of things that have been very helpful for translators. So one of them was adding the commenting functionality, so yeah.

\n\n\n\n

[Josepha Haden Chomphosy  00:07:35]

\n\n\n\n

Super helpful. Shocked it wasn’t there before. Sorry, translators. Sorry, all of our polyglots.

\n\n\n\n

[Alex Kirk  00:07:40]

\n\n\n\n

Well, it can be like there was when GlotPress was created there, there is like the, a big part of GlotPress are these states, like the waiting state when you enter translation, and then there’s approved state, which basically a translation we say it’s set to current, and there’s all sorts of process around it. So if the software is updated or translation might get fuzzy. But also like, if somebody submits a translation that doesn’t fully conform to what’s the translation editors, or like what the standards of the translation community have been set to, then you would have to need to reject it.

\n\n\n\n

[Alex Kirk  00:08:16]

\n\n\n\n

And that has been something that we felt wasn’t a very good and enticing way of telling people like, we appreciate your work. It wasn’t just quite right, but it’s more of a rejection. So this is how we came up with this like, let’s give people the option to say what was wrong and give them a chance to try again without making them feel rejected.

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[Josepha Haden Chomphosy  00:08:38]

\n\n\n\n

Yeah. Sort of a “No, but…” as opposed to a, just refusal to receive it.

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[Alex Kirk  00:08:45]

\n\n\n\n

And other things that we’ve worked on is, like, with the recent search of AI, like getting help from AI on translation and also on reviews. So, there’s some interesting things that you can do with AI in that regard; that one important aspect of translations, it’s also that we’ve got glossaries for each language where people, basically the translation community, identifies certain words they want to translate them the same way every time. And with the AI, you can basically add to the prompt, like, please translate those words to those translations when you give me a translation for that. And as it can change over time, you can always adapt this to the prompt, and that has been proven quite helpful.

\n\n\n\n

[Josepha Haden Chomphosy  00:09:25]

\n\n\n\n

That is great. That’s one of those things I know that AI has been like a really popular thing to talk about. And AI, specifically for translations, I think has caused some concern that maybe we’ll just like translate it all and hope that computers get it right when we know pretty certainly that computers don’t always get the translations right. But that’s not what you’re talking about, right? What you’re suggesting is that AI would suggest what could be translated and what it could be translated to, and then human beings have to confirm that that’s correct, right?

\n\n\n\n

[Alex Kirk  00:09:59]

\n\n\n\n

That’s exactly it. So basically, we give suggestions to the translators, and then they can modify a translation before they press save. It’s more of a, like supporting them in getting the translations, like looking up words more quickly and all of that.

\n\n\n\n

[Josepha Haden Chomphosy  00:10:16]

\n\n\n\n

That’s wonderful. So is that the major sort of next step that is coming for GlotPress, or are there other things that we should keep an eye out for in that software?

\n\n\n\n

[Alex Kirk  00:10:27]

\n\n\n\n

So one direction that we’ve been taking GlotPress is basically making use of the fact that GlotPress is WordPress plugin now. And you know, typically, you would just use a GlotPress install. So on WordPress.Org, there’s like GlotPress installed, there’s translation projects created, something that we call “translation sets”. So for languages, you want to translate it to, it’s all pre-configured, and if you would install GlotPress to plugin on your own WordPress, it would be empty and not very useful. So what we’ve added is a way for you to basically be able to translate the plugins and themes that you’ve got installed in your WordPress into the language that you’re interested in.

\n\n\n\n

[Alex Kirk  00:11:07]

\n\n\n\n

So you might have a non-English website that you want to use certain plugins with, and they might not be fully translated at this point, so obviously, you could go to WordPress.org and help translate them, and that’s the way to, that’s preferred. But you could also now go install GlotPress on your own website and translate there. And then you have the translations there right when you enter them. And you can then contribute those translations back to WordPress.org.

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[Josepha Haden Chomphosy  00:11:35]

\n\n\n\n

So that’s with local GlotPress?

\n\n\n\n

[Alex Kirk  00:11:37]

\n\n\n\n

That’s something that we call local GlotPress. And you know, since we then have all these translations in the local database, it means we can do even more with those translations. So typically, language packs would be delivered to WordPress, but with local GlotPress, you’ve got like all the GlotPress software there.

\n\n\n\n

[Alex Kirk  00:11:56]

\n\n\n\n

So we can do things like inline translation. So, on your own WordPress and wp-admin, for example, we can highlight all the strings that can be translated, and those strings just have to right-click them and enter your translation, and that way, you can basically go about and translate the whole ui, seeing your progress, as you’re making, basically turning the screen from red to green.

\n\n\n\n

[Josepha Haden Chomphosy  00:12:20]

\n\n\n\n

Yeah. Yeah. So that’s something now that you can do in your local WordPress installation. 

\n\n\n\n

[Alex Kirk  00:12:26]

\n\n\n\n

Basically, it’s completely independent of WordPress.org. We would ask you to contribute the translations back when you have them, but being independent also allows you to translate like premium plugins, which could not be hosted on WordPress.org or doing something like that we call like hyper-local translation. So, for example, I speak Austrian German natively, but even inside Austria, we’ve got different dialects or like special words that we use. And if I wanted to create a website that’s targeted at the Viennese market, for example, I might want to use those specific terms. And this is something I would have to argue for those translations to be accepted on WordPress.org because it’s a, it’s like a very targeted market. But if I have a local GlotPress, I can do those translations there.

\n\n\n\n

[Josepha Haden Chomphosy  00:13:11]

\n\n\n\n

That seems awfully beneficial, especially as dialects. I’ve been having these conversations. I have, in my extended family, many children, and they are all learning languages and one of them has been having kind of thoughts about, like, dialects and how dialects are almost another language. And if so, like how do you know what everybody’s saying when you’re speaking all the same thing, but it’s kind of a little bit it sounds a little bit different.

\n\n\n\n

[Josepha Haden Chomphosy  00:13:37]

\n\n\n\n

That’s certainly a thing in the US, the distinct dialects across our country. And so I imagine that that’s gonna be a really beneficial sort of implementation for countries that have a lot of different regional variations and certainly smaller countries that have technically the same language as somebody else, but a lot of regional differences, regional specific things.

\n\n\n\n

[Josepha Haden Chomphosy  00:14:01]

\n\n\n\n

Is that the same or different as the live translations, Translate Live, that we talked about at the WordCamp Europe a couple weeks back?

\n\n\n\n

[Alex Kirk  00:14:12]

\n\n\n\n

Right. So, Translate Live is kind of the next step after local GlotPress. It’s like this happy marriage between the WordPress Playground and local GlotPress. So the WordPress Playground is also something that has come up a lot. It’s basically a way for you to run WordPress inside a browser window, so in JavaScript. And at first, it seems like mildly interesting, I would say. But when you combine it with other things like local GlotPress, it can lead to really interesting opportunities. So with inline translation, for example, on WordPress.org, you would typically find for every plugin, the UI would look the same. You would have a table of strings, and all that makes you realize you’re translating this certain plugin is that in the header of the page, it says this name of the plugin, but other than that, it can look really all the same. 

\n\n\n\n

[Alex Kirk  00:15:07]

\n\n\n\n

And now, with WordPress Playground, you can put up a WordPress and run this plugin inside that Playground. And now, if you add local GlotPress to the picture, you can also do the inline translation of that plugin inside the WordPress Playground. So you’ve got inline translation. We add the glossary so they do make sure that you translate things the same way that they’re expected, and you don’t have to install the plugin.

\n\n\n\n

[Alex Kirk  00:15:33]

\n\n\n\n

And still, you can see what the translations will look like. You can see the strings next to each other, and what I think is most important, you will start with the strings that you see first, which are the most important ones. When you’re in the table view, those strings might be somewhere buried in the middle, and yeah, it’s really hard to see progress if you start with kind of obscure error messages, for example, versus just starting with the things that you see first.

\n\n\n\n

[Josepha Haden Chomphosy  00:16:02]

\n\n\n\n

Yeah. So, moving translations away from table-based translations where you kind of have to know what you’re looking for. So the Translate Live, along with local GlotPress, along with WP Playground, is going to make it so that it’s easier to see visually what needs to be translated, where, what’s most valuable to translate for your mid users and your end users, basically.

\n\n\n\n

Yeah?

\n\n\n\n

[Alex Kirk  00:16:30]

\n\n\n\n

That, and also like for plug-in authors, it can be really good to see, you know, you can switch the languages in the Playground to another language, and you can quickly see like what’s the state of the translation in this language or in that language. And even things like, you know, Arabic as an RTL language rights to left language. The sidebar will change to the right, and you can also just switch language and see like, what’s my plugin like in this environment. I mean, this is not technically something that’s related to local GlotPress, but in this translation live ui, it’s very easy to change languages and see your plugin in another language.

\n\n\n\n

[Josepha Haden Chomphosy  00:17:06]

\n\n\n\n

I mean, it’s not specifically related to, to Translations Live, but also, I think that if we’re saying that WordPress not necessarily is going to lead the way with translations and native multilingual support in our CMS because, of course, it’s still a little bit far out on our roadmap. We certainly have an opportunity to have the best implementation of that.

\n\n\n\n

[Josepha Haden Chomphosy  00:17:27]

\n\n\n\n

And even if like that specific use case that you’re talking about isn’t related directly to what it is that you are working on for Polyglots and inside GlotPress and all of that, I do see that having more streamlined, more easy to see and access opportunities to like test the way that our software looks across varying environments, especially those that change it substantially from what we typically work in day-to-day for any individual developer or any individual WordPress site implementer.

\n\n\n\n

[Josepha Haden Chomphosy  00:18:00]

\n\n\n\n

Like, I think that that is a big step forward for all of us and certainly for anyone who is having to use WordPress as not a native English speaker. And so you say it’s not related, but it still is a big, a big benefit for WordPress overall, I think, to have this kind of work happening so that we can have those benefits to the folks who are using our software. 

\n\n\n\n

[Josepha Haden Chomphosy  00:18:22]

\n\n\n\n

So there were a couple of different things that you mentioned over the course of our conversation. We’re gonna put some links to the show notes for all of those. But one thing that you mentioned that just kind of went by, and we never really had an opportunity to talk about it. You talked about the, I think it was GTEs, Global Translation Editors, the folks that are like approved as final approvers of translations. If there is someone who’s listening to this podcast who wants to become a GTE someday, where would they go to do that?

\n\n\n\n

[Alex Kirk  00:18:54]

\n\n\n\n

So the path to GTE is a PTE. ( laughs )

\n\n\n\n

[Alex Kirk  00:18:59]

\n\n\n\n

So, we’ve got different levels of translation editors. Basically, you start, you could say you start off as a translator, and this is how you can kind of show that you can do good translations or that you’re very firm in your language. And this might make you be noticed in the community.

\n\n\n\n

[Alex Kirk  00:19:16]

\n\n\n\n

So we’re always looking for people who like to help with translations. And you might be then promoted to be a Project Translation Editor. Basically, it means that for a single language in a project, you’ll be able to approve translations. So, you’ll be the one who says, like, this translation is a good one and this conforms to the to the rules that we have stated as a translation community.

\n\n\n\n

[Alex Kirk  00:19:42]

\n\n\n\n

And further down the path then is the GTE, where you basically are allowed to approve translations across any project on translate.WordPress.org in your language. And that’s, usually you’ll be in, in that position with other GTEs.

\n\n\n\n

[Alex Kirk  00:20:04]

\n\n\n\n

So there is, like, in each community, there is like, we’re people based. We talk about what might be a good translation. We talk to each other, try to find rules that maybe prevent common mistranslations, or set the standards for how we want the software to be translated. And this is something where you get a voice as a translator, but as a GTE, you get into a position where you can actually make the changes or find consensus on how the software should be translated in your language.

\n\n\n\n

[Josepha Haden Chomphosy  00:20:35]

\n\n\n\n

And if folks are not familiar where the Polyglots team works and meets, where would they find you all?

\n\n\n\n

[Alex Kirk  00:20:41]

\n\n\n\n

At make.WordPress.org/polyglots.

\n\n\n\n

[Josepha Haden Chomphosy  00:20:45]

\n\n\n\n

Perfect. Alex, this has been such a fascinating conversation. Thank you so much for joining me today.

\n\n\n\n

[Alex Kirk  00:20:50]

\n\n\n\n

Thank you very much. 

\n\n\n\n

( Intermission music )

\n\n\n\n

[Josepha Haden Chomphosy  00:20:59]

\n\n\n\n

So that brings us now to our small list of big things. First, WP Campus 2023 is taking place July 12th through the 14th. That’s a nonprofit three-day conference with topics that focus on the growth of higher education, accessibility, WordPress, and anyone who works in higher education.

\n\n\n\n

[Josepha Haden Chomphosy  00:21:17]

\n\n\n\n

It’s a hybrid event. There is an in-person component on the beautiful campus of Tulane University in New Orleans, Louisiana. I’ll add information about that in our show notes for anyone who would like to join in person or online. 

\n\n\n\n

[Josepha Haden Chomphosy  00:21:32]

\n\n\n\n

The second thing is that the mentorship program pilot that I have been talking about a little bit over the last few months has been formally launched.

\n\n\n\n

[Josepha Haden Chomphosy  00:21:39]

\n\n\n\n

If you are interested in contributing more to the project but not sure where to begin, take a look at this comprehensive onboarding experience. It’s cohort-based. It has some personalized one-to-one mentorship. There are guided courses, live workshops, all of that. So read more about it in our show notes and sign up for one-on-one team mentorship.

\n\n\n\n

[Josepha Haden Chomphosy  00:21:59]

\n\n\n\n

And then, finally, Matt mentioned at WordCamp Europe an idea that he had been thinking of for some time a Make team dashboard that would sort of help define team metrics and help identify for individual contributors what should indicate team health and where they can find the most impactful projects to work on.

\n\n\n\n

[Josepha Haden Chomphosy  00:22:20]

\n\n\n\n

A post has since been published on make.WordPress.org/meta calling for additional feedback on that idea, so that we have an understanding of what this could be, how the dashboard can kind of come to be. And so stop by and add your thoughts there in the comments. 

\n\n\n\n

[Josepha Haden Chomphosy  00:22:38]

\n\n\n\n

And that, my friends, is your small list of big things.

\n\n\n\n

[Josepha Haden Chomphosy  00:22:42]

\n\n\n\n

Thanks for tuning in today for the WordPress Briefing. I’m your host, Josepha Haden Chomphosy, and I’ll see you again in a couple of weeks.

\n\n\n\n

( Outro music )

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A way to escape chronic pain and give a sense of independence, is what using WordPress means for Italian-American Allison Dye. Now as a project manager and social media content manager living in North Carolina, USA, she uses the software in her work and in disability-advocacy.

\n\n\n\n

The People of WordPress series shares inspiring stories of how people’s lives can change for the better through WordPress and its global community of contributors.

\n\n\n\n
\"Allison
\n\n\n\n

Allison was first introduced to WordPress when she was 13 years old. Her parents gave her own WordPress website to use, play, test, and try whatever she wanted with it. Her health issues had started when she was eight years old, and being able to express who she was and learn new skills provided an escape she needed.

\n\n\n\n

My first encounter with WordPress

\n\n\n\n

Allison said: “While the technical aspects of my new WordPress website intrigued me, I was more interested in the space it made for me to write. All throughout my childhood I had struggled with chronic pain, fatigue, and other unexplained symptoms. Having a private world I could call my own, I was able to write my story.”

\n\n\n\n
\n

“There is something truly amazing about having a place to tell your story.”

\nAllison Dye
\n\n\n\n

Her family faced many doctors, nurse, specialists and hospital visits, but could not get an answer to the difficulties faced by Allison. She said: “I felt like my life and world were out of control. But logging onto my little website and typing away on the computer keys gave me a sense of control. I couldn’t always do things that other kids had the energy to do. But I could get lost in writing for hours. I couldn’t control my life story, but I could write about it.”

\n\n\n\n

She felt it was like writing letters to her future self and would act as a reminder of how strong she had become. Even now when Allison writes on her website, she feels it is writing letters to her past self, expressing reassurance and pride. The practice of writing online continues to help her reflect on how she coped and made it through the difficulties.

\n\n\n\n

WordPress in the real world

\n\n\n\n

Allison hoped her early experiences with hospitals and being unwell was just part of being a child, and that in adulthood she would be healthy. She longed for this time.

\n\n\n\n

Growing up did not bring her this dream of a healthier life and an end to chronic pain. In fact, her condition worsened as she went through her teens and at 18 she finally received a diagnosis of Multiple Sclerosis.

\n\n\n\n
\"Allison
Allison enjoying time with nature and trees
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This changed what had been conventional job choices, as she was not able to handle a 9 to 5 work schedule. She could not drive herself to work on some days and relied on her mother to help with transport. She knew that she would have to find another way to work and she was determined to find it.

\n\n\n\n

She began writing music and book reviews online, and then moved onto writing blog posts. As they were published she started to receive payment and a sense of power over her life. She said: “WordPress felt familiar, typing on the computer keys felt comfortable, and sharing my words with the world felt surreal.”

\n\n\n\n

Allison’s sense of ownership of the software became part of her strength. “I think I believed WordPress was mine somehow. I was learning that WordPress is something that belongs to everyone in some way. And I loved it.”

\n\n\n\n

Finding work with WordPress

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The confidence using the platform gave Allison led her to find more about what it could do and meet other people who used it. She said: “The thing I love about WordPress is that it’s not just for developers or bloggers or SEO experts. I began to meet more people in the community and was delighted to find people like me, who didn’t know the technical stuff, but were a part of WordPress.”

\n\n\n\n

This global community orbiting around the software gave her an opportunity to meet social media managers, designers, and people from many different areas. She found that ‘there was a place for everyone’. The guiding strength and fascination Allison found and still finds today is in that community. Allison said: “The community felt as important as the rest of everything that makes WordPress what it is. It felt like it was about people and relationships as well as codes and databases.”

\n\n\n\n

In 2020, she was hired by a WordPress company. She said: “I like being a part of a WordPress company, and I love that I contribute to a team that helps people with their websites. I understand the importance of having a space that’s yours. Whether it’s a business or personal site, having a website gives you the power of telling your own story.”

\n\n\n\n

WordPress gave Allison a freedom and an independence. She did not have to work a 9 to 5 job, rely on others to drive her on bad days with her MS, nor worry about days when she wanted to stay in her sweatshirts rather than go into an office to work. She said: “I have a 100% remote job which I can do despite the plot twists in my story, thanks to WordPress and the people in it.”

\n\n\n\n

WordPress took Allison into the world of project management for a small agency, and this experience was to help guide her path, skills and confidence into the future. She went on to work in content management in WordPress, building pages for awareness campaigns for non profit organizations and small businesses as a contractor. She helps people update their websites, add and edit content, perform basic updates and help them to learn how to use their sites.

\n\n\n\n
\n

“I tell all my clients to use WordPress because there is really no other solution that can scale as easily for growing organizations and small businesses. I love how WordPress allows them to tell their stories, share their passion, and have a place to call their own on the internet.”

\nAllison Dye
\n\n\n\n

As a fluent English and Italian speaker, Allison is able to support clients in different countries from where she lives. “I love that with WordPress I’m able to support clients remotely. This is thanks to all of the many WordPress contributors, developers, project managers, content writers, and many, many volunteers that work tirelessly to enable people around the world to use WordPress.”

\n\n\n\n

Allison also became a certified as an English As A Second Language (ESL) teacher. “My affinity for words and languages allows me to teach passionately and creatively. I’m Italian-American and am fluent in English and Italian. Teaching English allows me to share my passion for communication with others.”

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Welcomed into the WordPress community

\n\n\n\n
\"Allie
Allie interviewed for a podcast on her use of WordPress
\n\n\n\n

Allison attributes mentors and supporters in the WordPress community for helping her appreciate she really is part of it. Allison recalled: “It felt unreal. I wasn’t a dev, I don’t know how to code, and yet I got to be a part of it all? I felt like I was a fake. But Kimberly continues to remind me that I’m real, I get to be here, I get to stay, I have a place.”

\n\n\n\n

She was later encouraged to contribute by a WordPress community member to the Big Orange Heart, which aims to support and promote positive well-being and mental health within remote working communities. She said she felt ‘honored typing my words, pieces of my story, and sharing them with a community of people’.

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She also joined the WordCamp US 2021 online organizing team.

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Allison enjoys the fact that in the WordPress community, ‘everyone here is constantly working to be better and do better’.

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Facing the future with strength from her friends and colleagues in WordPress

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\"\"
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Allison was later diagnosed with two additional neurological conditions: Functional Neurological Disorder and Migraine. She said: “If it were not for WordPress I would really be unable to work. But WordPress and its community continue to be a part of my life and I am grateful to everyone who’s helped me along my way. I don’t know where I would even be without it.”

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She strives to raise awareness of dynamic disabilities and invisible illnesses like her own through podcasts and social media. She feels that her WordPress friends have helped her both in her professional life and in her wish to be an advocate for others with disabilities too.

Allison hopes reading of her experience will help others who are worried about not progressing in a WordPress career due to health concerns.

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\n

“I hope that it will remind anyone reading this that WordPress is a space for everyone. Healthy or not, developer or not, blogger or not — WordPress belongs to you too.”

\nAllison Dye
\n\n\n\n

Share the stories

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Help share these stories of open source contributors and continue to grow the community. Meet more WordPressers in the People of WordPress series.

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Contributors

\n\n\n\n

Thanks to Allie Dye (@allisondye) for sharing about her adventures in WordPress.

\n\n\n\n

Props to Abha Thakor (@webcommsat) and the late Surendra Thakor (@sthakor) for interviews and writing the feature, Meher Bala (@meher) for work on images, and to Meher, Maja Loncan (@mloncar) and Chloe Bringmann (@cbringmann) for reviews.

\n\n\n\n

The People of WordPress series thanks Josepha Haden (@chanthaboune) and Topher DeRosia (@topher1kenobe) for their support.

\n\n\n\n
\"HeroPress
\n

This People of WordPress feature is inspired by an essay originally published on HeroPress.com, a community initiative created by Topher DeRosia. It highlights people in the WordPress community who have overcome barriers and whose stories might otherwise go unheard. #HeroPress

\n
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WordPress 6.3 Beta 2 is ready for download and testing. This is the first release of the 6.3 cycle, as there was no Beta 1 due to technical issues with packaging the release. Rather than further delaying a beta release, the release squad has decided to package and ship Beta 2.

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This version of the WordPress software is under development. Please do not install, run, or test this version of WordPress on production or mission-critical websites. Instead, the release squad recommends you evaluate Beta 2 on a test server and site.

\n\n\n\n

WordPress 6.3 demonstrates incredible progress toward achieving the goals outlined in the WordPress roadmap and is the final major release of Phase 2. Phase 2 has focused mainly on the Site Editor, enabling site creators to build websites, design compelling layouts, and manage content without toggling between multiple configuration areas or editing code.

\n\n\n\n

Learn more about Gutenberg updates debuting since WordPress 6.2 by reviewing prior editions of What’s New in Gutenberg posts for 15.2, 15.3, 15.4, 15.5, 15.6, 15.7, 15.8, 15.9, 16.0, and 16.1.

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WordPress is the result of contributions by users, developers, and extenders across the globe. As this community seeks new features, the platform will continue to evolve, including the site editing features and beyond. Get an overview of the 6.3 release cycle, and check the Make WordPress Core blog for 6.3-related posts in the coming weeks for further details.

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A first look at 6.3

\n\n\n\n

This latest WordPress release includes many updates spanning all platform areas, emphasizing the editing experience and polishing usability. This release contains more than 500 new features and enhancements and 400+ bug fixes.

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Performance

\n\n\n\n

Following the incredible performance improvements introduced in 6.2, the release includes more than 170 performance-related updates, including adding defer and async support to the WP Scripts API and fetchpriority support for images. Optimizations were made to block template resolution, image lazy-loading, and the emoji loader, all of which benefit LCP performance. Support for PHP versions 8.0, 8.1, and 8.2 has been improved. 

\n\n\n\n

Site Editor

\n\n\n\n

The Site Editor expands to include navigating and editing pages, styles, templates, and content. The unified site editing experience will include a distraction-free mode, enhanced navigation, and an improved loading experience. Additionally, you can use the Site Editor to preview a block theme and adjust your site before activating the new theme. This release includes style revisions so you can toggle between and preview different saved styles. Rounding out the changes, 6.3 ushers in a new Command Palette, enabling users to context switch and perform actions quickly across different sections of the site editing experience.

\n\n\n\n
Prototype of the Command Palette in action
\n\n\n\n

Blocks

\n\n\n\n

New blocks for details and footnotes debut in this release, along with updates for better handling of image aspect ratios and improved fallback states. Spacer blocks now include presets, and the cover block gets updates for managing text colors and layout support.

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\"\"
The new height control for the Spacer block
\n\n\n\n

Patterns and Design

\n\n\n\n

Reusable blocks have been renamed to synced patterns. This change reflects the unification of reusable blocks and traditional block patterns (unsynced patterns) within the Editor. A new option allows you to assign patterns to templates, adding the ability to have starter patterns to speed up the creation process. Site creators can now easily create, save, and manage custom synced and unsynced patterns, as well as browse a directory of curated patterns. Additionally, the duotone filter and captions can now be edited in the Styles interface.

\n\n\n\n
\"\"
Style your captions in the new Styles interface
\n\n\n\n

Usability

\n\n\n\n

Some key usability highlights include toolbar updates, updated template descriptions, enhanced list view drag-and-drop, improved padding and margin controls, and a new area for managing patterns (including reusable blocks, now called synced patterns.) Link control receives some updates, rounding out high-level usability enhancements in 6.3.

\n\n\n\n
\"\"
Add and modify descriptions for templates
\n\n\n\n

Accessibility

\n\n\n\n

WordPress remains steadfast in making the site-building experience accessible to everyone. 6.3 incorporates over 50 accessibility improvements across the platform. Improved labeling, optimized tab and arrow-key navigation, revised heading hierarchy, and new controls in the admin image editor allow those using screen readers, keyboard navigation, and other assistive technology to navigate more easily. The login form, installation steps, and list tables (for sorting and selection) have all been updated. Additional accessibility tickets are viewable in the WordPress Trac.

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Other notes

\n\n\n\n

This release includes auto-rollback for failed manual updates of themes and plugins.

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Please note that the features in this list may change before the final release.

\n\n\n\n

Testing makes WordPress stronger!

\n\n\n\n

Testing for issues is a critical part of developing any software, and it’s a meaningful way for anyone to contribute—whether you have experience or not. 

\n\n\n\n

While testing the upgrade process is essential, testing new features is too. Review the many new features listed above and focus your testing efforts on those areas in particular.

\n\n\n\n

If you encounter an issue, please report it to the Alpha/Beta area in the support forums. If you are comfortable writing a reproducible bug report, you can file one on WordPress Trac. You can also check your issue against a list of known bugs.

\n\n\n\n

New to testing? This detailed guide is a great place to start if you’ve never tested a beta release.

\n\n\n\n

Want to know more about testing releases in general? Follow along with the testing initiatives in Make Core and join the #core-test channel on the Making WordPress Slack.

\n\n\n\n

Vulnerability bounty doubles during Beta 2

\n\n\n\n

Between the Beta 2 release and the final release candidate (RC) for each new WordPress version, the monetary reward for reporting new, unreleased security vulnerabilities is doubled. Please follow responsible disclosure practices as detailed in the project’s security practices and policies outlined on the HackerOne page and in the security white paper.

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Get WordPress 6.3 Beta 2

\n\n\n\n

You can test WordPress 6.3 Beta 2 in three ways:

\n\n\n\n

Option 1: Install and activate the WordPress Beta Tester plugin (select the “Bleeding edge” channel and “Beta/RC Only” stream).

\n\n\n\n

Option 2: Direct download the Beta 2 version (zip).

\n\n\n\n

Option 3: Use the following WP-CLI command:

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wp core update --version=6.3-beta2

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The current target for the final release is August 8, 2023, which is about six weeks away. Your help testing this version ensures everything in this release is the best.

\n\n\n\n

The first haiku for 6.3

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A chapter closes
Excitement yet much newness
Phase 2 finale

\n\n\n\n

Thank you to the following contributors for collaborating on this post: @DanSoschin, @Meher, @JPantani, @CBringmann, @AudrasJB, @annezazu, @ndiego, @davidbaumwald, @desrosj, @priethor, @flixos90, @wildworks, and @JPantani for authoring the haiku.

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Join WordPress guest host, Chief of Staff and Head of Operations, Chloé Bringmann, and special guest Head of Programs and Contributor Experience, Angela Jin, in the 58th episode of the WordPress Briefing as they discuss the next generation of WordCamps.

\n\n\n\n

Credits

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\n\n
\n\n\n\n

Show Notes

\n\n\n\n\n\n\n\n

Transcript

\n\n\n\n\n\n\n\n

(Intro music)

\n\n\n\n

[Chloé Bringmann 00:00:10] 

\n\n\n\n

Hello, everyone, and welcome to the WordPress Briefing, the podcast where you can catch quick explanations of the ideas behind the WordPress open source project, some insight into the community that supports it, and get a small list of big things coming up in the next two weeks. I’m your guest host Chloé Bringmann. And here we go.

\n\n\n\n

(Intro music)

\n\n\n\n

[Chloé Bringmann 00:00:40] 

\n\n\n\n

So I have the privilege of guest hosting this episode of the WordPress Briefing. And today I have with me a very special guest. The Head of Programs and Contributor Experience, Angela Jin. Welcome. Before we dive into all the questions, can you tell me and our listeners a little bit about your role in the WordPress community?

\n\n\n\n

[Angela Jin 00:01:01] 

\n\n\n\n

Yeah, happy to, and thank you so much for having me. I’m very excited to be here. I am the Head of Programs and Contributor Experience, and I provide oversight and guidance for our WordPress programs, such as our events programs, training, and Five for the Future, with an eye toward ensuring their sustainability and growth. I’m very fortunate to work with our contributors across many teams around the world. In addition to troubleshooting and helping folks figure out how to move forward, I also spend a good amount of time exploring with others what could be in our programs.

\n\n\n\n

[Chloé Bringmann 00:01:41] 

\n\n\n\n

We just got back from WordCamp Europe in Athens, Greece. It was such an energizing event for me, but I’m curious about what your impressions were of the past week.

\n\n\n\n

[Angela Jin 00:01:52] 

\n\n\n\n

Yeah, it was fantastic. I’m always really inspired by what a group of like-minded people can achieve together. There’s a lot of passion for this particular WordCamp, and it made for a really wonderful WordPress experience. Full of lots of great connections and memories; I have a million follow-ups and probably even more thoughts to reflect on. So it’s great. There were a lot of new WordPressers there. So it was lovely to meet them. And I’m really excited to see how many exciting new projects and ideas that we have in the space.

\n\n\n\n

[Chloé Bringmann 00:02:27] 

\n\n\n\n

Same, you said it perfectly. Josepha also mentioned in the flagship’s keynote, the proposal for the next generation of WordCamps. I’m curious about what the main ideas and goals, as discussed thus far, are of that proposal.

\n\n\n\n

[Angela Jin 00:02:42] 

\n\n\n\n

For sure. So WordCamps have been fundamental for the WordPress community for a very long time. And while they have continued to grow larger and reach more places around the world, it’s also undeniable that the way that people meet has changed since 2006. 

\n\n\n\n

[Angela Jin 00:03:01] 

\n\n\n\n

And so, just as WordPress itself iterates we’re looking at iterating on WordCamps so that they move from fundamental to indispensable for the WordPressers of today and tomorrow. So event attendees today are looking to learn essential skills, make connections that lead to neat opportunities, and more. 

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[Angela Jin 00:03:23] 

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So to that end, we put forth an updated purpose for our events, which is that WordPress events spark innovation and adoption by way of accessible training and networking for users, builders, designers, and extenders. We celebrate community by accelerating 21st-century skills, professional opportunities, and partnerships for WordPressers of today and tomorrow. 

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[Angela Jin 00:03:47]

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So the goal here is to create events that are more clearly defined – who these are for what you will gain from attending. We are looking to see events that take a deeper dive into content, or topics and provide more advanced content. And let’s try out some different formats and see how that shapes our event experience. And so it is a big shift. And change is always hard. 

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[Angela Jin 00:04:13]

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However, the feedback that I’ve gotten so far, and certainly at WordCamp Europe, is that this is a very welcome evolution. And the Community team has already received over 60 proposals. So I’m very excited about that. In fact, a WordPress Community Day in Rome has already been announced and is focused on providing meet-up organizing and community management skills. So that’s pretty cool.

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 [Chloé Bringmann 00:04:37] 

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Wow, that’s incredible. I love that we’ve gotten 60 suggestions already and that we already have an event in place. That’s fantastic. In that blog post, too, it’s mentioned that WordCamps should prioritize inclusivity and diversity. How can organizers ensure these values are upheld in the next generation of WordCamps and beyond events? Into our day-to-day project involvement?

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[Angela Jin 00:05:04]

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Excellent question. So while WordCamps themselves are changing, some of our core values, like prioritizing inclusivity and diversity, are non-negotiable. For the whole project, we have a diversity, equity, and inclusion statement, and a Code of Conduct that lays out how we expect our community to engage with each other in this space. 

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[Angela Jin 00:05:27]

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And on top of that, our programs do focus on providing resources and training like how to create a diverse speaker roster. And we have diverse speaker training workshops on how to organize a diverse and inclusive WordPress event. And we also have a great list of third-party resources as well. And so, with so many events, we create a lot of opportunities to grow as a visible contributor, whether it is a speaker, a volunteer, or an organizer. 

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[Angela Jin 00:05:56]

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And so with the next generation of events, we could more intentionally create these spaces for groups that historically have been underrepresented. Even long before my post went live, the BlackPress meetup group, for example, wanted to create an event that connected with historically black colleges and universities. And an event like that that really invites a specific group to learn all about WordPress would be a really great experience and a wonderful way to celebrate that community and a great connection to the broader community so that we can intentionally get to the diversity that we want to see. 

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[Angela Jin 00:06:38]

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And I also want to add that the people who are underrepresented in our community are more likely to need financial sponsorship. And so even though we do keep our ticket prices low so that our events are more easily accessible, the cost of travel continues to increase, not to mention the time and energy required to participate in these events. So an excellent way that companies can help is to sponsor somebody’s time and somebody’s contributions, which we’re always trying to encourage through the Five for the Future program.

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[Chloé Bringmann 00:07:11] 

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Beautiful. So, with that in mind, how do you foresee the next generation of WordCamps impacting the WordPress community, that larger ecosystem? So, what changes do you hope to see regarding community engagement, learning opportunities, and best practices?

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[Angela Jin 00:07:31]

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I foresee us evolving our tried and true event format into a dynamic wealth of community-led opportunities. I know that online events were pretty exhausting during the worst of the pandemic, but there is a ton of unexplored opportunities there. And community research is also showing that online is a great way to create more inclusive and diverse events. 

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[Angela Jin 00:07:58]

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The Training team, with their learn WordPress online workshops, have really led the way with our online events. And there are so many more people that we can reach there. 

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[Angela Jin 00:08:08]

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And so in addition to providing more advanced content, I also hope to see content around broader tech and business trends that influence WordPress, and conversely, how WordPress can shape those trends as well. And with all of that, I really hope that we can bring in more community members that otherwise wouldn’t be interested in what we currently offer, especially a younger generation that will help us drive the next generation of WordPress, the open source project.

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[Chloé Bringmann 00:08:39]

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Very excited to hear all of this, and I bet our listeners are too. I’m curious how they and community members can provide feedback or get involved with this next generation of WordCamps.

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[Angela Jin 00:08:50]

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I’m going to encourage everyone, please come chat with the Community team and comment on the current posts. We really welcome your feedback to help us get our events to this next iteration of what they will become. There are two posts, in particular, one is to suggest ideas of event formats and topics that you would like to see. And the second is if you are an organizer, we’re inviting you to hear some recommendations for improved tooling that would be helpful for your event site. And we’ll include links to those posts in the show notes.

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[Chloé Bringmann 00:09:26]

\n\n\n\n

One final question for you, Angela. Any thoughts as we prepare for WordCamp US and the Community Summit, which will be in National Harbor, Maryland, in August?

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[Angela Jin 00:09:37]

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For the Community Summit in particular, if you want to attend and you haven’t already applied, please please do make sure to apply as soon as possible. And encourage somebody else who you think should attend to apply as well. 

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[Angela Jin 00:09:53]

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And if financial constraints are a blocker, we are aiming to help with the cost of hotel and or flight. And so one way to help support the diversity and inclusion of this event, and really to the whole project, is to also contribute to the Community Summit travel fund. You can find information about all of that on the Community Summit site. 

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[Angela Jin 00:10:15]

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And next, if you have a topic in mind that you think needs to be discussed at the Community Summit, please please also share that information with us as well. And last but not least, I am, I am so excited. I’m not going to spoil anything. But I have been working with the WordCamp US organizing team and looking at some of what they have planned and some of the content. It’s going to be a truly incredible event, so don’t miss out.

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[Chloé Bringmann 00:010:41]

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Oh, wonderful. Thank you so much for joining me, Angela. And I can’t wait to see you and the WordPress community in August in person.

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[Chloé Bringmann 00:010:58]

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Which brings us now to our small list of big things. First up is the proposal and establishment of a new WordPress contributor team, the Sustainability team. Coming into WordCamp Europe, a proposal was put forward to create a team that would embed sustainable practices and processes in the ecosystem to ensure the Project’s longevity, both socially, economically, and as well environmentally. At WordCamp Europe, this proposal was confirmed, and the Sustainability team is now officially the 22nd contributor team that WordPressers can support with their contributions. Head on over to their making WordPress Slack channel, #sustainability, and join the conversation. 

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[Chloé Bringmann 00:011:39]

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Second, I would like to call your attention to the 6.4 development cycle post that was published on June 5th. 6.4 will be the third major release of 2023 and supports our diversity, equity, and inclusion efforts by being led by those contributors that identify as underrepresented gender. This release will also be the first to kick off phase three of the Gutenberg roadmap, which is collaborative editing and workflows. I’ve included a link to the post in our show notes and encourage anyone who is interested in being part of this momentous release to join us in making this both impactful and meaningful. 

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[Chloé Bringmann 00:012:16]

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Finally, WordCamp US, as discussed, will be upon us before we know it starting on August 24th at National Harbor, Maryland. While tickets may be sold out, volunteers are still very much needed to make the flagship event run smoothly. So stop by us.wordcamp.org, raise your hand, and join us in August for engagement, inspiration, and learning. And that, my friends, is your small list of big things. I’m your guest host Chloé Bringmann and thank you for tuning in today for the WordPress Briefing.

\n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:30:\"com-wordpress:feed-additions:1\";a:1:{s:7:\"post-id\";a:1:{i:0;a:5:{s:4:\"data\";s:5:\"15179\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:6;a:6:{s:4:\"data\";s:66:\"\n \n \n \n \n \n \n \n \n \n \n\n \n \n \n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:4:{s:0:\"\";a:6:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:33:\"Twenty Years of WordPress at WCEU\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:69:\"https://wordpress.org/news/2023/06/twenty-years-of-wordpress-at-wceu/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 10 Jun 2023 22:21:51 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"category\";a:4:{i:0;a:5:{s:4:\"data\";s:6:\"Events\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}i:1;a:5:{s:4:\"data\";s:7:\"General\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}i:2;a:5:{s:4:\"data\";s:8:\"WordCamp\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}i:3;a:5:{s:4:\"data\";s:4:\"WCEU\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:35:\"https://wordpress.org/news/?p=15167\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:11:\"isPermaLink\";s:5:\"false\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:373:\"Inspiring the global community The atmosphere was electric at WordCamp Europe (WCEU) 2023 in Athens, Greece, as WordPress celebrated its 20th anniversary and the opportunity to gather in person for inspiration and engagement. More than 2,500 individuals from 94 countries came together in person or through the live stream to participate in a remarkable three-day […]\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:16:\"Jonathan Pantani\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:40:\"http://purl.org/rss/1.0/modules/content/\";a:1:{s:7:\"encoded\";a:1:{i:0;a:5:{s:4:\"data\";s:6426:\"\n

Inspiring the global community

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The atmosphere was electric at WordCamp Europe (WCEU) 2023 in Athens, Greece, as WordPress celebrated its 20th anniversary and the opportunity to gather in person for inspiration and engagement. More than 2,500 individuals from 94 countries came together in person or through the live stream to participate in a remarkable three-day event (plus Contributor Day) filled with talks, networking, and learning opportunities. The event concluded on June 10 with a captivating keynote address by WordPress co-founder Matt Mullenweg, Executive Director Josepha Haden Chomphosy, and Gutenberg Product Architect Matías Ventura, who highlighted the advancements and upcoming milestones of the WordPress Project.

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One significant update shared during the keynote was the successful reactivation of WordCamps. This time last year, we organized eight in-person WordCamps, and by the end of 2022, the number had risen to 23. Thanks to the enthusiasm and involvement of the WordPress community, we are already on track to organize 25 WordCamps in the first half of this year alone. 

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Josepha also emphasized the importance of the upcoming Community Summit on August 22-23. This in-person gathering brings contributors together across the WordPress open source project, fostering cross-project discussions vital for future growth and sustainability. For more information, visit the official Community Summit website.

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\"Total
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Discussing the Five for the Future (5ftF) program, Josepha highlighted the impressive growth in active contributors and company pledges over the past year. She also underscored the expansion of the WordPress ecosystem, citing examples like Openverse, which now provides access to nearly 800 million images and audio files, all easily accessible in the Site Editor. 

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Another exciting addition to the WordPress repertoire is WP Playground. This new feature allows users to build WordPress applications instantly in the browser without needing a PHP server. This tool provides a swift and seamless experience, reducing the installation time from five minutes to a near-instantaneous 500 milliseconds. The application of WP Playground may seem like magic, but its practical application promises tangible and revolutionary benefits for WordPress users.

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Matías Ventura then took the stage to share updates on Gutenberg. Through a visually stunning video built entirely with blocks, he showcased the six-year development journey and the transition from words to blocks to a final design. The upcoming WordPress version 6.3 will mark the completion of the first two phases of Gutenberg, consolidating all these features into a cohesive and user-friendly experience. He also highlighted the introduction of features such as the Wayfinder tool, Style Book, and the ability to save patterns, further empowering users to own their web presence and voice.

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Following the keynote presentation, the WordPress leadership engaged in a lively Q&A session with the audience, further illustrating the continuous evolution within the WordPress Project. This session highlighted how the WordPress community innovates, iterates, and continually improves to create a better platform for today and tomorrow.

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Join the global community and be part of the WordPress journey toward a brighter future!

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Special thanks to @cbringmann and @eidolonnight for review and collaboration.

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May has been a month of celebrating WordPress and the open source community that makes it possible. In honor of the project’s 20th anniversary, WordPress Executive Director Josepha Haden Chomphosy reflected on this journey and the opportunity to build a better future for those who come after:

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The more our community invests in itself and supports one another, the stronger WordPress and the open source software movement become.

\nJosepha Haden Chomphosy in Celebrating 20 Years of WordPress.
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Read on for highlights of this milestone and the latest updates in the WordPress space.

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WordPress at 20

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May 27, 2023, marked the 20th anniversary of WordPress’ first release. Since its inception by Matt Mullenweg and Mike Little in 2003, the project has transformed the digital publishing landscape and enabled millions of people to craft their stories.

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WordPress enthusiasts from all over the world gathered at more than 130 events to celebrate this important milestone. WP20’s commemorative book, Building Blocks: The Evolution of WordPress, was published in tandem and documents some of the most significant moments and changes of the last decade of the project.

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\"3D
Download the new WP20 wallpapers made in 3D.
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The anniversary date may have passed, but the festivities and fun aren’t over. You can still join a meetup, sign the #WP20 From Blogs to Blocks campaign birthday card, or participate in #WP20 social celebrations.

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Join Josepha Haden Chomphosy in Episode 55 of WP Briefing as she looks back at the 20 years of WordPress and how the community made WordPress what it is today.

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WordPress 6.3 is expected on August 8

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Work on WordPress 6.3 officially kicked off with the announcement of its development cycle and release squad. Set for release on August 8, 2023, this version will be the second major update of WordPress in 2023 and will mark the end of Phase 2 of the project’s development roadmap.

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WordPress 6.3 aims to bring a cohesive site editing experience by introducing expanded functionality, richer interfaces, and a dedicated focus on refinement.

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Check out the 6.3 roadmap post for a tentative preview of anticipated features.

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WordPress 6.2.2 security release

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WordPress 6.2.2 became available for download on May 20, 2023. This release was a quick response to resolve a regression introduced in 6.2.1, specifically with shortcode support in block templates, and to further patch a vulnerability already addressed in the previous version.

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Update your site if you haven’t yet.

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New in the Gutenberg plugin

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Three new versions of Gutenberg have shipped in the last month:

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The latest Core Editor Improvement post highlights features such as revisions and the ability to preview block themes, and how they enable a smoother site editing experience.

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Team updates: Next-generation WordCamps, proposal for a Sustainability Team, and more

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What is WordPress Playground, and why it matters? WP Briefing Episode 56 discusses the benefits and potential of this tool with special guests Rich Tabor and Adam Zielinski.

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Feedback & testing requests

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Which next generation of WordPress events would you like to see? Share your ideas and start exploring new event formats this year.

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WordPress events updates

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Join WordPress project leadership on June 10 at WordCamp Europe 2023 to hear about the latest developments and what’s next for WordPress. Check out the schedule for details.

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Have a story we should include in the next issue of The Month in WordPress? Fill out this quick form to let us know.

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The following folks contributed to this Month in WordPress: @rmartinezduque, @nahidsharifkomol, @chaion07, @devinmaeztri, @bsanevans, @ninianepress.

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Join WordPress Executive Director Josepha Haden Chomphosy in the 57th episode of the WordPress Briefing as she discusses the Contributor Mentorship Program to help increase the success of new contributors over time.

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Have a question you’d like answered? You can submit them to wpbriefing@wordpress.org, either written or as a voice recording.

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Credits

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Editor: Dustin Hartzler
Logo: Javier Arce
Production: Brett McSherry
Song: Fearless First by Kevin MacLeod

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Show Notes

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Transcript

\n\n\nRead more: Episode 57: The Power of WordPress Mentorship\n\n\n

[Josepha Haden Chomphosy 00:00:00] 

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(Intro music)

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Hello everyone, and welcome to the WordPress Briefing, the podcast where you can catch quick explanations of the ideas behind the WordPress open source project, some insight into the community that supports it, and get a small list of big things coming up in the next two weeks. 

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I’m your host, Joseph Hayden Chomphosy. Here we go!

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(Intro music)

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[Josepha Haden Chomphosy 00:00:40] 

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Over the course of this year, there has been a lot of research and examination of the contributor funnel in the WordPress community. That research confirms some assumptions about what most contributor stories have in common: the hurdles, the general paths taken, and the way that problem-solving was done. Then in February of this year, Hari Shanker published a proposal for a mentorship program for WordPress. 

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And now we’ve got a pilot program that’s been defined and is waiting for your feedback. If you’ve not read the post about the contributor mentorship program, for one do it. But if you would rather hear a synopsis from me, don’t worry, I’m about to give you a 10-cent tour. 

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[Josepha Haden Chomphosy 00:01:22] 

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First up, who is doing this? This pilot program has been outlined by a community working group. We often have working groups in WordPress, and they almost always have specific projects around events or programs, or code updates. Since this working group is focused on a project-wide program, there is project-wide representation in it. All the names are at the bottom of the post, which you can find in our show notes. But it’s got folks who contribute with code or contribute with time or contribute with design folks who are self-sponsored or corporately sponsored, just a nice mix of people. The program as a whole, though, is being stewarded by Hari Shankar, a longtime supporter of and contributor to WordPress. 

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[Josepha Haden Chomphosy 00:02:06] 

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So next, what is this for? There are a few goals for the program. But the overarching goal is to increase the success of new contributors over time. We can all agree that if we were to have 1000s of new contributors every day, but they couldn’t find their way to impactful contributions or meaningful connections quickly, then we would have done them a disservice. And they probably won’t continue to be part of the community without a bit more effort. 

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The when and the where are essentially “right now and right here,” so that brings us finally to Why. Why are we doing this mentorship program? Apart from to help people who want to contribute have an easier path to success – which frankly is enough of a reason anyway – the why is wrapped up in our overall philosophies in the project. If we believe that good ideas can come from anywhere and that contributions of any size matter. And that open source is an idea that can change our generation and that we are democratizing publishing, then bringing new people brings new ideas, and beginner contributions can grow over time. We can maintain this idea, this concept of open source, into the next generation and to future generations. And always keep our sights on the open web. To learn more about this and other project-wide initiatives, swing by make.wordpress.org/project or check the links in today’s show notes on wordpress.org/news/podcast.

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[Josepha Haden Chomphosy 00:03:53] 

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Which brings us now to our small list of big things. 

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[Josepha Haden Chomphosy 00:03:56] 

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First on the list is WordCamp Europe. That’s coming up at the end of the week on June 8 through 10th in Athens, Greece. There will be a major update from Matt and friends, so even if you aren’t there in person, keep an eye out for those recordings. But for those who are there and you’re curious about the mentorship program or anything else to do with WordPress and contributing to the project, you can come find me or Angela Jin, Hari will also be there, Chloé will be there, Héctor will be there, lots of people, and we want to hear your thoughts and answer your questions. 

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[Josepha Haden Chomphosy 00:04:27] 

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Second is a call for brainpower! A call for your brainstorms! On the subject of the next generation, we’ve got a discussion going on about the next generation of WordCamps. We’ve been discussing what new types and varieties might be available, and that might make sense for people as we get back to in-person events. So if you’ve got a kind of WordCamp that you’ve been desperately wanting to try, now’s the time to let folks know about it. 

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[Josepha Haden Chomphosy 00:04:54]

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And the final thing is the second volume of The WordPress history book called Building Blocks: The Evolution of WordPress is now available for download in several formats as well as on GitHub. Stop buy, give it a read, and relive some of the highlights of the past ten years of the WordPress project. 

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 [Josepha Haden Chomphosy 00:05:12]

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And that, my friends, is your smallest of big things. Thanks for tuning in today for the WordPress Briefing. I’m your host Josepha Haden Chomposy, and I’ll see you again in a couple of weeks.

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With WordCamp Europe 2023 in June, we feature Stefano Cassone, a web designer, photographer and volunteer translator, who believes his life has been transformed through WordPress and its community.

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The People of WordPress series shares inspiring stories of how people’s lives can change for the better through WordPress and its global community of contributors.

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\"Stefano
Stefano with a laptop covered in WordPress event stickers
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Stefano has always been fascinated by the internet. His initial learning in the 1990s was through joining friends at a local pub where they could explore how websites were structured and learn to use chat software.

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This led to Stefano creating websites for fun in 1998, and his first paid job was for the shop where he bought comics. He turned to content management systems (CMS) to speed up the creation process for sites, but found he needed more documentation to really understand their capabilities. Then he read a magazine article about WordPress, a CMS which was being used to make incredible blog sites, and was supported by an international community and documentation. Over time, Stefano started using that documentation to work on websites in Italian.

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WordPress provides a life-changing turning point 

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Stefano describes himself as an introvert. He found that WordPress helped him to work from home, to develop his skills and the quality of what he could produce, as well as build his self-confidence. 

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A catalyst for the turning point in his life and career was the discovery of an area for events on the WordPress dashboard. On this page, he found a forthcoming local meetup in Rome. 

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In November 2017, Stefano took the step to go along to this event, led by a curiosity of what he might discover and intrigued by how a software could be supported by a vast community. The topic at the event was on WP-CLI, a command line interface for WordPress. He recalled that he felt outside his comfort zone as he did not regard himself as a developer and at that point, had only used the software for simple jobs. He wondered whether using the software as his only CMS was going to be a long term option and if these meetups were suitable for him.

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At the meetup, people were talking about a forthcoming event, called WordCamp Rome. Through his research, he saw that there was a lot of enthusiasm for this event. This intrigued him and he wondered if it would show him that he could have a career using the software after all.

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Unfamiliar with WordCamps, Stefano found it difficult at first to know what he could go to and how to get involved, but he persevered and attended the event.

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\n

“The WordCamp was a great discovery: talks at all levels from basic to those for developers, advanced and very advanced. I was immediately struck by the enthusiasm of the volunteers. It was an environment where I felt very comfortable, so much so, that I asked myself how I could participate in some WordCamps.”

\nStefano Cassone
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From this event, Stefano was encouraged by those he met to consider applying as a volunteer for a future WordCamp.

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There was also much talk at the event about ‘Slack’. It was new to Stefano, but with help from those attending, he signed up for the messaging tool Slack, used by the WordPress community. He was still unsure how he could contribute, and if he would be welcome.

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Joining thousands of volunteer translators of WordPress

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\"Italian
Italian General Translation Editors at WordPress Italia 2022
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Stefano took the plunge and was excited to find there was a team called Polyglots. In this team, people from across the world translate the WordPress software into many different languages. He started with translating a theme he was using in his work. Little by little he became more interested in plugins and attended meetings with other translators. He offered his skills to translate into Italian themes and plugins in general and as his experience grew, he took on the volunteer role of a General Translation Editor. He also took care of the translation into Italian of the WordPress Core. More recently he has joined the group of translators for the HelpHub, which is part of the WordPress documentation system.

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He said: “Participating in the WordPress Slack has helped me enormously: I’ve met a lot of people who I now call friends. Moreover, by translating, I learned a lot about how themes and plugins work.

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“It’s a great way to contribute to WordPress, especially for someone like me who is not a developer. Translating also allows me to fully understand how WordPress works.”

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“I always say that translating themes, plugins, and the Core software is the best way to learn WordPress, better than any course or book.”

\nStefano Cassone
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Sharing skills to support Open Source WordPress

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\"Stefano
Stefano volunteering as a photographer at a WordCamp in 2019 with other contributors.
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Stefano’s growing commitment to the open source WordPress project was further boosted through his volunteering. He was a volunteer at WordCamp Rome 2018 and participated there in his first Contributor Day where he had the opportunity to translate the software with others. 

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He was also able to bring his own hobbies and skills to help the project grow and reach others. One example was his passion for photography, and he volunteered as a photographer for many other events in Italy organized by the WordPress community. He said: “This commitment to the community also allows me to have fun: being a photographer means having the opportunity to walk around the halls and capture moments of the life of a WordCamp.” The more WordCamps he attended, the more he wanted to be part of and keep contributing to the wider WordPress community.

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Contribution to WordPress is inspiring

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\"Stefano
Stefano at the Support Table at a WordPress Contributor Day
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When Stefano was asked to become an organizer for the WordPress meetup in Rome in October 2019, he knew he wanted to be part of reaching and supporting more people in his area. He faced challenges with finding venues, but a greater issue was to come: the Covid-19 pandemic. 

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Spurred on by the Italian WordPress community as a whole, he was determined that the meetup was still needed. The regular event was transformed into an online meeting. He was able to gain help from people he had met as a volunteer to share their expertise with meetup attendees. 

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The community in Italy also worked together to put on WordCamp Italia online. It brought together the organizers of previous meetups and WordCamps, and new contributors too. Stefano volunteered in both online editions of this camp, including being part of the social and communication team. He found it to not only be a fun experience but also one that helped him grow professionally and learn from so many others.

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He went onto help restart the Rome WordPress meetup in-person meetings in May 2022, was an organizer for the third WordCamp Italy, and has been volunteering for camps in 2023.

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What will WordPress bring you?

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\"Stefano
Stefano inspired by his journey at WordCamps asks what will WordPress bring you?
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“Persona and professional growth and friendship” are some of the things they have brought Stefano. Contributing boosted his confidence and willingness to try new opportunities in his work. 

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He said: “The best thing I got out of joining the WordPress community was the chance to collaborate with some people on a working basis and, I have to say, that was incredible. Being with many of them you have an incredible opportunity to grow in knowledge, you just have to be ready to learn. With WordPress you never stop learning.”

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His top recommendation is: “Join your local meetup or think about organizing one, it will introduce you to an amazing world. Don’t be afraid to meet people at WordCamps and Contributor Days, because you will learn more there than in dozens of courses. Talk to people at those events and don’t worry. The WordPress community is inclusive so you’ll always feel welcome, and you will see enthusiasm like you’ve never seen at other IT events. Sign-up and get involved.”

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Share the stories

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Help share these stories of open source contributors and continue to grow the community. Meet more WordPressers in the People of WordPress series.

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Contributors

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Thanks to Stefano Cassone (@deadpool76) for sharing about his adventures in WordPress.

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Thank you to Abha Thakor (@webcommsat), the late Surendra Thakor (@sthakor) and Meher Bala (@meher) for interviews, writing the feature and collaborating on images, to Chloe Bringmann (@cbringmann), Mark Smallman (@marks99), Nalini Thakor (@nalininonstopnewsuk), Mary Baum (@marybaum), and Maja Loncar (@majaloncar) for help with reviews.

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The People of WordPress series thanks Josepha Haden (@chanthaboune) and Topher DeRosia (@topher1kenobe) for their support.

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\"HeroPress
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This People of WordPress feature is inspired by an essay originally published on HeroPress.com, a community initiative created by Topher DeRosia. It highlights people in the WordPress community who have overcome barriers and whose stories might otherwise go unheard. #HeroPress

\n
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Dave and Dan takes you inside of Automattic and their own thoughts around WordPress, WooCommerce and AI.

\n

>> The post Pulling the Curtain Back on WordPress, Woo and AI with Dave Lockie and Dan Walmsley appeared first on Do the Woo - a WooCommerce Builder Community .

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 Snicco, a WordPress security services provider, has published an advisory on a vulnerability in the MalCare plugin, which is active on more than 300,000 sites.

\n\n\n\n

“MalCare uses broken cryptography to authenticate API requests from its remote servers to connected WordPress sites,” WordPress security researcher Calvin Alkan said.

\n\n\n\n

“Requests are authentication by comparing a shared secret stored as plaintext in the WordPress database to the one provided by MalCare’s remote application.

\n\n\n\n

“This can allow attackers to completely take over the site because they can impersonate MalCare’s remote application and perform any implemented action.”

\n\n\n\n

These potential malicious actions include creating rogue admin users, uploading random files to the site, and installing and removing plugins.

\n\n\n\n

Exploitation requires a pre-condition to be met, such as a site with a SQL injection vulnerability in a plugin, theme, or WordPress core, or a database compromised at the hosting level, or subject to another vulnerability that allows the attacker to read or update WordPress options.

\n\n\n\n

“MalCare has received the full details of this vulnerability three months before this public release, and despite us offering (free) help, they subtly dismissed it because ‘supposedly’ this is the industry standard for API authentication,” Alkan said.

“Furthermore, concerns were raised, because the vulnerability requires a pre-condition that on its own, would be a vulnerability.”

\n\n\n\n

Two days after Snicco published the security advisory with the proof of concept, MalCare pushed a patch in version 5.16 on July 8, 2023, along with a notice on the plugin’s blog:

\n\n\n\n
\n

In the rare situation, where a site has a pre-existing, high severity SQL injection vulnerability, an attacker might be able to read the MalCare key. To address such issues, we are further strengthening our authentication systems.

\n\n\n\n

Authentication is a critical system and any improvements must be done in a careful manner. We have reviewed various plugins and best practices in our ecosystem to come up with our solution.

\n\n\n\n

In light of the current public discourse, we are expediting the update of our plugin. We will initiate a rollout by EOD.

\n
\n\n\n\n

MalCare reports that its users have seen no evidence of the vulnerability being exploited.

\n\n\n\n

Snicco noted that the same vulnerability also exists in WPRemote (20k installs) and Blogvault (100k installs) plugins, as they share the same code. Users of either of these plugins or the MalCare plugin should update to the latest versions as soon as possible now that the vulnerability advisory and proof of concept have been published.

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If you have an existing WordPress focused podcast, consider introducing it to our audience at Do the Woo.

\n

>> The post Bring Your Podcast to Do the Woo appeared first on Do the Woo - a WooCommerce Builder Community .

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WordCamp Dhaka 2023 has been cancelled and the official announcement has been published on the event website. There were no tickets or sponsorship packages sold, therefore there are no tickets or sponsorships to be refunded. 

\n\n\n\n

To ensure the success of future WordCamps, we encourage the Dhaka community to participate in collaboration and contribute to creating a more diverse, inclusive and open community. Any members of the community, regardless their gender, company affiliations, and background, can apply and collaborate as co-organizers.

\n\n\n\n

Here are the basics of our Meetup Program and the application to become a Meetup organizer.

\n\n\n\n

The Community Team believes that the Dhaka WordPress Community can build a stronger community with opportunities for everyone interested in WordPress. 

\n\n\n\n

If you have any questions, you can reach out to us by sending an email to support@wordcamp.org.

\n\n\n\n

Thank you,

\n\n\n\n

WordPress Community Team

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WordPress 6.3 is scheduled to be released one month from today on August 8, 2023. The live product demo date and time has now been set for Thursday, July 20, at at 16:00 UTC. Participants can join live via this Zoom link.

\n\n\n\n

Automattic-sponsored Gutenberg contributors Anne McCarthy and Rich Tabor will be hosting the event, moderated by Nathan Wrigley. They will highlight upcoming changes and take questions from participants during a Q&A session at the end.

\n\n\n\n

WordPress 6.3 is set to introduce an exciting array of new features – the Command Palette, content editing and distraction-free mode in the Site Editor, pattern creation, and much more. There have also been significant changes to pattern management UI as late as Beta 3. The live product demo is a good opportunity to get up to speed with a guided tour of everything new that will be landing in 6.3.

\n\n\n\n

The event will be recorded and those who cannot attend live can catch it later when it is published on WordPress.tv.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 08 Jul 2023 17:41:17 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:5;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:140:\"Gutenberg Times: Phase 3: Collaboration – Kick-off, add commands to the palette, server-side filter for theme.json –Weekend Edition #260\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:35:\"https://gutenbergtimes.com/?p=24655\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:140:\"https://gutenbergtimes.com/phase-3-collaboration-kick-off-add-commands-to-the-palette-server-side-filter-for-theme-json-weekend-edition-260/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:20047:\"

Howdy,

\n\n\n\n

Wow. This weekend edition holds a lot of date/times of upcoming online events for all WordPress users, developers, designers, site builders, and content creators.

\n\n\n\n

The most important might be the the WordPress 6.3 Product Demo on July 20th, (16:00 UTC) roughly 14 days before the final release, filled to the brink with new and enhanced features. Watching the Product Demo gets you up to speed quickly. Yes, there will be a recording, too.

\n\n\n\n

Don’t forget to consult the workshop schedule of the training team on the Learn WordPress site.

\n\n\n\n

Have a wonderful weekend! Mine will be dominated by unpacking boxes and eating delicious food and chatting with long-distance friends.

\n\n\n\n

Be well.

\n\n\n\n

Yours, 💕
Birgit

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\n

Table of Contents

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\n
\n\n\n\n\n
\n

Next Live Q & A: Design Systems and Theme.json on July 21, 2023

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David Bowman and and Alec Geatches from WordPress VIP will show off how they keep design systems developed in Figma and themes in WordPress in synch and their workflows streamlined. Joni Halabi, senior developer from Georgetown University will join me as co-host.

\n\n\n\n\n
\n\n\n\n

Developing Gutenberg and WordPress

\n\n\n\n

Joen Asmussen published for the WordPress design team the Design Share: Jun 19–Jun 30, recounting all the great UI and UX work the design team contributed during the past two weeks.

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Reminder: Anne McCarthy and Emily Clark will co-host a Hallway Hangout to discussion WordPress 6.3 performance improvements on July 27, 2023, at 15:00 UTC to discuss WordPress 6.3 performance improvements led by performance reps Emily Clark and Felix Arntz and also look ahead to WordPress 6.4.

\n\n\n\n

WordPress 6.3

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Anne McCarthy and Rich Tabor will present at the WordPress 6.3 Live Product Demo on July 20th, 2023 at 16:00 UTC (12 pm EDT / 18:00 CEST). “Join the WordPress community for a first look at 6.3 in action during a live product demonstration.” Attendees will learn about recent improvements to the Site Editor, Patterns, Command Palette, and Navigation. There will be a Q&A session, and you may submit questions in advance via the #walkthrough channel on WordPress Make Slack. 

\n\n\n\n
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Sarah Gooding reports on WordPress 6.3 Beta 3 Released, Introduces UI Changes to Pattern Management. “A last-minute PR has renamed Library to Patterns in the Site Editor and was cherry-picked to get it included in Beta 3.” she wrote, and then continues with the reasons.

\n\n\n\n
\n\n\n\n

Only tangentially related to the Block editor, I still want you to have this overall change on your radar: In his post on the Make Blog, John Blackburn informed the WordPress community that the project is Dropping support for PHP 5 .

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\n

“The minimum supported version was last adjusted in WordPress 5.2 in 2019, and since then, usage of PHP 5.6 has dropped to 3.9% of monitored WordPress installations as of July 2023,”

\nJohn Blackbourn, WordPress core developer
\n\n\n\n

Sarah Gooding also has the skinny for you in WordPress 6.3 to Drop Support for PHP 5

\n\n\n\n
\n

🎙️ New episode: Gutenberg Changelog #85 – Gutenberg 16.1, WordPress 6.3 with special guest, Tammie Lister and host Birgit Pauli-Haack

\n
\n\n\n\n

Gutenberg Phase 3: Collaboration starts

\n\n\n\n

Following his March 2023 Gutenberg Phase 3 post, Matias Ventura, architect on the Gutenberg project, published a series of posts to go deeper on all the aspects of the next phase and outline the requirements.

\n\n\n\n\n\n\n\n

There might be more posts coming and, of course, I’ll keep you in the loop.

\n\n\n\nScreenshot shared on the post about Workflows\n\n\n\n
\n\n\n\n

Sarah Gooding summarized it all in WordPress Unveils Plans for Real-Time Collaboration with Major Improvements to Revisions and the Media Library

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\n\n\n\n

In his post, What Collaborative Features Will Bring to WordPress, Eric Karkovack explored a few scenarios that demonstrate how new collaborative features can streamline working together in a team responsible for publishing content on a larger site.

\n\n\n\n\n

 “Keeping up with Gutenberg – Index 2022” 
A chronological list of the WordPress Make Blog posts from various teams involved in Gutenberg development: Design, Theme Review Team, Core Editor, Core JS, Core CSS, Test, and Meta team from Jan. 2021 on. Updated by yours truly. The index 2020 is here

\n\n\n\n\n

Plugins, Themes, and Tools for #nocode site builders and owners

\n\n\n\n

Nick Diego announced a new season of his “Builder Basics” series. The next event is scheduled for July 17th 7pm UTC ( 3 pm EDT) Goodbye Reusable Blocks—Hello Synced Patterns (and more). He’ll review the updates coming in WordPress 6.3 for reusable blocks and explore the improved editing flows for patterns and template parts.

\n\n\n\n
\n\n\n\n

In another event, Bud Kraus will demystify the Navigation Block for you on July 11 at 19:00 UTC / 3 pm EDT. You will learn how to set your site’s navigation using only blocks and not the classic menu system.

\n\n\n\n
\n\n\n\n

Bijay Yadav, long-time contributor to the open-source WordPress project, published his first theme in the Theme directory. Geum is block themes allowing the user to take full advantage of the new site editor to customize their site.

\n\n\n\n
\n\n\n\n

Jamie Marsland posted a tutorial on How to Choose the perfect WordPress Block Theme. He started out summarizing the advantages of a block theme over a classic theme, and listed all the considerations to take into account when comparing block themes from the repository or other theme directories. He also mentioned his favorites: Basti by Ana Segota, Ollie WP by Mike McAlister and Spectra One by the Astra team.

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\n\n\n\n

Anne McCarthy published the Summary of feedback from the latest FSE Program Momery Makeover Summary. “Since this call for testing took place during the early stages of an iterative process, several aspects of the feedback provided have already been swiftly addressed, thanks to ongoing development for WordPress 6.3. The relatively limited amount of bugs received and feedback aligning with feature development reflects a level of solidness in the direction of recent improvements.” she wrote.

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\n\n\n\n

On WPTavern, Sarah Gooding reviewed the latest block theme for blogging – Hey, built by Automattic in here article Hey: An Elegantly Simple WordPress Block Theme for Blogging.

\n\n\n\n

Theme Development for Full Site Editing and Blocks

\n\n\n\n

In his article for the Torque Magazine, How to Modify WordPress Block Themes (JSON Beginner’s Guide), Nick Schäferhoff explored ways on how you can customize a block theme’s theme.json file for those of us, who are used to tinker around via functions.php and style.css.

\n\n\n\n
\n\n\n\n

Jonathan Bossenger published his series for live streams on Developing Sendig a Block theme on YouTube. The goal is to create a theme following the designs by Emily Rapport. (See Weekend Edition 253 for details).

\n\n\n\n\n\n\n\n
\n\n\n\n

You can take Wes Theron‘s tutorial on Designing with row and stack blocks on Learn WordPress. “Using the Group block is one of the cornerstones of mastering the block editor. When you select a Group block, you have the variations of the Group block, the standard group, rows, and stacks. In this video tutorial, you learn how you can use rows and stacks to achieve various designs.

\n\n\n\n

Building Blocks and Tools for the Block editor.

\n\n\n\n

Ronald Huereca published a tutorial on Adding Commands to the WordPress Command Palette can be accomplished, ahead of the official WordPress 6.3 Dev Notes. He explained what the Command Palette is, what it can be used for, and step-by-step how you can add your custom commands to it via a plugin.

\n\n\n\n
\n\n\n\n

A new post on the WordPress Developer Blog covers how to modify theme.json data using server-side filters. Discover, with Nick Diego as your guide, the possibilities of theme.json server-side filters. Learn how to modify color palettes dynamically or restrict block controls based on user permissions.

\n\n\n\n
\n\n\n\n

The recording of this week’s Live Q & A is now available on YouTube: Leveraging Gutenberg’s architecture to take plugin development to new levels. Learn how Gutenberg components and scripts can be used outside the block editor to revamp a plugin’s code base in this Case Study of GiveWP 3.0 with Jason Adams, Director of Development, Jon Waldstein, Lead Developer of GiveWP and co-host Lena Morita, JavaScript Developer on the Components team. The list of resources is available in the description of the video.

\n\n\n\n
\n\n\n\n

Ryan Welcher announced the topics for the next Twitch streams:

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Recordings of previous streams can be viewed on his YouTube Channel.

\n\n\n\n\n

Need a plugin .zip from Gutenberg’s master branch?
Gutenberg Times provides daily build for testing and review.
Have you been using it? Hit reply and let me know.

\n\n\n\n

\"GitHub

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Questions? Suggestions? Ideas? Don’t hesitate to send them via email or send me a message on WordPress Slack or Twitter @bph.

\n\n\n\n

For questions to be answered on the Gutenberg Changelog, send them to changelog@gutenbergtimes.com

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Featured Image: Victoria Pickering “Old Type”, found on Openverse.org

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Don’t want to miss the next Weekend Edition?

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We hate spam, too and won’t give your email address to anyone except Mailchimp to send out our Weekend Edition

Thanks for subscribing.
\n\n\n\n
\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 08 Jul 2023 09:45:29 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:18:\"Birgit Pauli-Haack\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:6;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:120:\"WPTavern: WordPress Unveils Plans for Real-Time Collaboration with Major Improvements to Revisions and the Media Library\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146631\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:131:\"https://wptavern.com/wordpress-unveils-plans-for-real-time-collaboration-with-major-improvements-to-revisions-and-the-media-library\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:6352:\"

In a series of four posts, Gutenberg lead architect Matías Ventura has outlined the project’s phase 3 plans for Real-Time Collaboration, Workflows, Revisions, and the Media Library. WordPress 6.3 is set to be the final major release of Phase 2, which focused on Customization.

\n\n\n\n

Phase 3 will shift focus from the editors and move into other parts of the admin in an effort to bring seamless collaboration to WordPress.

\n\n\n\n

“The primary aim of real-time collaboration is to build functionality into the block editors so that concurrent collaboration, shared edits, and online presence of peers are possible,” Ventura said. “Supporting these workflows is not just about concurrency, though, but also about lifting restrictions that have been present in WordPress for a long time, such as locking a post when two people try to edit at the same time.”

\n\n\n\n

The technical challenges here are in making this available to all WordPress users, even those on the most economical hosting environments. Ventura shared a quick preview of what that might look like, along with the scope of the tasks that would be part of this effort.

\n\n\n\n\n\n\n\n

In the Workflows document, Ventura details collaborative features that will be part of this phase, including allowing users to add comments, suggest edits, and tag other users for peer review. These enhancements would apply to both content creation and design changes on block themes.

\n\n\n\n

There are some interesting projects listed within the scope of this section, including a publishing checklist, sharing draft links with permission controls, and exploring hook points for version control systems to take over internal revision systems if desired.

\n\n\n\nimage credit: Workflows – Matías Ventura\n\n\n\n

Users can expect that Revisions will also be getting some major improvements as part of the Collaboration phase of the project.

\n\n\n\n

“As part of improving the overall experience, we should also go beyond document level history and explore how the interface could let users browse through single block changes and offer the ability to restore them individually rather than requiring full post restores,” Ventura said. “For global styles, we should evolve the revisions panel to allow comparing two revisions side by side. For synced patterns, we could allow browsing edit history with side by side and overlay comparison tools.”

\n\n\n\n

Long-awaited improvements to WordPress’ Media Library are also considered part of this phase.

\n\n\n\n

“The main goals are to expand the media management capabilities, unify the block edit and single media interfaces, and improve upon the major media flows,” Ventura said. He highlighted a few major areas that may get some enhancements, such as categorization and tagging, better handling of attached media, and design improvements to the library view.

\n\n\n\n

Other Media Library projects may include a revamp of the image editing interface, which remains somewhat unintuitive at this time. Ventura proposes these tools, such as cropping and thumbnail browsing, be updated to align more with the current block editor tools.

\n\n\n\n

Contributors may also be exploring contribution to the commons from WordPress, along with improvements to attribution.

\n\n\n\n

“As we look into expanding the presence and touch points of Openverse, it’d be interesting to see how contributions to the commons could work directly from a user’s WordPress install,” Ventura said. “Another area to look at is improving handling and presentation of other media types (audio, video, files) and their connection with blocks and the block APIs. We should resurface work on a native Playlist block, ideally powered by the Interactivity API.”

\n\n\n\n

Reactions to the outlined vision and scope for the Collaboration phase have so far been positive, as users and contributors are eager to see a strong focus come to some of the other parts of WordPress that have not had much attention for years. The newer real-time collaboration features that will take WordPress beyond the days of locking posts while another person is editing, have the potential to speed up content creation and editing for groups working on the same website.

\n\n\n\n

“Very much looking forward to this phase. I think it will really enable larger teams to work on posts much easier,” WordPress developer Rich Holman commented. “I’ve mentioned this before but the ability to continue working on a published draft without the front-end updating seems important especially with more editors working on something, especially if doing more experimental edits.”

\n\n\n\n

For more details on the features being considered for this phase, check out the Phase 3 overview post, along with Ventura’s more recent write-ups on how contributors will improve and expand WordPress’ collaboration architecture with updates to Real-Time Collaboration, Workflows, Revisions, and the Media Library.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 07 Jul 2023 19:40:58 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:7;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:45:\"WordCamp Central: WordCamp Rochester is Back!\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:39:\"https://central.wordcamp.org/?p=3166570\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:69:\"https://central.wordcamp.org/news/2023/07/wordcamp-rochester-is-back/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:1772:\"\n\n\n\n

On Saturday, September 30, 2023, Rochester will again (for the sixth time) host the region’s WordCamp for bloggers and web designers of all skill levels.

\n\n\n\n

Registration opens at 8:00am. Sessions begin at 9 a.m. and continue to 5 p.m. This year’s WordCamp will be held at the Rochester School of the Arts, 45 Prince Street, Rochester, NY 146017. Tickets are required in advance. 

\n\n\n\n

The $25 ticket cost covers WordCamp Rochester swag, morning coffee, lunch, and the evenings’s after-party food. Participants are strongly encouraged to bring their laptop or tablet computers. Ticket purchase and program details are available at www.rochester.wordcamp.org/2023. The capacity for this event is about 120 people, so getting tickets early is advised.

\n\n\n\n

WordCamps are held worldwide, locally run and purposely provided at a low cost for accessibility to all. WordCamp Rochester is dedicated to WordPress, blogging and web facility. WordCamps are sponsored by WordPress, the open-source, free platform for individuals, groups and businesses to build their own blogs and websites. WordPress.org began in 2003. Its administrators call it the “largest self-hosted blogging tool in the world, used on millions of sites and seen by tens of millions of people every day.”

\n\n\n\n

Similar to previous years, Rochester’s 2023 WordCamp will divide its workshops along two tracks, with sessions for every ability and level of use.

\n\n\n\n

Speakers will include WordPress users from Rochester, Buffalo, and beyond, with experience ranging from user/blogger to advanced developer.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 07 Jul 2023 18:36:28 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:18:\"Michelle Frechette\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:8;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:41:\"WordPress.org blog: 6.3 Live Product Demo\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:35:\"https://wordpress.org/news/?p=15354\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:57:\"https://wordpress.org/news/2023/07/6-3-live-product-demo/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2911:\"\"WordPress\n\n\n\n

Want to learn more about WordPress 6.3, planned for release on August 8, 2023? Join the WordPress community for a first look at 6.3 in action during a live product demonstration.

\n\n\n\n

6.3 release squad members, Anne McCarthy and Rich Tabor, will team up with moderator, Nathan Wrigley, to guide attendees through the anticipated highlights of the upcoming release. This event will follow a similar format to the live demo for 6.2.

\n\n\n\n

Attendees will see recent improvements to the Site Editor, Patterns, Command Palette, and more. Following the demo, there will be a Q&A session, and you may submit questions in advance via Slack. 

\n\n\n\n

Date, Time, and Location

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Thursday, July 20, 2023 at 16:00 UTC
Zoom Link | Save this link and use it on July 20 to join the event.

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The event will be recorded, archived for on-demand viewing on WordPress.tv, and shared in a recap post shortly afterward.

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About WordPress 6.3

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To learn more about WordPress 6.3, please visit the following resources:

\n\n\n\n\n\n\n\n

Props to our panelists and moderator, and to @jpantani, @meher, @eidolonnight, and @dansoschin for helping prepare this announcement and supporting event logistics.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 07 Jul 2023 13:27:51 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:11:\"Dan Soschin\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:9;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:77:\"WordCamp Central: WordCamp San José 2023: Looking For Speakers And Sponsors!\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:39:\"https://central.wordcamp.org/?p=3166438\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:99:\"https://central.wordcamp.org/news/2023/07/wordcamp-san-jose-2023-looking-for-speakers-and-sponsors/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2078:\"
\n\"\"
\n\n\n

WordCamp San José 2023 will take place on November 4-5, 2023 at Fidélitas University. That means we are currently looking for speakers who want to take the stage and share their knowledge, and sponsors who can help make this event unforgettable.

\n\n\n\n

Costa Rica is known as a country that stands out for its natural beauty, commitment to environmental sustainability, and quality of life, so we are looking for a great and diverse group of speakers to reflect our local community. Both new and experienced WordCamp speakers are welcome. If you would like to propose multiple topics, please submit the form multiple times, once for each topic.

\n\n\n\n

\"🔊\" Our deadline for submitting proposals is midnight EST on August 26, 2023.

\n\n\n\n

Apply at https://sanjose.wordcamp.org/2023/llamado-a-ponentes/
WordCamp San Jose is also looking for sponsors who can help with expenses. We are the largest WordCamp in Latin America. Be part of the fun and help us by bringing a great experience in terms of food, networking opportunities, and some fun contests!

\n\n\n\n

\"🚀\" Call for Sponsors: https://sanjose.wordcamp.org/2023/call-for-sponsors/

\n\n\n\n

\"🎟\" Buy your ticket here: https://sanjose.wordcamp.org/2023/tickets/

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If you have just started a business, or moving an existing one into this unique open source community, there is a lot to learn.

\n

>> The post Navigating the WooCommerce and WordPress Community appeared first on Do the Woo - a WooCommerce Builder Community .

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 07 Jul 2023 07:07:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:5:\"BobWP\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:11;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:69:\"WPTavern: Hey: An Elegantly Simple WordPress Block Theme for Blogging\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=144855\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:79:\"https://wptavern.com/hey-an-elegantly-simple-wordpress-block-theme-for-blogging\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2261:\"

Hey is a block theme designed by Automattic for users on WordPress.com and also released for free in the WordPress.org Themes Directory. It’s the kind of simple theme that enables you to quickly get started writing online, without having to configure a bunch of design elements. The homepage features a profile image (Site Logo), site title, and recent posts with dates.

\n\n\n\n\n\n\n\n

Single posts display with the feature image at the top of the post, although this template can easily be edited if this is an undesirable feature. Previous and Next post navigation appears under the post. Users can add menu items to display at the top, but clicking the site logo brings the visitor back home in the absence of a navigation menu.

\n\n\n\n\n\n\n\n

The Hey theme comes in two different styles – the default and a serif variation. Colors can be adjusted to create a more vibrant palette for the site design.

\n\n\n\n\n\n\n\n

One major drawback to this theme, which may not be immediately evident by looking at the demo, is that if users want to display more than the three most recent posts, they will need to add the pagination block inside the query loop block. It will also need to be styled to match the theme better. The query loop can be edited to show more posts on the homepage.

\n\n\n\n

Although Hey is a simple personal blog theme, it also comes packaged with templates for WooCommerce compatibility. This is likely for the benefit of WordPress.com users who may want to quickly fire up a store. Self-hosted users who want to sell products with WooCommerce will be able to easily display things like the mini-cart, customer account block, product archive, product search results, and more.

\n\n\n\n

Overall, Hey is an elegantly simple block theme with a clean design and plentiful white space. It’s suitable for the person who wants an almost blank slate to get started, or just a theme that enables writing without any distraction for the reader. Check out the live demo on WordPress.com and download Hey from WordPress.org.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 06 Jul 2023 21:02:08 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:12;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:80:\"Do The Woo Community: Building a WooCommerce Point of Sales with Mathias Nielsen\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"https://dothewoo.io/?p=75444\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:79:\"https://dothewoo.io/building-a-woocommerce-point-of-sales-with-mathias-nielsen/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:434:\"

In this Woo DevChat we talk with Mathias from Oliver POS about his journey in building a point of sales for WooCommerce.

\n

>> The post Building a WooCommerce Point of Sales with Mathias Nielsen appeared first on Do the Woo - a WooCommerce Builder Community .

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WordPress is officially dropping support for PHP 5 in the upcoming 6.3 release, which is expected on August 8. WordPress’ minimum supported version has sat at PHP 5.6.20 since 2019, but will be updated to 7.0.0 in the next release. The recommended PHP version will stay the same at 7.4+.

\n\n\n\n

“The minimum supported version was last adjusted in WordPress 5.2 in 2019, and since then usage of PHP 5.6 has dropped to 3.9% of monitored WordPress installations as of July 2023,” WordPress core developer John Blackbourn said.

\n\n\n\n

“There’s no concrete usage percentage that a PHP version must fall below before support in WordPress is dropped, but historically the project maintainers have used 5% as the baseline. Now that usage of PHP 5.6 is well below that at 3.9% and dropping by around 0.1% every few weeks, plans to increase the minimum supported PHP version can move forward.”

\n\n\n\n

Blackbourn also emphasized that WordPress’ support for PHP 8.0, 8.1, and 8.2 is “very good” and contributors may soon act on a proposal for the criteria that would enable them to remove the “beta” support label on new PHP versions. Nearly 26% of WordPress users are already running sites on PHP 8.0+.

\n\n\n\n\n\n\n\n

Prior to this minimum required version boost, some hosts had even taken matters into their own hands in urging users to get on newer versions of PHP. Dreamhost charges additional fees for sites that require extended support for PHP 7.4 and older. IONOS and Strato have similar policies.

\n\n\n\n

The decision to bump the minimum supported version is happening after a lengthy seven-month long discussion, which surprisingly drew a little resistance. Although sites that remain on PHP 5.6 cannot upgrade beyond WordPress 6.2, they will still receive security updates, as the project currently backports them to versions 4.1+. The bump to 7.0.0 for the minimum supported version will have many benefits for the WordPress ecosystem of themes and plugins, will significantly reduce memory usage for upgraded websites, and provide better security and improvements to core tooling.

\n\n\n\n

“There are no plans to bump the minimum supported PHP version on a schedule,” Blackbourn said. “The core team will continue to monitor usage of PHP versions and work with the hosting team to encourage users and hosting companies to upgrade their versions of PHP as swiftly as possible. The 5% usage baseline will continue to be used for the foreseeable future.”

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 05 Jul 2023 21:30:40 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:14;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:84:\"WPTavern: WordPress 6.3 Beta 3 Released, Introduces UI Changes to Pattern Management\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146527\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:94:\"https://wptavern.com/wordpress-6-3-beta-3-released-introduces-ui-changes-to-pattern-management\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3172:\"

WordPress contributors are onto another round of testing, as 6.3 Beta 3 was released this week. RC 1 is expected on July 18, and a live product demo is anticipated to be broadcast on Thursday, July 20, 2023 at 16:00 UTC. These demos have become a more regular part of the release process and allow viewers to familiarize themselves with important new features and updates coming in the release.

\n\n\n\n

Beta 3 includes approximately 34 updates to the Site Editor since the previous beta release, and more than 40 updates coming from Trac.

\n\n\n\n

A last-minute PR has renamed Library to Patterns in the Site Editor and was cherry-picked to get it included in Beta 3. Automattic-sponsored Gutenberg contributor Aaron Robertshaw cited three reasons for the renaming:

\n\n\n\n\n\n\n\n

This video from the PR gives a quick overview of the changes testers should see in the Patterns UI as of Beta 3:

\n\n\n\nGutenberg PR: Patterns: Rename Library to Patterns #52102\n\n\n\n

Beta 3 introduces a new lock icon to designate theme patterns as unable to be edited or modified. It also adds a sync status details section within the pattern sidebar navigation screen.

\n\n\n\nimage credit: Gutenberg PR #51990\n\n\n\n

There are a significant number of new things being introduced after Beta 1, which seems usual. Major features like the pattern creation and the Patterns section made their debut in Gutenberg 16.1 but had very little testing before being rolled into the upcoming WordPress 6.3 release. This is likely why UI changes are being introduced after Beta 1 has already shipped.

\n\n\n\n

Check out the Beta 3 release post for more information on how to test. A Beta 4 is anticipated the week of July 11, followed by RC 1 on July 18. The general release is scheduled for August 8, 2023.

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\n

[00:00:00] Nathan Wrigley: Welcome to the Jukebox podcast from WP Tavern. My name is Nathan Wrigley. Jukebox is a podcastwhich is dedicated to all things WordPress. The people, the events, the plugins, the blocks, the themes, and in this case, how and why you need to be thinking sustainably when building websites.

\n\n\n\n

If you’d like to subscribe to the podcast, you can do that by searching for WP Tavern in your podcast player of choice. Or by going to WPTavern.com forward slash feed forward slash podcast. And you can copy that URL into most podcast players.

\n\n\n\n

If you have a topic that you’d like us to feature on the podcast, I’m keen to hear from you, and hopefully get you, or your idea featured on the show. Head to WPTavern.com forward slash contact forward slash jukebox, and use the form there.

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So on the podcast today, we have Louise Towler. She joined me at the recent WordCamp Europe in Athens to talk about websites and making them more sustainable.

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Louise is the founder of Indigo Tree, a UK based agency with deep expertise in WordPress websites. She gave a presentation at WordCamp Europe entitled, Digital sustainability: The benefits for business and the environment, in which she emphasized the impact websites can have on our planet. Her aim was to deliver practical tips for users and developers to help them make informed decisions. This presentation is the focus of today’s podcast, and we cover quite a lot of ground.

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Louise highlights the significant role which electricity plays in powering data centers and transmitting data to end devices. Even if data centers use renewable energy, there is still a need to address overall electricity consumption. She points out that the internet is the fourth largest polluter globally, surpassing the airline industry.

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We discussed how the continuous and widespread use of the internet has made it difficult to reduce its own impact, while still emphasizing the importance of the steps that we can take to make the internet more energy efficient.

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She suggests ways that we can all make a difference right away. Educating clients about the consequences of certain design choices, such as using large videos or auto-play features that require substantial data to load. Optimizing videos, images, and other website elements, which makes it possible to reduce data consumption and improve performance.

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The conversation then explores other suggestions, such as using modern image formats, using images as placeholders for videos, self hosted fonts, and considering the carbon footprint of email communications.

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Louise acknowledges the challenges of discussing environmental concerns with clients, whilst also explaining that we have to come up with ways to make clients understand that these decisions are beneficial to them as well. After all, an optimized website is one that is looked upon favorably by search engines. Whilst clients ultimately are the decision makers, informing them about the consequences of their choices can help them be more informed.

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Moving onto WordPress, we talk about the responsibility theme authors play. It’s a crucial role, helping users make sustainable choices. Her agency builds custom themes for clients which allows them to have full control over design decisions.

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We get into the subject of how legislation is certainly coming, and so getting in early and understanding the implications of such legislation will help your endeavors in the future.

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Towards the end of the podcast, we chat about some of the tools which you can use to assess the impact that your websites have, including a tool which Louise and her team have been working on for the last few years.

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If you’re interested in how your sites can become more sustainable, this podcast is for you.

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If you want to find out more, you can find all of the links in the show notes by heading to WPTavern.com forward slash podcast, where you’ll find all the other episodes as well.

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And so without further delay, I bring you Louise Towler.

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I am joined on the podcast today by Louise Towler. Hi Louise.

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[00:04:54] Louise Towler: Thank you for inviting me. Hello.

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[00:04:56] Nathan Wrigley: We’re going to talk today about, well possibly the most important topic ever, which is the environment and your website compared to the environment. Prior to that Louise, will you just tell us a little bit about you, so that we have some context. Who are you? What’s your relationship with WordPress and so on?

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[00:05:13] Louise Towler: Okay. I am the founder of Indigo Tree. We’re a small but beautiful WordPress agency based about 30 minutes on the train north of London in the UK. There’s 15 of us in total at the moment. We have an engineering team, a project management team, and a support team, and we build WordPress websites.

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I started building websites, well my first webpage that I built was built Christmas Day, the year 2000, because my husband was daft enough to buy me a book on html. So he cooked the turkey and I built myself a little webpage. I started freelancing about 20 years ago, and then one of my freelancing clients said to me, we’ve heard there’s this thing called WordPress. Would you mind building our website in WordPress? And I was like, okay, I’ll give it a go. And went off and Googled and found out how to do it, and the rest is history.

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[00:06:09] Nathan Wrigley: Nice. You did a talk today entitled The Benefits for Business and the Environment. Just give us a bit of a background about your thoughts on the environment. What I mean by that, is this something that you are concerned about in your normal life? Does the environment figure heavily in your daily life?

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[00:06:27] Louise Towler: It does. It’s really difficult to tread lightly on the planet. It’s very hard to do things in a sustainable way, but I think I’m very conscious of it. So I buy a few clothes, but I wear them a lot rather than throw them away, and the fast fashion thing. I use recycled paper. I try to do things in a good way. Turn off lights. Think about my travel. But it is genuinely hard. But then I have children and they’re going to live a lot longer than me, and global warming is going to affect them a lot more than it’s going to affect me. But 2050 is not that far away. And we are in trouble, as we can see by the mad world weather that’s happening at the moment.

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[00:07:16] Nathan Wrigley: You work in the website building industry, as do I. Which feels in my daily interaction with my computer, it feels like the cleanest thing ever. I have a shiny laptop. I have a shiny phone. None of them put smoke out of the back when I switched them on. You know, if I worked in the automotive industry, it would be obvious what my footprint was. But I switch on my computer, there’s no connection between that and the environment. And yet it’s pretty bad.

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[00:07:49] Louise Towler: Yeah.

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[00:07:50] Nathan Wrigley: We browse the internet. We’re probably asking Google and all the other rivals, trivial things all the time. So make the connection for us. What is the environmental impact? What are the things which are happening between me switching on my computer and browsing WordPress websites? What are the things that are going on? What’s the technology, the bits and pieces that we need to be thinking about?

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[00:08:13] Louise Towler: Well, if the internet was a country, it would be the fourth largest polluter. Compared to airlines, you know, that are 1.6%, it’s massive. It is just massive. And it’s fundamentally about electricity. Because it’s electricity that powers the data centers, whether or not they’re running on renewable energy, the fact is they still need electricity.

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You’ve got the transmission, the wires between the data centers and the end devices, and then you’ve got the power to power your device. If you’re on a phone, you are recharging it. If you’re on a laptop, you are plugging it in, and that’s all using electricity. And not all of that electricity is renewable and the electricity that comes through the wires, you don’t have any control about what proportion of that is renewable.

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On a hot, windy day in the UK, a vast proportion of that electricity is from renewable energy, from solar and wind turbines. But on a dark, gloomy day with no wind, a massive proportion of that is fossil fuel powered electricity.

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[00:09:27] Nathan Wrigley: It feels like we’re completely addicted to the internet. I use the car that I have, a bit. But I use the internet more or less continually. You know, I’ve got my phone, it’s constantly charged up. The merest thought in my head can easily lead me to whip out the phone, do some banal scrolling of Facebook or whatever it may be. And that feels like that’s crept up on us. We’re all using it all the time. You said what was it, 4%?

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[00:09:57] Louise Towler: It’s the fourth largest polluter.

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[00:09:59] Nathan Wrigley: Fourth largest polluter. Can you compare that to another industry? You mentioned airlines. Does the internet as a whole, so every website, all the online services that we can use and so on, does that pollute more than the airline industry? Because the airline industry is the poster child of pollution, isn’t it?

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[00:10:15] Louise Towler: I believe it does. I mean, the problem is finding out, and even measuring it is really hard. So all the estimates are that it is just massive, and it’s getting worse. With AI, the stat that I’ve read is that to do a search in ChatGPT takes four times as much energy as to do a search in Google. And to build that AI model takes a massive amount of processing power to suck in all the data and build out that model that then does predict the next word that’s going to come out in the chat box.

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And so it’s not getting better. When you are talking about carbon footprints and getting to net zero, you’ve not just got to change the energy mix so that you’re running off renewable energy. You need to actually reduce demand. In the UK there’s a carbon reduction in task force. Their target is by 2030, they will have reduced demand by 15% for electricity in comparison to 2021. You have to reduce the demand as well.

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[00:11:25] Nathan Wrigley: Right.

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[00:11:26] Louise Towler: And the connection to IT and websites is that if you transmit less data, you are, there’s not a direct correlation always, but you are essentially using less electricity to transmit that data.

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[00:11:37] Nathan Wrigley: So the easiest way to mitigate your use of the internet is just to stop using it. But that’s completely unrealistic now?

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[00:11:44] Louise Towler: Well, a company with zero carbon footprint is probably a company that’s not in business. You can’t not use the internet. What you have to do, we have to try and make sure the internet uses less electricity to do what it does.

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[00:11:59] Nathan Wrigley: Okay, so given that we’re not going to be switching our computers off, we’re not going back to the internet stone age, if you like. We’ve got to figure out ways to reduce the amount of carbon that we put out. So we’ve got to become responsible citizens because we’re using the internet. But also, we’re in a slightly unique position, you, I, and the people listening to this podcast, because we’re sitting behind the websites that are causing the pollution. And that’s, I guess, where the rest of this conversation is going to go. What are the things that we can do to make our websites for our clients, for ourselves, pollute a little bit less?

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[00:12:38] Louise Towler: Think about the data and educate your client. So in the first instance, if your client wants that amazing stock video on the banner of their homepage, that auto plays in the background and looks absolutely fab. But actually the amount of data that you are then having to load on the homepage to deliver that video is massive. Well explain to them the consequences of that decision.

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It’ll probably mean the homepage is a little bit slower, which won’t be as good for Core Web Vitals and for search. So whether or not they care about the planet, they should be caring about the performance of their website. And the fact is it will use more data and that’s not good for people or the planet.

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If I’m on a fixed price data plan, because I’m on a low income and my children’s school has a massive video on the homepage of their school website with lots of happy kids running around the playground. And every time I visit that website, I’m using up my scarce resources of data, auto playing that video, that’s not very respectful to me when I’m trying to go about my daily life.

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So there’s lots of levels you can talk to your clients about why it’s good to do things. So it’s things like optimizing videos, optimizing images. If you’re familiar with Core Web Vitals and trying to speed up websites, these are nothing new. But you know, design your website with two fonts rather than five.

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Think about when you embed videos on the page. The block editor, it’s really easy to embed a video from YouTube or Vimeo, but use a plugin and put a facade in front of it so that when you actually load the page it loads an image. If it’s below the fold, you can lazy load the image. If people don’t scroll down, the image doesn’t load, and it’s only when they click on that image that the video plays and actually downloads that extra data.

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So you are being really respectful to your visitors as well as to the planet by consciously thinking about these things. And it doesn’t cost anymore if you plan it in from the beginning. Talking to your clients and planning it, most clients are really happy to have that conversation because in the end, performance and speed should increase conversions and profit.

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[00:14:56] Nathan Wrigley: Actually, that’s a really good point. You mentioned, just as we were beginning, that you run an agency.

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[00:15:00] Louise Towler: Yeah.

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[00:15:01] Nathan Wrigley: Do you have this conversation with your clients?

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[00:15:03] Louise Towler: I talk about performance and speed.

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[00:15:08] Nathan Wrigley: Yeah, so how does that go down?

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[00:15:09] Louise Towler: Fine.

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[00:15:10] Nathan Wrigley: Have you ever had somebody push back and say, no, we need the video? Or is it generally a conversation of look, okay you could have the video, but here’s the reason why I think for the planet, you shouldn’t have the video. How does that conversation normally go?

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[00:15:19] Louise Towler: We advise them. It’s like with banners, with sliders, we advise them. I emailed something to a client last week saying, here’s the Google stats. About 8% will see banner number two. Do you really think banner number three, as one of your key important messages being viewed by 4% of your home paved visitors, you’re better off putting that content on the page. It is the client’s choice in the end, but I will educate them so they’re conscious of the choice that they’re making. Rather than not aware and then complain that nobody clicks through from banner number three. And I’m like, well, we did tell you.

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But there’s some things I don’t give clients a choice on, like accessibility. They don’t get a choice about having an accessible website because you don’t want to give people a choice where you don’t want them to make a poor decision.

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[00:16:04] Nathan Wrigley: And in terms of your agency, do you advertise your environmental credentials?

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[00:16:09] Louise Towler: We don’t really talk about it at the moment, but we will be dipping our toe in the water and talking more and more about it over the next few months, because we’ve been doing some interesting stuff in the background.

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[00:16:20] Nathan Wrigley: You mentioned that an autoplay video, that seems like the most extreme example. You know, you go to a website, suddenly you’ve downloaded without your realizing it, I don’t know, 10 megabytes of data that you really didn’t need. Just run through the components of a typical webpage. So what have we got? We’ve got text, we’ve got images, we’ve got video, we’ve got, audio like this.

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What are quick wins? What’s the order, if you like, that you should go through when in your head you’re trying to make a page more environmentally friendly?

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[00:16:49] Louise Towler: I would start with images because a website typically has more images than videos. And if you’re doing something with images like you are, I don’t know, using a CDN, or you’ve installed the performance plugin and you are delivering things as WebP, then one plugin and one solution might work across all images on your website.

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So I would definitely think about images in terms of making sure you deliver the right sized image for the device as well. So make sure that in your theme, you’ve got that function which saves it all out at the various different break points.

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[00:17:22] Nathan Wrigley: If you’re on a, mobile website, the image that’s loaded should be the same size as the device that you’re looking at. Not a great big image that’s been squished down, okay.

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[00:17:30] Louise Towler: Exactly. And that can be a bit tricky because sometimes on mobile sites for example, we’ll have a nice banner image, but we’ll make it cropped and square. Whereas on a desktop site you might have it that letter box shape. And actually it won’t really work on a mobile. It’s too sort of narrow and thin.

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So you sometimes need to be a bit careful about, especially with the block editor, do you need to have different versions of images unless the cropping is right in the middle. Doesn’t work very well with the block editor to just auto crop. It’s about thinking about it. So I definitely start with images.

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Little things like making sure you are using SVGs where it’s appropriate. If you’ve got an animated gif, turn it into a video. I then look at the videos. Just make sure you’ve got facades or posters on videos and try and persuade your client not to have that large banner video.

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I would then look at fonts and make sure all your fonts are self-hosted. Which is a good thing anyway because certainly from a GDPR perspective, if you are using Google fonts in Europe, then there’s been some case law around, it’s leaking data to Google about who’s using those fonts and you don’t want to be doing that.

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But that again will speed it up because you can cache the fonts and things like that. And subset the fonts. So I think you can do things where if you are only, if you’ve got a font set that’s in multiple languages, but actually your website’s just in English, only use the bit of the font that you need for the language that you are working in.

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And then I would definitely think about things, other things on the website, like email. If you’ve got a transactional site and you are sending out lots of confirmation of shipping emails. Do you need a really big logo in the email? Can it be a tiny logo or even just text on a colored background and make those emails have a lower carbon footprint as well.

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[00:19:18] Nathan Wrigley: How does WordPress out of the box do with helping you get to some of these targets?

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[00:19:26] Louise Towler: It’s not helpful.

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[00:19:28] Nathan Wrigley: So I was going to say, I imagine that most people listening to this podcast have an understanding of everything that you just said, but the typical user of WordPress is not somebody that’s listening this podcast. Used by millions of people who probably see the media library throwing the biggest image they’ve got, and that’s it.

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[00:19:43] Louise Towler: I think you’ve got to be a responsible theme author. As an agency, we build our own custom themes for each client. So we’re not constrained in any way at the design stage. But if you’re choosing either a free theme or a paid for theme, you can be quite wise about it. So if you are you’re building a brochure site for a client, you don’t need to choose a theme with every possible e-commerce, form plugin, event plugin, all that extra code. If you’re not using font awesome icons, then don’t let the theme pull in the complete font awesome icon set.

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Just download a little SVG. So try and think about the theme that you choose. It can be a bit of a pain to actually turn off on some of those very flexible all singing, all dancing dancing themes, the options when you just want something really simple.

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There are some plugins that can help. So for example, we often use a plugin called Perf Matters, which is really good for performance. And one of the things I particularly like about that plugin is, so if we are working with a client where they might have an inquiry form or a landing page with an inquiry form on it. You install a plugin, we use Gravity Forms. Really brilliant plugin. Love it. But of course you get that plugin code in the head of every page, just in case the form’s required. Well turn it off.

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You can use Perf Matters and go in, and go I only want the Gravity Form code to be embedded on these three pages, on the site that have forms on. Doesn’t need to be downloaded for any other pages.

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The same with something like Google Maps, the API for Google Maps. Often you’ll put it in so that you can have a nice map on your contact page. Well actually, number one, could you replace that map with an image, and then just link out to Google Maps? How many people are actually going to be scrolling in and out on the page?

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Think about it from the user’s perspective, but then actually just have that Google Maps API code in the contact page. Don’t have it anywhere else on your website. It’s just not needed. But you see it a lot where all the plugins inject all their stuff into the head on every single page just in case. So go through and turn things off.

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[00:22:02] Nathan Wrigley: You mentioned earlier that obviously this is something you’re trying to embed in your company. You also mentioned that you don’t have the conversation about accessibility. It’s just the way it is.

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[00:22:10] Louise Towler: Well, we talk about it. The only time we really push back is where clients have got brand colors, which aren’t AA accessible, and then we discuss with them whether we can change them.

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[00:22:21] Nathan Wrigley: But are you going to in the future be having more conversations like this?

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[00:22:26] Louise Towler: Yes.

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[00:22:27] Nathan Wrigley:And if so, how forceful are you going to be with your clients if they push back? Say, no, no, no, no. There’s a delicate line here, isn’t there? You want to do the best for your client and the best for your client may be a bitter pill for them to swallow.

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[00:22:39] Louise Towler: There may be a really good a brand reason, depending on the client, as to why they have to use a particular font. But I would be going to the client and saying, I’m going to tell you why it’s not a good idea. In the end, it is your choice. It is your website. You own the site once you’ve paid me for us to build it. So it is yours to do what you want with. But do it consciously, knowing the consequences of the decision that you are making.

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So I will always tell them, in the end it is their choice. But with things like brand and fonts and that, well you know, the consequences of pulling in an Adobe font is 6 to 800 milliseconds of a page load. That can be the difference between a first and second spot on google.

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So sometimes you can argue it really strongly from a commercial reason, and they will listen and go, right, let’s go back to our brand designer and get them to find some web fonts or some Google fonts that we can use. And elsewhere, yes, you’ll use that fancy type kit or whatever font, but let’s use something for the web that actually will work and not impact on the performance of the site. Because if they’re a commercial client, they’re going to care about the performance. We need to make them look good to their boss.

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[00:23:59] Nathan Wrigley: Given exactly what you just said, is there some accreditation that websites can expose to the world to say, we made an effort here? I’m trying to think of an example, but there are badges that you can get in all manner of industries to say, okay, we went through this training. We made the effort here, and so we have a badge to prove that we made an effort.

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Is there something that people can do on the internet to say, look, our website is consuming 50%, 30%, whatever, less energy than it might have done. We made an effort. Here’s our badge to prove it.

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[00:24:32] Louise Towler: I’m not aware of a badge, but there are lots of people doing lots of things out there. So there might be. I think it’s really hard because what might be a good score for a e-commerce site, might be of a poor score for a different type of site. And I think that in the end, yes, you can measure against other people, but actually you have to have that intrinsic motivation for just wanting to do it. It’s not about collecting badges.

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Does it matter if your site is AA accessible and you have a badge on your site? Or does it matter that you basically have enabled 40% of the population with disabilities or temporary impairments to actually access your goods and services, and you’ll increase your profits as a result?

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[00:25:15] Nathan Wrigley: So that was the website piece. You know, can you expose this credential to visitors? What about you as an agency? Can you expose your credentials to your clients? Is there anything there?

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[00:25:26] Louise Towler: Well, we’re working, and it is a very much a work in progress, towards something called B Corp, which is an accreditation thing that you can get for being, if you like, a good citizen to the planet. It covers environmental. It also covers governance, and more things to help with inclusivity and diversity. And we are rewriting our staff handbook, and we’re measuring our carbon footprint as part of that, as an agency. But we’re also doing other things as well. Making sure that we do things in a way that’s consciously responsible, and there’s got to be a business for good. We want to be a good citizen for the planet. And I think that’s quite a high standard. And there’s, I think about a thousand companies in the UK who have that. And we are not there yet, but it’s something that I think we can aspire to be.

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[00:26:12] Nathan Wrigley: Do you have any sense that this message that you are preaching here is beginning to catch on? You are definitely in the vanguard. Most people are not talking about this. If we go downstairs, we’re not really picking up on that message yet. But do you sense some kind of change? Are you communicating with people on a more regular basis about this? Clearly you are interested in it, but are you talking into the void or are people beginning to listen?

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[00:26:37] Louise Towler: There’s a lot of people in communities where the communities are talking about this a lot. I think what’s really nice is I was given the opportunity to speak at a conference, and this conference, to the entire WebPress community had a session about digital sustainability. I personally think that every conference that anyone puts on should have at least one speaker, or channel, or workshop, or something talking about sustainability in the industry, or sector that the conference is in. Because it is looming.

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The legislation is coming. The governments are legislating now, and at the moment in the UK it’s only very, very large businesses who have to do reporting. But if you are a large business wanting a government contract with a value of more than 5 million pounds, which you know, even small consultants and agencies can go for big contracts. You have to have your scope one, scope two, and some scope three emissions and a carbon reduction plan will be coming.

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By 2028 The National Health Service in the UK will require every product or service that is supplied to it to have a carbon footprint. So you need to be starting now because for some things that’s going to be really hard to do and it’s going to take a while to do.

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So start now with the little things, the quick wins. Start measuring where you are, because your carbon reduction plan has to say how you’re going to reduce. And then you have to show that you are making those reductions. So start measuring now, so that all the things you start doing now can be part of that reduction that you make and you can report on.

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[00:28:18] Nathan Wrigley: So you are describing things in the UK. In the UK in the future, you are literally going to be unable to get certain types of website client work if you cannot prove that you’ve done the due diligence.

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[00:28:31] Louise Towler: Yeah.

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[00:28:31] Nathan Wrigley: Okay, that’s really interesting. But still a way off. We’re still five years out from that portcullis closing?

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[00:28:37] Louise Towler: Yeah. But if you are a large business, very large business, you already have to do mandatory reporting. The government is slowly going to bring that down. It wouldn’t surprise me in the slightest if by 2030, as well as putting in my annual tax return, on my submission of my company accounts to Companies House, I have to do a carbon accounting report. Every small business.

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The EU, 23 million organizations there are in the EU at the moment, by 2028, all of them are going to be expected to put in some sort of carbon report on what they’re doing. The legislation is coming.

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But even quicker than that, procurement is starting to change. So I think it was the back end of 2021, Tesco sent out a letter to all of their suppliers saying, we want you to do these four things. You need to have a carbon reduction plan. You need to move to green energy. Otherwise you can’t be part of a supplier to Tesco. Doesn’t matter whether or not you are a large business or a small business, they sent it out as part of their procurement. So the government legislation is coming, but larger businesses are doing it quicker because they’re using procurement as a tool to do that.

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And then on top of that, for some organizations now it’s affecting their access to finance. So if I’m a pension fund or I want to invest in a large enterprise or a business, why would I invest in you, if you are not sustainable in 5, 10, 15 years time? They are now beginning to ask for those carbon reduction plans, sustainability report. What are you doing for your ESG as a condition of investment?

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[00:30:22] Nathan Wrigley: So the window of opportunity for ignoring this is fast closing?

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[00:30:25] Louise Towler: And why not get ahead of it? Why not be that agency that can help your clients with these challenges?

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[00:30:32] Nathan Wrigley: Although you described that there’s no badge necessarily for this. It really does feel that for the right client this is a conversation which will win you work. If you can prove that you are going to do this work now, like you said, who’s going to say no to a more green website? Would you like your website to be much more environmentally friendly than it could have been? Well, no, actually we’d like it to pollute more, please. That’s just not a conversation you’re going to get into.

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[00:30:56] Louise Towler: Exactly. Exactly.

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[00:30:58] Nathan Wrigley: That’s interesting. So the only piece that I can see in this conference where anything is mentioned about the environment is hosting. And even that, it’s probably I don’t know, one in fifty, one in a hundred who have that badge. Talk to us about that side. So obviously we build websites, we’ve got a computer, we know that it’s stored somewhere, but tell us about hosting, and what people are doing.

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[00:31:22] Louise Towler: Actually some of the hosting companies here are very green, but you have to consider the political climate. So if you are a hosting company based in Texas, in the US. And you are being told that you have to support big oil because that’s what runs Texas. You don’t talk about the fact that you are running your hosting data centers on green energy. So it’s not that they’re not. It’s just that they’re not, it’s not necessarily part of their marketing message at this point, because the political climate isn’t necessarily conducive to that.

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[00:31:55] Nathan Wrigley: So you are saying that the hosting industry broadly are doing a fairly good job of this?

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[00:32:00] Louise Towler: Well, some of them are, yeah. I know for a fact a lot of the Google Cloud hosting is green and a lot of the big, they’re using Google data centers.

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[00:32:09] Nathan Wrigley: That feels like one of the most grounded things that you can do. If you’re having a website, you can actually go out and look for green hosting.

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[00:32:16] Louise Towler: And the Green Software Foundation has a little URL. It’s a little tool. You can literally go and put in your domain name and it will tell you whether it’s running on a green hosting.

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[00:32:25] Nathan Wrigley: What is the Green Software Foundation?

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[00:32:27] Louise Towler: It’s a sort of organization that is talking about green software, green web, green all sorts of things. They’re doing some really interesting stuff. They work a lot with very large organizations. I think to be a member you have, like have to pay up 10,000 pounds or something. It’s like out of my league to be a member, but it doesn’t mean I can’t see what they’re doing and listen to what they’re doing.

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They’ve also got a really interesting free course that you can do on sustainable software development. And it gives you all the background and all the things you should be considering when you’re building software and websites basically, and the things that you can do to make them run better in a greener way.

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[00:33:09] Nathan Wrigley: If I wanted to make my website more SEOable, I’ve got a whole suite of tools available to me. And many of them will give me some sort of data saying, okay, this page is, you’ve done a good job here. Like a traffic light or something you, you know what I’m saying?

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[00:33:25] Louise Towler: Yep.

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[00:33:26] Nathan Wrigley: Are there tools similar to that, that we can use in WordPress?

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Maybe it’s some kind of extension to a browser where we can see what our browsing is doing on the internet. In other words, is there a plugin, something which will show us a dashboard saying, okay this page, based upon the hosting that you’ve told us you’re using is consuming or creating this much carbon debt.

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[00:33:51] Louise Towler: There’s individual tools at the moment that I am aware of. You can put in a URL and it will say, oh yes, your page is this many grams of CO2. Actually what we’ve done is something. We’ve been doing a thing. I did that thing of having a side project to the agency, and we’ve been building something for the past couple of years, and we’re about to launch a piece of software. It’s an extension to WordPress, which will actually, in the dashboard, show you a daily carbon footprint of your website based on daily visits and page views.

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[00:34:24] Nathan Wrigley: How is that working then? So presumably the daily page bit is fairly straightforward. This website has been consumed 25,000 times, we can make the connection there. But presumably it must be figuring out, okay, that page had a video on it. This one had nothing but text, and it’s based upon upon some hosting.

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[00:34:40] Louise Towler: So we’re basically measuring the page, a measure of the data or page weight for each page. And then we’re looking at the visitors to the pages as well.

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[00:34:50] Nathan Wrigley: And are you giving like a score out at the end?

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[00:34:52] Louise Towler: We’re not giving a score at the moment, but eventually when the software’s launched and there’s lots of people using it, we will be able to say, oh, actually, in comparison to other people using our software, you are in the top quarter, or bottom quartile or you are in the middle. So we can give some feedback. But more importantly, if you look at it and you use things like traffic, then you can start to see where you should be optimizing.

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[00:35:17] Nathan Wrigley: Okay. And is this tool going to give you helpful advice on how to optimize it?

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[00:35:22] Louise Towler: Yes, we’re building out a knowledge base as well.

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[00:35:23] Nathan Wrigley: I was going to say, it’s all very well saying this page is doing really badly, but, you know, tough luck.

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[00:35:27] Louise Towler: Yeah.

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[00:35:28] Nathan Wrigley: So, where will it point me? What are the sort of metrics that you’re going to be helping me with?

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[00:35:31] Louise Towler: We’ll be helping with all the basics. It’s actually about empowering the content editors. Because as website theme builders and as website developers and designers, we can build the most amazing AA accessible website that’s really lightweight and fast.

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And then a year later we could audit it and find, oh, content editors added, you know, 30 images and they didn’t realize they had to add alt text to each one. And they can have loaded that really large video and not realized that it needed a poster attribute to make sure that the page didn’t take a long time to load.

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So what we are trying to do is give that feedback to editors in the browser when they’re editing the site, in the backend of the admin. Because that continuous measurement, if they see a little spike, or they see that suddenly something’s changed, they can go in and fix it. Rather than end up just doing an annual check, or checking every so often and ending up with a list of defects to fix, basically.

\n\n\n\n

So the whole point is, it’s about designing out people making those unconscious mistakes in the first place. And making sure the website continues to be at the standard it should be at and potentially improves over time.

\n\n\n\n

[00:36:44] Nathan Wrigley: So slightly off piste a little bit. That’s lovely. I mean I would hope to be able to see that kind of data and it would be really useful to me as a website builder. What about by just general browsing the internet? Do you know if there’s any tool which can tell me, right at the end of today Nathan, you’ve been a poor citizen. Some kind of, I don’t know, a browser extension or something which tells me.

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[00:37:05] Louise Towler: I don’t know that. Nobody’s ever asked me that question, so I will have to take that away Nathan and I will have to come back to you, because I genuinely don’t know the answer to that.

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[00:37:13] Nathan Wrigley: I think that would be quite a useful thing to know. At the end of the year, Nathan, your internet use is the equivalent of a 20,000 mile flight or something that would be.

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[00:37:22] Louise Towler: You must be online a lot.

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[00:37:23] Nathan Wrigley: I really am. Yeah. Okay, when are you hoping to get this tool out?

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[00:37:28] Louise Towler: We are doing a soft launch, early adopter, by invitation to Indigo Tree clients mid-July.

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[00:37:33] Nathan Wrigley: Okay. So really soon.

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[00:37:35] Louise Towler: Yeah. And then from then on we’ll be building out new features and basically getting it to the point where we can launch it to people as a SaaS product.

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[00:37:45] Nathan Wrigley: So going to go beyond WordPress at some point?

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[00:37:47] Louise Towler: Couldn’t possibly say, but yes.

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[00:37:49] Nathan Wrigley: Maybe. Maybe, yeah.

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[00:37:50] Louise Towler: Well, it depends on the roadmap and it depends what interest we get. And for me it’s not just about the commercial side of, we to build something that’s obviously profitable and successful. It’s actually where can we make the biggest impact? How can we, with what we are doing, make sure that we get the biggest carbon reduction overall.

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And the great thing about when you’re measuring stuff is we can actually report on global stats that are sort of, you know, a thousand clients and cumulatively this month they have reduced their carbon footprint by this amount. You know, so it is going to be an interesting journey to see how we get on and where the biggest impact can be whilst being commercial as well.

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[00:38:26] Nathan Wrigley: Yeah. It really does sound interesting. Okay, so we’re going to have to wrap it up. We’re probably at the edge of the amount of time that we’ve got.

\n\n\n\n

Where would we go if we are curious about the things that you’ve talked about? So maybe that’s a link to your, the product that you’ve just mentioned. Maybe it’s just a more general set of resources. What are the two or three top places that you would send people?

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[00:38:45] Louise Towler: I’d definitely have a look at the Green Software Foundation. I would also go to, there’s a Slack channel in the WordPress. I think they’re just about to create a team in Core for sustainability. So I’d be going and talking to them.

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And then I would be keeping an eye on people like Wholegrain Digital. Tom and Vineeta talk about things a lot. Tom’s got a really great newsletter that you can subscribe to. So there’s lots of people talking about it, but I think it’s about figuring out where it fits with your particular clients. And some of our clients are very values based and will immediately go for this. Some people just need that more commercial argument as well.

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[00:39:26] Nathan Wrigley: Well, Louise, thank you for telling us all about your efforts regarding sustainability and the environment. It is a genuinely fascinating subject, and my prediction is that this conversation is only going to get louder and louder.

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[00:39:39] Louise Towler: I hope so.

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[00:39:39] Nathan Wrigley: As the years go on. Yeah, thank you for talking to me.

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[00:39:41] Louise Towler: You’re welcome. Thank you.

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On the podcast today we have Louise Towler. She joined me at the recent WordCamp Europe in Athens to talk about websites and making them more sustainable.

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Louise is the founder of Indigo Tree, a UK based agency with deep expertise in WordPress websites.

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She gave a presentation at WordCamp Europe entitled, Digital sustainability: The benefits for business and the environment in which she emphasised the impact websites can have on our planet. Her aim was to deliver practical tips for users and developers to help them make informed decisions.

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This presentation is the focus of today’s podcast, and we cover quite a lot of ground.

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Louise highlights the significant role which electricity plays in powering data centres and transmitting data to end devices. Even if data centres use renewable energy, there is still a need to address overall electricity consumption. She points out that the internet is the fourth largest polluter globally, surpassing the airline industry.

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We discuss how the continuous and widespread use of the internet has made it difficult to reduce its own impact, whilst still emphasising the importance of the steps we can take to make the internet more energy-efficient. 

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She suggests ways that we can all make a difference right away; educating clients about the consequences of certain design choices, such as using large videos or autoplay features that require substantial data to load. Optimising videos, images, and other website elements, which makes it possible to reduce data consumption and improve performance.

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The conversation then explores other suggestions such as using modern image formats, using images as placeholders for videos, self-hosted fonts, and considering the carbon footprint of email communications.

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Louise acknowledges the challenges of discussing environmental concerns with clients whilst also explaining that we have to come up with ways to make clients understand that these decisions are beneficial to them as well. After all, an optimised website is one that is looked upon favourably by search engines. Whilst clients ultimately are the decision makers, informing them about the consequences of their choices can help them be more informed.

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Moving onto WordPress, we talk about the responsibility theme authors play. It’s a crucial role, helping users make sustainable choices. Her agency builds custom themes for clients, which allows them to have full control over design decisions.

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We get into the subject of how legislation is certainly coming, and so getting in early and understanding the implications of such legislation will help your own endeavours in the future.

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Towards the end of the podcast we chat about some of the tools which you can use to assess the impact that your websites have, including a tool which Louise and her team have been working on for the last few years.

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If you’re interested in how your sites can become more sustainable, this podcast is for you.

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Useful links.

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Louise WordCamp Europe presentation – Digital sustainability: The benefits for business and the environment

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Indigo Tree website

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Perf Matters plugin

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Gravity Forms website

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Green Software Foundation website

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Sustainability Slack Channel

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Wholegrain Digital website

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Clients consider they have learned a lot through GPT or by Googling it. They assume they know what will work best for them.

\n

>> The post What the Client Thinks They Know appeared first on Do the Woo - a WooCommerce Builder Community .

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 05 Jul 2023 09:32:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:5:\"BobWP\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:17;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:89:\"Do The Woo Community: Productizing Your Agency Services with Shadi Manna and Jimmy Rosén\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"https://dothewoo.io/?p=75426\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:87:\"https://dothewoo.io/productizing-your-agency-services-with-shadi-manna-and-jimmy-rosen/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:438:\"

Listen in on our Woo AgencyChat where Shadi and Jimmy talk about the journey of productizing your services.

\n

>> The post Productizing Your Agency Services with Shadi Manna and Jimmy Rosén appeared first on Do the Woo - a WooCommerce Builder Community .

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 04 Jul 2023 06:58:10 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:5:\"BobWP\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:18;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:107:\"WPTavern: WordCamp Dhaka 2023 Cancelled Due to Concerns of Corporate Influence on Community Decision-Making\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146490\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:118:\"https://wptavern.com/wordcamp-dhaka-2023-cancelled-due-to-concerns-of-corporate-influence-on-community-decision-making\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:6529:\"

WordCamp Dhaka (Bangladesh) 2023 has been cancelled by The WordPress Community Team due to concerns of corporate influence on the community decision-making process. The camp was scheduled for August 5, and organizers had already secured a venue and progressed on moving the camp forward.

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The Community Team published a statement on the event’s website, which cited the interference of corporate interests:

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The WordPress Community Team’s primary goal is to support and nurture the WordPress community by enabling organizers to create amazing events that celebrate WordPress, its community, and globally shared values. The Community team cannot support the event if a WordCamp is not aligned with these values.

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WordPress events benefit the WordPress community as a whole, not specific businesses or individuals. The Community Team expects that WordCamps decisions should be guided by the community’s collective wisdom and not influenced by any one company’s interests. When companies attempt to exert influence on the planning process, the Community Team must step in to mediate. In this instance, we have decided to cancel WordCamp Dhaka 2023.

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The Community Team urged the Dhaka community to focus on collaborative organization, companies uplifting the community, and greater diversity in participation.

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In an equally vague incident report on WordPress.org, which doesn’t even identify the WordCamp that was cancelled, Community Team contributor Sam Suresh called it “an unfortunate but necessary decision.” He summarized the team’s reasons for the decision:

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The decision to cancel the event was not a result of inadequate planning or insufficient effort on the part of the organizing team. Instead, there were observable actions from local community members to influence decisions that would benefit specific individuals or companies. When this influence did not immediately lead to their desired results, the individuals aimed to undermine the organizing process and event success. While the Community Team took steps to mediate, the inappropriate behavior and actions we saw necessitated the cancelation. This is a rare and extreme decision and underscores the severity of the situation.

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Suresh said the issues applied to the local meetup group as well, and that all co-organizers and event organizers were removed from their roles and required to repeat their orientation to gain access again. A community deputy and a mentor were also removed from their roles in the project and the companies involved in the infractions were banned from sponsoring WordPress events for a year.

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“In times of challenges like these, it is important to remember that anyone can organize WordPress events regardless of who they work for and that WordPress community events are for the benefit of everyone, not any one business or individual,” Suresh said. “As a community, we will not tolerate harassment or influencing unacceptable behaviors.”

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Shortly after publishing, several community members commented with objections to the level of secrecy around the issues at hand and the people and companies involved. The Community Team’s nebulous posts on the matter seem to have further scandalized the situation, instead of offering clarity and transparency.

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“This post definitely abides by the ongoing policy of not letting the community know who is being censured by the Community Services team, even in cases of egregious action,” WordPress marketing and meta contributor Sé Reed commented.

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“I’ve seen multiple cases of people filing harassment reports and various Code of Conduct violations, and that person/people have had various consequences, including being removed from organizing teams. However, those people then cite various reasons for leaving the team, often outright lying. But because of the secrecy around these cases, no one says otherwise and those people can and often do continue to operate in the community without any repercussions beyond secretly losing their ‘official’ role(s).”

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Reed highlighted the damaging effects of the secrecy surrounding these incidents, most notably that explaining the situation often falls to those who filed the report, as the Community Team abdicates any further responsibility after validating the report.

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“This action is damaging to the community as a whole, as we do not have a full picture of who we are working with and we continue to unknowingly support and empower people who have not honored their community commitments,” Reed said.

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Not all participants in the discussion were in favor of The Community Team identifying the individuals involved, but in this situation they demand to know the companies that were banned from sponsoring WordPress events.

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“I’m on the fence about knowing peoples’ names here, but I think people definitely need to know the companies involved; actively trying to sabotage a WordPress WordCamp is a serious breach of trust for the community,” WebDevStudios Director of Engineering Mitch Cantor said. “Especially when they may turn around and then make money from that said community they tried to sabotage.”

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Dealing with these types of sensitive situations is not an enviable task, but the community, for whom these decisions are designed to serve, is calling for a greater level of transparency regarding those who act in ways that are not aligned with WordPress’ globally shared values.

\n\n\n\n

“One way or the other, protecting folks who have violated the Community Code of Conduct is a policy that very clearly needs to be revisited,” Reed said.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 03 Jul 2023 19:11:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:19;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:40:\"WordPress.org blog: WordPress 6.3 Beta 3\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:35:\"https://wordpress.org/news/?p=15340\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:56:\"https://wordpress.org/news/2023/07/wordpress-6-3-beta-3/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:5894:\"

WordPress 6.3 Beta 3 is ready for download and testing!

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This version of the WordPress software is under development. Please do not install, run, or test this version on production or mission-critical websites. Instead, it is recommended you evaluate Beta 3 on a test server and site. 

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Get an overview of the 6.3 release cycle, and check the Make WordPress Core blog for 6.3-related posts in the coming weeks for further details. Also, save the date for a live product demo tentatively scheduled for Thursday, July 20, 2023 at 16:00 UTC (link TBD). This will be a great opportunity to join the WordPress community to celebrate the accomplishments of 6.3 and this final chapter of Phase 2.

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Beta 3 highlights

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Thanks to the many WordPress beta testers, this release contains approximately 34 (Site Editor) and 40+ (Trac) updates since the Beta 2 release. Nice work, team!

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Testers should note that the “Patterns Library” is now simply called Patterns in the UI. Additionally, pattern details now include a sync status and a lock icon is added for theme patterns.

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Browse the technical details for issues addressed since Beta 2 using these queries:

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Test the new features in WordPress 6.3

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Testing for issues is a critical part of developing any software, and it’s a meaningful way for anyone to contribute—whether you have experience or not. 

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While testing the upgrade process is essential, trying out new features is too. Review the many new features in WordPress 6.3 and focus your testing efforts on those areas in particular.

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Vulnerability bounty doubles during the Beta/RC phases

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Between the Beta 1 release and the final release candidate (RC), the monetary reward for reporting new, unreleased security vulnerabilities is double. Please follow responsible disclosure practices as detailed in the project’s security practices and policies outlined on the HackerOne page and in the security white paper.

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Get WordPress 6.3 Beta 3

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You can test WordPress 6.3 Beta 3 in three ways:

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The current target for the final release is August 8, 2023, which is about five weeks away. Your help testing this version ensures everything in this release is the best.

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A Beta 3 Haiku for You

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Beta three, a peek
Summer here and winter there
A fourth in one week

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Thank you to the contributors who collaborated on this post: @DanSoschin, @Meher, @JPantani, @eidolonnight, @davidbaumwald, @priethor, and @DanSoschin for the Haiku.

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Authors of the Ultimate Member plugin have released version 2.6.7 with a patch for a privilege escalation vulnerability. Last week WPScan reported that Ultimate Member had still not fully patched the vulnerability after multiple inadequate attempts. There was evidence that it was being actively exploited in the wild.

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Working through the complexities of this security issue, WPScan researcher Marc Montpas opened a ticket on WordPress trac, identifying an issue with the meta key field in the usermeta table using accent insensitive collations:

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\n

Looking at the latest string of vulnerability issues that came up related to the Ultimate Member plugin I discovered that the usermeta table has an accent insensitive collation for the meta_key field. This results in queries for wp_cãpăbilitiës to return the actual wp_capabilities row! See update_metadata() function in wp-includes/meta.php

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Imagine the attack surface this brings. In fact, don’t imagine, just look at the recent attacks in the wild.

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This particular issue made it more difficult to fully patch the vulnerability in question. Ultimate Member released version 2.6.7 on July 1, 2023, which whitelists for metakeys the plugin stores while sending forms. The plugin’s security advisory details a few other changes that may affect third-party developers:

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\n

2.6.7 also separates form settings data and submitted data and operates them in 2 different variables.

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[It] includes some significant changes to how forms submissions are handled. This may cause 3rd-party modifications to stop working. For Third-party developers, please update your customizations to support the new changes in the latest version

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Ultimate Member recommends users review and delete any unknown administrator accounts, reset all user passwords including the admin, enable SSL and backups, and send any advisories to site members and/or customers about the incident. The plugin’s developers are working on releasing a feature inside the plugin that will enable the website admin to reset passwords for all users, but it is still being finalized:

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\n

The reason for this is a site using our plugin may have been hacked or injected with malware that sniffs login inputs, because this vulnerability issue is prone to these attacks, we recommend to reset passwords after updating with a security patch. This is to ensure the best protection for your website user’s passwords.

\n
\n\n\n\n

All Ultimate Member users should update to the latest available version, 2.6.7, which has the patch for the vulnerability. The plugin’s developers are awaiting more feedback from WPScan and are evaluating all their extensions to ensure they are secure.

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Join WordPress Executive Director Josepha Haden Chomphosy in the 59th episode of the WordPress Briefing. Today she invites guest speaker Alex Kirk to discuss Polyglots’ work to continue to help bring translation to WordPress.

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Have a question you’d like answered? You can submit them to wpbriefing@wordpress.org, either written or as a voice recording.

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Credits

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Host: Josepha Haden Chomphosy
Guests: Alex Kirk
Editor: Dustin Hartzler
Logo: Javier Arce
Production: Brett McSherry and Nicholas Garofalo
Song: Fearless First by Kevin MacLeod

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Show Notes

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Transcript

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( Intro music )

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[Josepha Haden Chomphosy  00:00:10] 

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Hello everyone, and welcome to the WordPress Briefing, the podcast where you can catch quick explanations of the ideas behind the WordPress open source project, some insight into the community that supports it, and get a small list of big things coming up in the next two weeks. I’m your host, Josepha Haden Chomphosy. Here we go.

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( Intro music )

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[Josepha Haden Chomphosy  00:00:39] 

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I have with me Alex Kirk, who is a longtime WordPress contributor and who has been instrumental in recent innovations in the Polyglots’ work. Phase four of the Gutenberg project is native multilingual support, and so I see this work that is being done as instrumental, not only for our global community but in support of what’s to come in that specific roadmap.

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[Josepha Haden Chomphosy  00:00:59] 

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So without further ado, Alex Kirk, welcome to the WordPress Briefing.

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[Alex Kirk  00:01:03]

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Hello, how are you doing? 

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[Josepha Haden Chomphosy  00:01:05]

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I’m good. I’m good. Can you, let’s, because I bet that not a lot of people know who you are, can you first start by just telling me a bit about your work with WordPress, and then let us know what GlotPress is, for those of us who don’t know yet? 

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[Alex Kirk  00:01:19]

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All right. So, Automattic sponsors me to work in the WordPress project on the Meta team and on the Polyglots team. So I spent time on improving or helping improve the software that powers the translation on WordPress.org. But I also work on the meta team on things like Matrix and evaluating if it would be a good fit for WordPress to switch to Matrix for their chat system.

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[Josepha Haden Chomphosy  00:01:46]

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So a lot of really big projects that you work on, all of that kind of stuff that has no easy solutions anymore, is where you are right now. Huh?

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[Alex Kirk  00:01:56]

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Yeah, there’s no clear path, but it’s our mission to find it. So that’s part of what makes things interesting.

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[Josepha Haden Chomphosy  00:02:05]

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Cool. So for folks who don’t know too much about the Polyglots team or generally translating WordPress, the software, can you let us know a bit about what GlotPress is?

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[Alex Kirk  00:02:16]

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Right. So the translation system that powers WordPress.org is called GlotPress. It used to be a standalone software that was developed a couple of years ago, and it was transformed into a WordPress plugin at some point, and now powers the translation that happens on WordPress.org. So we translate WordPress core there from English to other languages, plugins, themes, block patterns, and it all happens through this software called GlotPress. There are a couple GlotPress installations around the world, but I think the WordPress.org one is one of the bigger ones.

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[Josepha Haden Chomphosy  00:02:55]

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Probably, WordPress.org is pretty, pretty massive. Also, I think it’s great that you said that GlotPress was created a couple of years ago, like that, that indicates to me that you’re working on a really different timescale than a lot of folks are in WordPress. 

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[Josepha Haden Chomphosy  00:03:10]

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So Alex, tell me a little bit about what it takes to ship translated WordPress software. So, I mean, for people who don’t need translated WordPress, like obviously we don’t have a good idea of what it takes to make sure that WordPress is available in so many languages. So what goes into the work of making sure that that happens?

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[Alex Kirk  00:03:32]

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All right, so typically the WordPress software and plugins and themes are primarily created in English. And for it to be available in other languages, it needs to be translated. And for that to be able to happen, the programmers need to make the software translatable. Basically, they’re providing each English string for the translation software to be available to be transformed, so to speak, into another language and to what it’s being transformed to. This is what the translators do. So they go into the GlotPress software and see the list of texts that need to be translated and translate it to their language that they speak. Typically there is a process around this.

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[Alex Kirk  00:03:32]

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So, we’ve got people who have lots of experience in translation. And specifically in translating WordPress or WordPress plugins. And they’re kind of the, the people who help ensure good quality of translation. So anybody who’s working the WordPress project, so basically who has a WordPress.org account, can come in and address the translation. And that translation enters the system, so to speak, in a waiting state. And then somebody who we promoted to be a Translation Editor will come along and take a look at your translation and will approve it or will give you suggestions how to do the translation in a better way, or come up with maybe even a better translation.

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[Alex Kirk  00:05:03]

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You know, when you have like a small thing that’s just not right, like a missing full stop or something like that. They might just add it for you. And well, as soon as the plugin or software is translated to a certain level of translations those translations will be shipped out to the WordPress installs.

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[Alex Kirk  00:05:20]

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So, for example, for a plugin, you would reach 90% of translated strings. Those translations will then be basically packed up into zip file, a language pack and delivered to each WordPress so that you can have the translations available there.

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[Josepha Haden Chomphosy  00:05:35]

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And is 90% the threshold for plugins only, or is that also the threshold for like themes and the CMS itself?

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[Alex Kirk  00:05:34]

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Well. We strive for 100%, I would say. 

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[Josepha Haden Chomphosy  00:05:47]

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Good. ( laughs )

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[Alex Kirk  00:05:48]

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And, 90% more of a motivational point. To be actually honest, I’m not sure if the threshold is 90% for every project or even if it’s actually 90%. It’s different between different GlotPress installations and it’s basically something that is made as a setting that can be changed. There’s, it’s an arbitrary number. Typically you’d actually want to make sure that the most important strings are translated first. So the ones like, if you look at the whole picture, software usually consists of many parts, many of whom are not encountered by people on a regular basis. For example, error messages that could be like obscure error messages, and you could argue that those might be not as important. Or even sometimes you could even say like, do they need to be translated? Because if you encounter an error message and you search the internet, wouldn’t you probably want everybody to search for the English one to find the solution? But that set-aside, it’s important to have like the headline of the plugin or like the most important strings translated, and typically translating those most important strings will take you to a pretty high percentage so that we can then say it’s good enough to be shipped.

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[Josepha Haden Chomphosy  00:07:02]

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Gotcha. I see, I see. Okay. Well, we talked a bit earlier about GlotPress’s timeline. It has been around for a bit, I know. But with that kind of in mind, have there been any notable changes to GlotPress recently? 

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[Alex Kirk  00:07:19]

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Yeah, so I think for GlotPress there’s been a bit of an up and down over time in terms of engagement and progress on the software. But in, in the recent year, I think we’ve added a couple of things that have been very helpful for translators. So one of them was adding the commenting functionality, so yeah.

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[Josepha Haden Chomphosy  00:07:35]

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Super helpful. Shocked it wasn’t there before. Sorry, translators. Sorry, all of our polyglots.

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[Alex Kirk  00:07:40]

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Well, it can be like there was when GlotPress was created there, there is like the, a big part of GlotPress are these states, like the waiting state when you enter translation, and then there’s approved state, which basically a translation we say it’s set to current, and there’s all sorts of process around it. So if the software is updated or translation might get fuzzy. But also like, if somebody submits a translation that doesn’t fully conform to what’s the translation editors, or like what the standards of the translation community have been set to, then you would have to need to reject it.

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[Alex Kirk  00:08:16]

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And that has been something that we felt wasn’t a very good and enticing way of telling people like, we appreciate your work. It wasn’t just quite right, but it’s more of a rejection. So this is how we came up with this like, let’s give people the option to say what was wrong and give them a chance to try again without making them feel rejected.

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[Josepha Haden Chomphosy  00:08:38]

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Yeah. Sort of a “No, but…” as opposed to a, just refusal to receive it.

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[Alex Kirk  00:08:45]

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And other things that we’ve worked on is, like, with the recent search of AI, like getting help from AI on translation and also on reviews. So, there’s some interesting things that you can do with AI in that regard; that one important aspect of translations, it’s also that we’ve got glossaries for each language where people, basically the translation community, identifies certain words they want to translate them the same way every time. And with the AI, you can basically add to the prompt, like, please translate those words to those translations when you give me a translation for that. And as it can change over time, you can always adapt this to the prompt, and that has been proven quite helpful.

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[Josepha Haden Chomphosy  00:09:25]

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That is great. That’s one of those things I know that AI has been like a really popular thing to talk about. And AI, specifically for translations, I think has caused some concern that maybe we’ll just like translate it all and hope that computers get it right when we know pretty certainly that computers don’t always get the translations right. But that’s not what you’re talking about, right? What you’re suggesting is that AI would suggest what could be translated and what it could be translated to, and then human beings have to confirm that that’s correct, right?

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[Alex Kirk  00:09:59]

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That’s exactly it. So basically, we give suggestions to the translators, and then they can modify a translation before they press save. It’s more of a, like supporting them in getting the translations, like looking up words more quickly and all of that.

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[Josepha Haden Chomphosy  00:10:16]

\n\n\n\n

That’s wonderful. So is that the major sort of next step that is coming for GlotPress, or are there other things that we should keep an eye out for in that software?

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[Alex Kirk  00:10:27]

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So one direction that we’ve been taking GlotPress is basically making use of the fact that GlotPress is WordPress plugin now. And you know, typically, you would just use a GlotPress install. So on WordPress.Org, there’s like GlotPress installed, there’s translation projects created, something that we call “translation sets”. So for languages, you want to translate it to, it’s all pre-configured, and if you would install GlotPress to plugin on your own WordPress, it would be empty and not very useful. So what we’ve added is a way for you to basically be able to translate the plugins and themes that you’ve got installed in your WordPress into the language that you’re interested in.

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[Alex Kirk  00:11:07]

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So you might have a non-English website that you want to use certain plugins with, and they might not be fully translated at this point, so obviously, you could go to WordPress.org and help translate them, and that’s the way to, that’s preferred. But you could also now go install GlotPress on your own website and translate there. And then you have the translations there right when you enter them. And you can then contribute those translations back to WordPress.org.

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[Josepha Haden Chomphosy  00:11:35]

\n\n\n\n

So that’s with local GlotPress?

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[Alex Kirk  00:11:37]

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That’s something that we call local GlotPress. And you know, since we then have all these translations in the local database, it means we can do even more with those translations. So typically, language packs would be delivered to WordPress, but with local GlotPress, you’ve got like all the GlotPress software there.

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[Alex Kirk  00:11:56]

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So we can do things like inline translation. So, on your own WordPress and wp-admin, for example, we can highlight all the strings that can be translated, and those strings just have to right-click them and enter your translation, and that way, you can basically go about and translate the whole ui, seeing your progress, as you’re making, basically turning the screen from red to green.

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[Josepha Haden Chomphosy  00:12:20]

\n\n\n\n

Yeah. Yeah. So that’s something now that you can do in your local WordPress installation. 

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[Alex Kirk  00:12:26]

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Basically, it’s completely independent of WordPress.org. We would ask you to contribute the translations back when you have them, but being independent also allows you to translate like premium plugins, which could not be hosted on WordPress.org or doing something like that we call like hyper-local translation. So, for example, I speak Austrian German natively, but even inside Austria, we’ve got different dialects or like special words that we use. And if I wanted to create a website that’s targeted at the Viennese market, for example, I might want to use those specific terms. And this is something I would have to argue for those translations to be accepted on WordPress.org because it’s a, it’s like a very targeted market. But if I have a local GlotPress, I can do those translations there.

\n\n\n\n

[Josepha Haden Chomphosy  00:13:11]

\n\n\n\n

That seems awfully beneficial, especially as dialects. I’ve been having these conversations. I have, in my extended family, many children, and they are all learning languages and one of them has been having kind of thoughts about, like, dialects and how dialects are almost another language. And if so, like how do you know what everybody’s saying when you’re speaking all the same thing, but it’s kind of a little bit it sounds a little bit different.

\n\n\n\n

[Josepha Haden Chomphosy  00:13:37]

\n\n\n\n

That’s certainly a thing in the US, the distinct dialects across our country. And so I imagine that that’s gonna be a really beneficial sort of implementation for countries that have a lot of different regional variations and certainly smaller countries that have technically the same language as somebody else, but a lot of regional differences, regional specific things.

\n\n\n\n

[Josepha Haden Chomphosy  00:14:01]

\n\n\n\n

Is that the same or different as the live translations, Translate Live, that we talked about at the WordCamp Europe a couple weeks back?

\n\n\n\n

[Alex Kirk  00:14:12]

\n\n\n\n

Right. So, Translate Live is kind of the next step after local GlotPress. It’s like this happy marriage between the WordPress Playground and local GlotPress. So the WordPress Playground is also something that has come up a lot. It’s basically a way for you to run WordPress inside a browser window, so in JavaScript. And at first, it seems like mildly interesting, I would say. But when you combine it with other things like local GlotPress, it can lead to really interesting opportunities. So with inline translation, for example, on WordPress.org, you would typically find for every plugin, the UI would look the same. You would have a table of strings, and all that makes you realize you’re translating this certain plugin is that in the header of the page, it says this name of the plugin, but other than that, it can look really all the same. 

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[Alex Kirk  00:15:07]

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And now, with WordPress Playground, you can put up a WordPress and run this plugin inside that Playground. And now, if you add local GlotPress to the picture, you can also do the inline translation of that plugin inside the WordPress Playground. So you’ve got inline translation. We add the glossary so they do make sure that you translate things the same way that they’re expected, and you don’t have to install the plugin.

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[Alex Kirk  00:15:33]

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And still, you can see what the translations will look like. You can see the strings next to each other, and what I think is most important, you will start with the strings that you see first, which are the most important ones. When you’re in the table view, those strings might be somewhere buried in the middle, and yeah, it’s really hard to see progress if you start with kind of obscure error messages, for example, versus just starting with the things that you see first.

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[Josepha Haden Chomphosy  00:16:02]

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Yeah. So, moving translations away from table-based translations where you kind of have to know what you’re looking for. So the Translate Live, along with local GlotPress, along with WP Playground, is going to make it so that it’s easier to see visually what needs to be translated, where, what’s most valuable to translate for your mid users and your end users, basically.

\n\n\n\n

Yeah?

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[Alex Kirk  00:16:30]

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That, and also like for plug-in authors, it can be really good to see, you know, you can switch the languages in the Playground to another language, and you can quickly see like what’s the state of the translation in this language or in that language. And even things like, you know, Arabic as an RTL language rights to left language. The sidebar will change to the right, and you can also just switch language and see like, what’s my plugin like in this environment. I mean, this is not technically something that’s related to local GlotPress, but in this translation live ui, it’s very easy to change languages and see your plugin in another language.

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[Josepha Haden Chomphosy  00:17:06]

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I mean, it’s not specifically related to, to Translations Live, but also, I think that if we’re saying that WordPress not necessarily is going to lead the way with translations and native multilingual support in our CMS because, of course, it’s still a little bit far out on our roadmap. We certainly have an opportunity to have the best implementation of that.

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[Josepha Haden Chomphosy  00:17:27]

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And even if like that specific use case that you’re talking about isn’t related directly to what it is that you are working on for Polyglots and inside GlotPress and all of that, I do see that having more streamlined, more easy to see and access opportunities to like test the way that our software looks across varying environments, especially those that change it substantially from what we typically work in day-to-day for any individual developer or any individual WordPress site implementer.

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[Josepha Haden Chomphosy  00:18:00]

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Like, I think that that is a big step forward for all of us and certainly for anyone who is having to use WordPress as not a native English speaker. And so you say it’s not related, but it still is a big, a big benefit for WordPress overall, I think, to have this kind of work happening so that we can have those benefits to the folks who are using our software. 

\n\n\n\n

[Josepha Haden Chomphosy  00:18:22]

\n\n\n\n

So there were a couple of different things that you mentioned over the course of our conversation. We’re gonna put some links to the show notes for all of those. But one thing that you mentioned that just kind of went by, and we never really had an opportunity to talk about it. You talked about the, I think it was GTEs, Global Translation Editors, the folks that are like approved as final approvers of translations. If there is someone who’s listening to this podcast who wants to become a GTE someday, where would they go to do that?

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[Alex Kirk  00:18:54]

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So the path to GTE is a PTE. ( laughs )

\n\n\n\n

[Alex Kirk  00:18:59]

\n\n\n\n

So, we’ve got different levels of translation editors. Basically, you start, you could say you start off as a translator, and this is how you can kind of show that you can do good translations or that you’re very firm in your language. And this might make you be noticed in the community.

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[Alex Kirk  00:19:16]

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So we’re always looking for people who like to help with translations. And you might be then promoted to be a Project Translation Editor. Basically, it means that for a single language in a project, you’ll be able to approve translations. So, you’ll be the one who says, like, this translation is a good one and this conforms to the to the rules that we have stated as a translation community.

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[Alex Kirk  00:19:42]

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And further down the path then is the GTE, where you basically are allowed to approve translations across any project on translate.WordPress.org in your language. And that’s, usually you’ll be in, in that position with other GTEs.

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[Alex Kirk  00:20:04]

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So there is, like, in each community, there is like, we’re people based. We talk about what might be a good translation. We talk to each other, try to find rules that maybe prevent common mistranslations, or set the standards for how we want the software to be translated. And this is something where you get a voice as a translator, but as a GTE, you get into a position where you can actually make the changes or find consensus on how the software should be translated in your language.

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[Josepha Haden Chomphosy  00:20:35]

\n\n\n\n

And if folks are not familiar where the Polyglots team works and meets, where would they find you all?

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[Alex Kirk  00:20:41]

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At make.WordPress.org/polyglots.

\n\n\n\n

[Josepha Haden Chomphosy  00:20:45]

\n\n\n\n

Perfect. Alex, this has been such a fascinating conversation. Thank you so much for joining me today.

\n\n\n\n

[Alex Kirk  00:20:50]

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Thank you very much. 

\n\n\n\n

( Intermission music )

\n\n\n\n

[Josepha Haden Chomphosy  00:20:59]

\n\n\n\n

So that brings us now to our small list of big things. First, WP Campus 2023 is taking place July 12th through the 14th. That’s a nonprofit three-day conference with topics that focus on the growth of higher education, accessibility, WordPress, and anyone who works in higher education.

\n\n\n\n

[Josepha Haden Chomphosy  00:21:17]

\n\n\n\n

It’s a hybrid event. There is an in-person component on the beautiful campus of Tulane University in New Orleans, Louisiana. I’ll add information about that in our show notes for anyone who would like to join in person or online. 

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[Josepha Haden Chomphosy  00:21:32]

\n\n\n\n

The second thing is that the mentorship program pilot that I have been talking about a little bit over the last few months has been formally launched.

\n\n\n\n

[Josepha Haden Chomphosy  00:21:39]

\n\n\n\n

If you are interested in contributing more to the project but not sure where to begin, take a look at this comprehensive onboarding experience. It’s cohort-based. It has some personalized one-to-one mentorship. There are guided courses, live workshops, all of that. So read more about it in our show notes and sign up for one-on-one team mentorship.

\n\n\n\n

[Josepha Haden Chomphosy  00:21:59]

\n\n\n\n

And then, finally, Matt mentioned at WordCamp Europe an idea that he had been thinking of for some time a Make team dashboard that would sort of help define team metrics and help identify for individual contributors what should indicate team health and where they can find the most impactful projects to work on.

\n\n\n\n

[Josepha Haden Chomphosy  00:22:20]

\n\n\n\n

A post has since been published on make.WordPress.org/meta calling for additional feedback on that idea, so that we have an understanding of what this could be, how the dashboard can kind of come to be. And so stop by and add your thoughts there in the comments. 

\n\n\n\n

[Josepha Haden Chomphosy  00:22:38]

\n\n\n\n

And that, my friends, is your small list of big things.

\n\n\n\n

[Josepha Haden Chomphosy  00:22:42]

\n\n\n\n

Thanks for tuning in today for the WordPress Briefing. I’m your host, Josepha Haden Chomphosy, and I’ll see you again in a couple of weeks.

\n\n\n\n

( Outro music )

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There are many ways to be a guest or host on the podcast. Or maybe you have an idea you would like to pitch.

\n

>> The post Opportunities on Do the Woo appeared first on Do the Woo - a WooCommerce Builder Community .

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Howdy,

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I am sending this while traveling back from WordCamp Leipzig, where I had great conversations with people from the German WordPress community. I published a few photos on Twitter: here, here, here, and on LinkedIN. Language switching is as difficult as context switching.

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WordPress 6.3 Beta 1 is released, as well as Gutenberg 16.1. More below.

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Yours, 💕
Birgit

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\n

Table of Contents

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\n
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\n

If you haven’t yet, it’s time to reseaver your seat! for next week’s Gutenberg Live Q & A on July 6th, 2023, at 17:00 UTC

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Leveraging Gutenberg’s architecture to take plugin development to new levels.

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Learn how Gutenberg components and scripts can be used outside the block editor to revamp a plugin’s code base in this Case Study of GiveWP 3.0 with Jason Adams, Director of Development, Jon Waldstein, Lead Developer of GiveWP and co-host Lena Morita, JavaScript Developer on the Components team.

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Developing Gutenberg and WordPress

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WordPress 6.3

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On Tuesday, WordPress 6.3 Beta 2 was released, after Beta 1 wasn’t quite finished the day before. The release team is also preparing a Walk-through for later this month, to introduced many of the new features coming to a WordPress instance near you on August 8, 2023.

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Please, help test WordPress 6.3, and report issue you encounter.

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Gutenberg 16.1

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Gutenberg 16.1 was released led by Isabel Brison and Ramon Dodd. In their release post, What’s new in Gutenberg 16.1? (29 June), they highlight the following functionality:

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It was great fun to catch up with Tammie Lister as my guest on the Gutenberg Changelog. I hope you also have fun listening to us discussing the milelong Changelog for this Gutenberg release. The episode and the show notes are already available. The transcript is still in the works.

\n\n\n\nTo book cases, two developers having fun and a podcast episode \n\n\n\n
\n

🎙️ New episode: Gutenberg Changelog #85 – Gutenberg 16.1, WordPress 6.3 with special guest, Tammie Lister and host Birgit Pauli-Haack

\n
\n\n\n\n

Sarah Gooding also reported on the Gutenberg 16.1 in her article: Gutenberg 16.1 Introduces Pattern Creation and Library, Adds Distraction Free Mode to Site Editor, highlighting additional functionality found in this mamooth release.

\n\n\n\n
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In his latest video, Unlocking the Power of Navigation in WORDPRESS 6.3: What YOU Need to Know, Dave Smith, JavaScript developer at Automattic and core contributor, walked us through the updates to the Navigation handling in the Site Editor. It helped me wrap my head around all the different aspects of creating mulitple menus, style them and add them to templates and template parts in the site editor.

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Anne McCarthy and Emily Clark will co-host a Hallway Hangout to discussion WordPress 6.3 performance improvement on July 27, 2023 at 15:00 UTC to discuss WordPress 6.3 performance improvements led by performance reps Emily Clark and Felix Arnzt and also look ahead to WordPress 6.4.

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Plugins, Themes, and Tools for #nocode site builders and owners

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Mike McAlister advocates for Don’t call it Gutenberg anymore (unless you actually mean to). “it’s time to drop the Gutenberg vocabulary from our day to day usage, unless we’re actually talking about the Gutenberg project or development plugin.” he wrote. In the post he gives a quick overview of the history of Gutenberg development and how the block editor made it into the WordPress.

\n\n\n\n
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Rich Tabor published a new Pattern in the directory on WordPress.org: Two Column, Matted Gallery Images. “I really want to keep pushing whats possible with all this new design tooling in WordPress.” Tabor tweeted. With WordPress 6.3 you will have a way to create patterns for your site via the site editor. It used the same interface that allows you to create reusable blocks, now called “synched patterns”.

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Theme Development for Full Site Editing and Blocks

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In his, Benjamín Pérez Sout at Yotako,vannounces the new plugin release that allows users to Edit your Figma & Adobe XD designs as WordPress Gutenberg blocks. The toolset of Yotaku provides some amazing synergies between AI and various design tools to Gutenberg Blocks.

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Ryan Welcher continued his series Creating a block theme for developers with Part 4 and Part 5 on Twitch. If you want to catch up on Parts 1 through 3, they are available on Welcher’s YouTube Channel

\n\n\n\n\n

 “Keeping up with Gutenberg – Index 2022” 
A chronological list of the WordPress Make Blog posts from various teams involved in Gutenberg development: Design, Theme Review Team, Core Editor, Core JS, Core CSS, Test and Meta team from Jan. 2021 on. Updated by yours truly. The index 2020 is here

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Building Blocks and Tools for the Block editor.

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The recording of this week’s Developer Hours: Exploring Editor Extensibility is now online with Michael Burridge, Nick Diego, and Ryan Welcher giving demos on various ways developer can already extend blocks and the editor experience. They also shared lots of resources and examples.

\n\n\n\n
\n\n\n\n

Igor Benic explained in his blog post How to Programmatically add a block in the WordPress Block Editor. “When working with custom blocks or custom solutions to enhance the WordPress Block Editor, you might need to have a way to add blocks programmatically to the editor.” he wrote and showed how to use – wp.blocks.createBlock – wp.data.dispatch(\'core/block-editor\').insertBlocks to accomplish the task.

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Working with Blocks also means getting data via the Rest API. The team of Learn WordPress just published the new course on Introduction to developing with the WordPress REST API. “This course presents a developer-oriented introduction to using and developing with the WP REST API. If you want to learn to use the WP REST API to power your next site build, plugin, or theme, or you just want to understand how it works, then this course is for you.” they wrote.

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Need a plugin .zip from Gutenberg’s master branch?
Gutenberg Times provides daily build for testing and review.
Have you been using it? Hit reply and let me know.

\n\n\n\n

\"GitHub

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Questions? Suggestions? Ideas? Don’t hesitate to send them via email or send me a message on WordPress Slack or Twitter @bph.

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For questions to be answered on the Gutenberg Changelog, send them to changelog@gutenbergtimes.com

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Featured Image: Train Station at Leipzig, Germany. Photo by Birgit Pauli-Haack

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Don’t want to miss the next Weekend Edition?

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We hate spam, too and won’t give your email address to anyone except Mailchimp to send out our Weekend Edition

Thanks for subscribing.
\n\n\n\n
\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sun, 02 Jul 2023 06:30:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:18:\"Birgit Pauli-Haack\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:24;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:74:\"Gutenberg Times: Gutenberg Changelog #85 – Gutenberg 16.1, WordPress 6.3\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:53:\"https://gutenbergtimes.com/?post_type=podcast&p=24618\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:87:\"https://gutenbergtimes.com/podcast/gutenberg-changelog-85-gutenberg-16-1-wordpress-6-3/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:63883:\"

Tammie Lister and Birgit Pauli-Haack discuss Gutenberg 16.1 and WordPress 6.3 and what’s coming to 6.3

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Add a summary/excerpt here

\n\n\n\n

Show Notes / Transcript

\n\n\n\n\n\n\n\n

Show Notes

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Podcast With Tammie Lister: How Gutenberg Evolves and the Future of WordPress with Emma Young at Hostinger

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Creating Gutenberg – Live Q & A w/ leads Tammie Lister, Joen Asmussen and Matias Ventura

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Upcoming Live Q & As

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July 6th, 2023 – 17:00 UTC Leveraging Gutenberg’s architecture to take plugin development to new levels

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July 21, 2023-17:00 UTC Live Q & A with designers and developers for WordPress VIP. They created a bridge between Figma Design themes and the theme.json file for classic and block themes

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WordPress 6.3

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WordPress 6.3 Beta 2

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Help Test WordPress 6.3

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Gutenberg 16.1

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What’s new in Gutenberg 16.1? (29 June)

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Gutenberg 16.1 Introduces Pattern Creation and Library, Adds Distraction Free Mode to Site Editor

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Interactivity API

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Proposal: The Interactivity API – A better developer experience in building interactive blocks

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WordPress.TV: Developer Hours: Introduction to the Interactivity API

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Stay in Touch

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Transcript

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Birgit Pauli-Haack: So hello and welcome to our 85th episode of the Gutenberg Changelog podcast. In today’s episode, we will talk about Gutenberg 6.1, WordPress 6.3 and that’s pretty much it. We have a full program alone with that. I’m your host, Birgit Pauli-Haack, curator at the Gutenberg Times and full-time core contributor for WordPress open source project sponsored by Automattic. And I’m so happy that Tammie Lister joins me today. She’s one of the Gutenberg design leads of phase one and design lead of WordPress 6.3 release squad and will be the editor tech co-lead on the all underrepresented gender squad for 6.4. In her day job Tammie works at the global agency Inpsyde from Germany as a developer. Good afternoon, Tammie. So happy to see you again. Thank you so much for making the time to be on the show. How are you?

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Tammie Lister: I am great. Thank you so much for having me.

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Birgit Pauli-Haack: Oh, it’s so wonderful. And for our longtime listeners, you are no stranger. You’ve been on the Gutenberg Live Q&A few years ago, and you were part of the last year’s developer hours, and it’s actually the first time that you’re on the podcast. How did that happen? For those of you listening for the first time, tell me a little bit about your WordPress work and what you’re doing now.

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Tammie Lister: So my WordPress journey has been a long one and an awesome one. Like a lot of people, I started out by blogging and poking around themes and then I worked for a long time on the problems with themes, went via core through BuddyPress and then for a long time I worked as creating themes and working through that. And that’s where I started really my contribution journey through the theme review team and a little bit in core. And then Gutenberg, I guess it was my adventure by Gutenberg. The seed of Gutenberg is rooted in a lot of people from the theming background. It’s one of those not so hidden facts about Gutenberg, that a lot of people who worked on it had that background as well. And I’ve been really lucky since I worked on that project, to have quite an adventure working in various roles from design.

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And at the moment, I’m really lucky to be balancing back my developer skills. I’ve always done both, but at the moment I’m really focusing on how can I raise back up those skills, and I’m really lucky to be doing that in an agency role. So I am now getting to work with this amazing thing that we’ve created in the editor and getting to implement it within the agency at a development level so that I’m having all sorts of fun now.

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Birgit Pauli-Haack: Yeah, I can imagine that. That’s awesome. Well, thank you so much and yes, so you will have opinions about the extensibility of Gutenberg, which is one of the top…

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Tammie Lister: Only a few.

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Birgit Pauli-Haack: That will come or that has been in the background or in the other current of all the new features, where’s the extensibility or how can we extend this? 

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Announcements

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So before we dive into the recent releases, I want to tell you dear listeners all about the two live Q&As that are coming up in July. So next week, we have on July 6, 2023 at 17:00 UTC and I’m not going to convert this to any other time right now. Time zones are the bane of my existence at the moment. So we have the topic, leveraging Gutenberg’s architecture to take plugin development to new levels, and we learn about how Gutenberg components and scripts can be used outside the block editor to revamp a plugins code base.

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So this is a case study of GiveWP 3.0, how that’s come about and we will have a guest, Jason Adams, who’s the director of development and Jon Waldstein, who’s the lead developer on the show. And my co-host will be Lena Morita who is a JavaScript developer on the components team. So she has some really geeky questions for the two and she’s quite excited about it, and I’m really looking forward to it because I find it fascinating when developers discover all the ways to use existing components and script to build on top of Gutenberg. And it saves so much development time and it opens up new synergies between the core and the added functionality in a plugin.

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So if you’re interested to dive in, the next one, two weeks later on July 21st, also at 17:00 UTC, we will hold the next live Q&A with designers and developers of WordPress VIP, and they created a bridge plugin between Figma design themes and the theme JSON file for the classic and block themes. And it’s a fascinating way to keep faithful to the existing design systems and start spinning up new sites that mirror that design system without a whole lot of friction in between us. My co-host will be Joni Halabe from the web team at Georgetown University, also a very interesting live Q&A. I’m really happy that we’re putting it together.

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The last one, you have to just subscribe to the newsletter so you get early access to it, newsletter at the Gutenberg Times and should you listen to this episode, I know a lot of people binge listen to it. If you listen to this episode after July 22nd, check out the Gutenberg Times YouTube channel for the recordings of that. We always record them, we have them transcribed, we have a post on the Gutenberg Times with the resources shared and all that. So even if you miss it, but the live Q&A is really interesting because all of a sudden from the demos that are there, there comes these very quick questions from the audience and I really like having that a live show. So that’s that.

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What’s Released – WordPress 6.3

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We are coming to the what’s released section and we come to what happened last night. So today, we are recording it on Thursday, June 28th and this morning in I think 1:30, WordPress 6.3 beta two was released. And were you up at that time?

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Tammie Lister: No, I got up as far as about just hitting 11:00 UK time at night and I could see it wasn’t going to be the 11:00, so I left the amazing people that were doing and I’d kept going that far, and I bowed out and got some sleep because it was the second night running.

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Birgit Pauli-Haack: Yeah, there was a second shift coming in from Australia.

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Tammie Lister: Which is amazing. That’s part of the global project. We all get to open doors and close doors after each other, leave post-it notes virtually up for each other. There was a lot of that going on for the past two days and I think that’s the important thing. It’s been two days we’ve been working to get this out.

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Birgit Pauli-Haack: Yeah, the make blog has one was the delay for one day and then also the explanation why it’s now called beta two instead of beta one.

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Tammie Lister: Systems are hard.

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Birgit Pauli-Haack: Systems are hard, releases are hard. I have switched my role for this release from doing for three releases, dev notes wrangling to actually be editor triage, co-lead with four other people. And this has been quite an interesting experience because all of a sudden, I’m looking behind the scenes and how timely a lot of PRs are to getting into the beta. And then it’s not only that there’s in the plugin, but you also need to sync the core data, the PHP code with the Gutenberg code and that is another big adventure for the tech leads. And you get to do this, when is it? In September before beta 6.4.

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Tammie Lister: Yeah. And I think you never know the unknowns until you know them and then you document, and then you try and that’s the important part of this amazing journey that is these big projects. You can predict most things but it’s always going to be the thing that you don’t predict. Honestly, we are doing incredible. Everyone is doing incredible. We just have to remember humans’ need to sleep sometimes and I think that is the beauty we learn. One of the amazing things we do now, which we didn’t do before is we have the use of the time zones. We use that. We have multiple leads. I think back even a few years ago, we didn’t have that for these roles and by having that, we can take advantage of time zones and lives and different people, but just documenting and writing, I think there’s going to be some like, “Okay, so that could happen.” Okay, now we document this, now we learn this and that’s great.

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There’s stuff I now want to learn about. My curious brain is like, “Okay, well this went wrong. Okay, so how do we learn?” And that’s great because our documentation gets better. That’s generally what happens in between releases where people debrief and then take everything that happened in a release and then the next release gets better each time. We rise on the past release each time.

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Birgit Pauli-Haack: Right, yeah. As you know, this big project, nobody really knows everything. So the collaborative effort is…

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Tammie Lister: And if they claim to, I really think they need to go for a little walk in the countryside and think about themselves because nobody does and that’s amazing. You’ve just got to be very humble and just go, “Okay, on we go.” I just wanted to say shout out to everyone that was working so hard the past 48 hours and then some. You saw some beautiful handovers of patches, people just teleporting in on their phones and doing things and just some amazing open source hearts. You saw a lot of that going on.

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Birgit Pauli-Haack: And I saw a lot of also the humbleness stuff. I don’t know, does somebody else is able to help me?

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Tammie Lister: I don’t know, but I might know someone who does in their mental Rolodex going through a list of people, and that’s amazing to do. It’s not like I might know, I’m going to struggle with it for a while and then I’m not going to come up with a good solution. That does not help anybody.

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Birgit Pauli-Haack: No, no, no. At that moment, you need somebody who knows. But it’s also…

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Tammie Lister: It would help otherwise you make it worse. It’s like the I will fix this and make it worse. Nobody needs that at 10:00 at night.

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Birgit Pauli-Haack: Yeah. Not on a software that’s used by millions of people.

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Tammie Lister: But a beta is a beta. And I think that’s the amazing thing we all have to… Now, let’s test it now let’s poke it and do things and nothing is ever going to be bug free. We always want that, but we do our best every time. I am so excited about how big this changelog is.

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Birgit Pauli-Haack: Yeah, we’re getting to that. But I just wanted to do a shout-out for Brian Alexander who’s heading the test team. He has put together some amazing instructions on how you can make really impactful contributions to this open source project and we will share the link in the show notes. So when you go to the test make.webpress.org/test, that’s the first post that will come up is help test WordPress 6.3. There are quite a few features coming in and they all need testing and they all need hitting the real life scenarios. Have plugins that use some of that, themes, just poke it from all the ends and it’s really necessary. And like every beta, it’s beta, but the bugs that we find now in the beta two, three and four, we don’t have to fix later when the release is done. So yes.

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Gutenberg 16.1

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What also was released was Gutenberg 16.1 and that’s when 255 PRs merged with this release by 69 contributors and it’s just amazing what all went in there. It’s also understandable because if it went for the last minute, nothing really gets done in life, I found. And everybody wanted to get their work merged, so it will be in the next WordPress release and with the beta this week, it’s the last plugin release for enhancements and new features to come in. After that, it’s all bug fixing. So that made it for a mile long changelog. And Tammie and I will do our best to pick the stars amongst the 255, the bright shining stars and the highlights for you and talk them through. So do you want to hit us off with the first thing or do you have any other comments to add?

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Tammie Lister: Wow, the amount. I guess the first one would be the navigation menu sidebar, the renaming, duplication, and deleting of navigation menus from browse mode sidebar. Navigation menu sidebar, the maturity of that in general, it feels such a long adventure the navigation menu has come on and I think that’s also maybe this point is why there was so much as well. It’s not the final-final release, it’s like Photoshop when you name a final-final 01 file or something, but it’s a closure and I think having a navigation block, having things changed, all these things, it’s a closure for a lot of these features. So I think navigation, it feels like quite a closure on some of these things as well.

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Birgit Pauli-Haack: And it now made real sense. I think it really needed to gruel it and often and throw out concepts and get new ones there. So there’s navigation and then there is the sidebar menu in the site editor that also has a navigation piece to it.

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Tammie Lister: But bringing that functionality means that you then… There’s this weird separation, but it allows that to feel more cohesive and native. That’s the best words I can think of it. I think navigation’s going to take a little while to get a lot of people using because navigation’s over here and all these kinds of things. It’s that maturity of that feature and the dependability of that feature and the work there. I’ve definitely started feeling that it feels more robust to use with these changes.

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Birgit Pauli-Haack: Yeah.

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Tammie Lister: It’s pretty exciting.

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Birgit Pauli-Haack: And I finally feel the same way. I was always a little hesitant to touch the navigation because I knew it wasn’t finished. So I didn’t want…

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Tammie Lister: You sneeze near it, it’ll fall over, bless it. And I say that having worked on it myself, but it’s just a really hard problem. Turns out navigation… Linking alone is a hard problem, but navigation is linking plus plus plus. It’s a really difficult problem. If you just write code, it felt easier. But if soon as you add any interface, it’s really difficult.

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Birgit Pauli-Haack: And it’s also such a prominent piece of a website that you build, that it really needs to…

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Tammie Lister: And people are very bonded to a particular way of using navigation in WordPress as well. So we’ve got to retrain that mindset.

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Birgit Pauli-Haack: Yeah, that definitely is true. And so we have the navigation and the sidebar and the site editor as a navigation menu where you can do certain things and from that menu, from that sidebar, you already can rename, duplicate menus, or delete them. You cannot create them. That’s what you do when you create, you add a navigation block to a template part to the header or to the footer and then on the right hand sidebar on the white sidebar, that’s where you assemble your menu or the many menus.

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Tammie Lister: I like that consciousness of creating them somewhere else. There there’s so many opinions on separation and workflows. I feel like… This is a complete personal opinion, but making navigation too easy, I think that you end up with too many navigation everywhere. That’s always been one of our problems, that you end up with people drowning in menus. So I think that there’s a balance that there’s a maturity of navigation. I think that’s where the overlap of this.

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Birgit Pauli-Haack: Yeah, definitely. And I like that in the site editor left side navigation, you just touch on the overall website, but you always go into the canvas to actually make changes.

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Tammie Lister: The best words I can use is assembly there. I don’t know if that’s a good word, but it feels like assembly there, functionality doing here. And then that’s what it feels like. The different mental models that I’m moving in between when I’m doing things and I’m for that, different areas having very distinct different mental models when I’m doing it.

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Birgit Pauli-Haack: And I like that too because I can’t have two different thoughts in my head at the same time and be productive.

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Tammie Lister: Life’s too short.

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Birgit Pauli-Haack: Yeah. So that’s why I like the next item, that the footnotes block is now coming to text blocks and that’s really something that we have all been waiting for a long time. And I know that Ella van Durpe has also tried multiple ways to get this done and I think she has such great ideas that she all pursued them all. And in the GitHub, you can have the history of all the footnotes, but I think this version is really hitting it out of the park. It works well. You put the cursor where you need the footnote, you get it from the menu from the inside menu bar menu dropdown on the block toolbar, and then you say footnote, and then it gets you right into the place where the content of the footnote, you can add that and it does the numbering itself.

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So if you say, “Oh, I put a footnote in the middle of a paragraph, but also I need another one on top of it,” it recounts them so automatically. So that’s a really good feature. And it has color controls, but it also follows whatever your paragraph or your link color is. I just see that when you change the background of a paragraph, you get what you always get with links is if you change the text, you also need to change the link color. But that is something that’s the nature of the beast and there is no automation for that. But I’m really happy that this block comes and it will be in 6.3.

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Tammie Lister: Footnotes has an adventure for many years. I think footnotes is one of those, to me, it’s a sign of maturity for an editor. Quite a few see it as extra functionality or features. But it really is something that if you are in a particular field or you are particularly using, that you will not use an editor unless it has the footnotes functionality. It’s whether you choose to use or not. There’s no doubt whether you would want, you wouldn’t even have a plugin. It would be base functionality. So I think I am very glad to see it. Also, it’s a really strong indicator of things like collaboration. It sets that. It may not feel like it, but it is. It sets those using that canvas in a little bit of a different way as well. So I’m really pleased to see it.

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Birgit Pauli-Haack: Yeah.

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Tammie Lister: And that experimenting outside to then bring in, I think is a real good way forward to start seeing the interface as well.

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Birgit Pauli-Haack: Yeah, definitely. Definitely. And then you could actually move the footnotes block where all the footnotes are to the end of things or put them a little bit further. So it’s also quite versatile.

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Tammie Lister: That’s really important depending on what article you’re writing as well. I do not claim to know any different medical whatever articles, but I’m sure that there are certain rules and regulations around where things go and depending on articles and what order things go. So having that functionality that you can determine yourself is better for everybody.

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Birgit Pauli-Haack: Yeah, absolutely. Absolutely, yeah.

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Tammie Lister: The next big one.

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Birgit Pauli-Haack: Yep, go ahead.

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Tammie Lister: I feel like there’s a whole episode here on patterns and I guess the big one here is the naming and language to me is… Again, we talk about maturity, well renaming reusable blocks, rename to my patterns and add option to also add a non-synced pattern. This is big, it’s a small big thing I guess because it’s a big thing, but it’s not a massive feature, is it? But it also is a massive feature. Reusable blocks are quite limited but really quite bonded for some people. So I think that we got to respect that. But patterns to me are what everyone always wanted with reasonable blocks. When everyone describes what they want from a reusable block, it’s a mature functional pattern that has all the things that patterns are getting like syncing, all these things. And that’s what patterns are getting now.

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So I don’t know what you feel, but that to me it’s just maturity of patterns, you have blocks, patterns, template parts, templates. It makes sense.

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Birgit Pauli-Haack: Oh yeah, yeah. They’re pretty much cut from the same cloth and all had different names and also different models. So you had to get here for template parts, you need to go there for a reusable block and you had a pattern here, but they all had different updates kind of thing. So if you update a reusable block, it updates on all instances. A pattern doesn’t have any updates, so every time you put them into a canvas, they are all disintegrating. They don’t know about itself anymore. But what I like is that you now can create your own patterns and that is something that a lot of people were missing, that you were dependent on the pattern directory or you were dependent on the theme to provide your patterns or some third-party directory where you can copy paste it over, but you are not able to say, “Oh, this is a marvelous pattern. Can I store that on my site?” And now you can.

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And it’s the same interface or same workflow that you are accustomed to when you create a reusable block and there’s only one change there… Well, one attribute, it’s called sync this over all the instances, yes or no, it’s a toggle switch. So if you switch it on, you get a reusable block that if you change it, it changes all the instances. And if you switch it not on, it’s a pattern which does not update. But this is also, and you say, “Okay, but I want, when I change the style of my pattern, I want it to be replicated over all the instances.” It’s coming. This is the first step. This is the first step to unify the wording, unify the interface. And then also, you don’t have this duplicate mental model anymore. You find them and you can edit them at the same spaces. It’s called my custom patterns. That’s how you find them in the pattern list. And then in the block when you highlight them, there is manage your patterns. So it’s a great step and it’s one that we have been really all waiting for.

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Tammie Lister: And putting my agency hat on, really trying to explain all this language. People, they work in design systems, they work in simple language and been able to sell this easier by simpler language that it behaves more like a design system as they expect. This all is that. You don’t have to then build a system on top because then the system will be easily done within, you don’t then have to bring the system. So I am very excited about this. It is the start. It is something that I would’ve liked a couple of years ago, but we had so much to do. We’ll get there. And I think that is the thing of there’s so much changing to do. Patterns are really getting strong. When they first came out, it felt like, “Oh, you can do patterns.” But they are so powerful. People get patterns way more than blocks as well. If you explain a block, people are like, “You don’t need to make blocks.” And I think we’re going to see less blocks people making and more patterns with this because patterns are just more useful then.

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Birgit Pauli-Haack: That’s what I have been seeing as well is also that people say, “Okay, I don’t have to create a custom block just because I want a group of blocks in my site.”

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Tammie Lister: As much as I love block variations, I love all these things that you can do because blocks were amazing. I’d like to see less because then it means that patterns are doing what they’re meant to do because that’s what humans see. The interface that we’re having for pattern browsing and all that, we’re getting onto the management stuff that’s also part of this, that is just better as a human. Those human interfaces, once humans are using that, that’s way better than the tiny little pickers that we have for blocks.

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Birgit Pauli-Haack: Yeah. But I wanted to go back to what you said, while I would love to have it two years ago, but I think sometimes waiting helps you really to see the big picture, the whole picture. So two years ago, we didn’t have template parts, yeah?

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Tammie Lister: Yes.

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Birgit Pauli-Haack: Or we didn’t know yet how they’re going to fit in into the block themes and in pattern, we’re just at the beginning, but we didn’t know how to lock them. How to lock certain pieces of it.

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Tammie Lister: When I say that, that’s just eagerness and that’s also…

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Birgit Pauli-Haack: Yes, impatience. I see it, I want it.

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Tammie Lister: Way too many people in the agency just want it tomorrow because honestly, those are the people who are trying to solve it with design systems who are trying to work around the problem today. Absolutely, these toys are amazing. And that then means these bigger systems can start using. They don’t have to build on top or around. They can build a lot more natively and the more native you can build, the easier upgrades, the easier components, everything. And it’s just a better experience for everybody.

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Birgit Pauli-Haack: Right, right. Or you see the power now and you say, “Oh, wouldn’t it be great? And then you have to wait.

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Tammie Lister: If no one ever has to go through a load of patterns and I’ve actually had to do this, go through someone makes a change in patterns, but this was quite a while ago. If you use patterns and then you had to make a change in patterns at scale, that was hard to do before. Not having to do that, that’s going to be amazing. So getting all the amazing benefits of all these things, but having the amazing benefits of things like reusable blocks, but with these visual benefits that humans have. Yeah, it’s amazing. We have all the toys.

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Birgit Pauli-Haack: And there’s one more toy coming, which is now you can get a preview of block themes in your site. We all remember the customizer where you install a theme on your website and then you use the customizer and you were able to preview your site with the theme. And that hasn’t happened yet, but now it’s here for block themes as well. You see where you have all your themes, you see a live preview button and that gets you into a similar interface as the site editor. And then you can navigate your site with the theme that is installed but not activated yet. So you can see how your blocks behave, you see how your posts behave, and in advance you don’t have this what Helen Hou-Sandí always calls the save and pray feature there.

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Tammie Lister: What you see might maybe what you get, but possibly not.

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Birgit Pauli-Haack: Probably different, yes. And it’s amazing to see this in block themes. You also see all the style variations and how they would change your website and it’s really amazing. And it’s in 16.1 and it will come to 6.3 soon.

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Tammie Lister: And moving on to the site editor, the distraction free. We’ve had distraction free, so it’s like ta-da. But having that with the site editor, been able to create and just go get away. I remember… Age, that Dreamweaver full screen mode. And you now got that. The day where you could suddenly do visual in Dreamweaver, we’ve now got that in WordPress. Wow. It’s incredible to think that we can do that and you’ve got that without some of the ickiness. Bless it. Without tables. But we’ve now got that and that means that you can really focus on what you’re creating. And sometimes like if you’re doing some of these three-column query or whatever when you’re trying to do, you do not need those side panels and everything in the way. So distraction free is really, really nice to be able to do that and create.

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We talked earlier about modes when you’re doing things that really helps you with that creation mode, there’s a reason why when you are writing, you have those zen modes and that really works for people. Or you have that get away from my desktop all the apps. I don’t know what you feel, but I think this is just a small improvement to life.

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Birgit Pauli-Haack: Absolutely.

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Tammie Lister: Quality of life improvement.

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Birgit Pauli-Haack: Absolutely. And it’s a good one, when you can do an almost one-to-one preview of your site for that particular page, it opens up so much or it takes away so much worry. It’s really a better life there.

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Tammie Lister: Know what you’re getting rather than guessing what you’re getting.

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Birgit Pauli-Haack: And test this, please test this so much.

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Tammie Lister: Yeah. And again, that’s the part of this. A lot of these things, they’re going in and they’ve been tested by the people that are creating them and they’re amazing humans, but they are not the people that are going to be poking it. It’s now up to people that are listening to this, the people that are going to be testing, who are the people that should be poking it and using it. And I think that is exactly what this is about.

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Birgit Pauli-Haack: Absolutely, absolutely. And what is now coming back to the site editor is editing templates as well as content. At the beginning of when the site editor was introduced, it was already there, but people got confused. Am I editing a page? Or they were not confused. They didn’t have that concept of a template part like this is just the template that drives all the pages and they made changes, and then were surprised that the changes were duplicated on all the pages. So it was taken out of the editor, and now it comes back with some guidance for the content creator of, “Okay, you can edit that now and when you’re in the template, you get all this whole title kind of thing.” It names the things that are in there. And when you’re on a page, it gives you the page title exactly how you put it in and then you can edit it. But when you go into the places where the template is, it tells you this is a template piece, do you want to edit now? And then gets you out of the editing mode into a template editing mode.

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And I think that the guardrails there really help with the mental image as well. This is a template, I don’t want to screw that up. I just want this on my page. I want that content done. And you can do it in the site editor. Do you have to go back to the WP admin? Once in a while when you create pages, yes, yeah. But sometimes you want to edit things and you want to see it with… that’s the good part in this section now when you have the edit the page content as well as the template, is you see the page and it’s all in its context. How will it show up on the site? There is no, “Oh, okay. There is something on the sidebar that’s interfering with my page.” And it’s the same thing that we talked about before where as long as you see the full context of your page, all the worry goes away.

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Tammie Lister: I love what you said as well about having something in and then taking it away. I think that’s really, really important because sometimes when something’s completely new, it doesn’t work because it’s new, it’s not because it’s a bad idea and this is showing, it just needed to be delivered in a certain way. And I think not everything, but quite a few things that have been added a little bit recently are that. They are re-adding a slightly different variation once we’ve got things together. So sometimes you’ve got to find the combination of the puzzle to put these pieces in or the order to put them in. And this is exactly one of those, it needed to come in a certain order.

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Birgit Pauli-Haack: Yeah. And I had some interesting conversations at WordCamp Europe. I had a lot of conversations at WordCamp Europe, but some of them were really interesting because I think if you’re not a developer, it’s really hard to understand that you have a vision for what people want to do. But unless you start programming and putting it in, you don’t know yet how it’s going, how it’s going to work. So let’s put it with the features in and then see what other people think about it and then reiterate on it.

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Tammie Lister: It’s part of the freedom of creating in the open and part of what we’ve learned with this whole project is by creating in a plugin, we get to experiment. I want to use the word play because experiment sometimes feels a little bit harsh, it feels serious, but we get to play and see if this goes here, what did someone feel about it? This goes here. Testing things was really, really hard to do in core and it has been really, really hard. But by having it in this and been able to backtrack quicker, and that has been something that has happened time and time again of, “Oops, nope, let’s try this.” Or, “Okay, well this idea didn’t work this time.” We’ve still got it in the code base. It’s just back now. We haven’t completely lost it.

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In core, ideas go and get lost because it’s a big space, sadly. So having that flexibility, I think we are doing it a lot more as a project and having that healthier macro experimentation. But it’s seeing those mature ideas come. I love seeing things that was talked about, like you said footnotes, but things that were said years and years ago and it’s like, “Yay, they finally shipped.”

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Birgit Pauli-Haack: Yeah. And it’s not because they couldn’t ship it earlier. It’s also you didn’t know yet how other pieces that needed to fit.

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Tammie Lister: It’s like baking a cake. It needs to be the right time and the right ingredients need to be available, and the right people to taste the cake. I don’t know, that metaphor went really weird, but right?

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Birgit Pauli-Haack: Well, only chocolate lovers love chocolate cake, right?

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Tammie Lister: Yeah. And sometimes you are not delivering chocolate cake, you are delivering a Victorian sponge and to the wrong crowd. I don’t know.

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Birgit Pauli-Haack: Those metaphors are really…

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Tammie Lister: It’s not working. Backtrack, what’s the next thing?

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Birgit Pauli-Haack: Let’s try it again. We all have experiences, but it’s not in WordPress. So creating something really, really new in WordPress with a lot of backwards compatibility promises, it’s really hard. 

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Tammie Lister: I always describe it as the difference between moving a little rowing boat to moving an ocean liner. One of them big Disney cruises or these giant things and then moving a little rowing boat. It is really easy, right?

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Birgit Pauli-Haack: Yeah.

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Tammie Lister: It’s not the same.

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Birgit Pauli-Haack: Yeah, yeah. But this editing piece, I think it’s really so much better now and I think it meets the vision now. So what’s also in the site editor bar is some template details. You might have already seen that, but now it also respects the settings and there is some language going on as well. Some language changes. You see the home template details, but that only tells you, okay, how many blog posts are on it? So it’s the blog home and not only just the homepage. So if you switch it to a static page, you will see that in the pages and not in the template pages. But it’s really good to have those template details in the site editor on the sidebar, it gives you a little bit more context.

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Tammie Lister: With components, I guess one of them to call out is the button has a size prop, which is a small little thing, but it’s maturity of the burn block, how many sites have burned every one of them? And having something like that is really big. It’s going back to one of my favorite topics of design systems. If we are building off core as a basis, you need to have these foundational things as part of it. So I’m really excited to see. Anytime I see that or any of the blocks getting different attributes, I am giddy with excitement about all those things. Basically because it means I can then use them.

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Birgit Pauli-Haack: You can use them, you can create styles with them. You can have different variations on the buttons and you don’t have to create a new block for the buttons.

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Tammie Lister: Yes.

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Birgit Pauli-Haack: Yeah. Another block that got some nice features, an additional feature in there is the list block. It now has a different numbering type for the ordered list. So you could have alphabetical numbering or numbered numbering or Roman lit numbering and then capitals and then small cases. So now you have quite some options in there. I really like that. It’s catching up with other documentation or writing tools where you have that. But yeah, it’s good to have it in there.

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Tammie Lister: And image block has as aspect ratio control. For some reason, I wanted to say radio control. That was exciting. I think that’s a whole different thing.

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Birgit Pauli-Haack: Multimedia, an image has radio.

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Tammie Lister: Which again is maturity, right? You mentioned parity with tools. It is, right? We need to have the best of these tools so that people use them natively. So that’s really what a lot of this is maturity of these tools, I think.

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Birgit Pauli-Haack: Yeah. And that was particularly important because you want your patterns when you switch out the images, you have them in a certain aspect ratio and when you switch them out and somebody puts in another image, you want it in the same aspect ratio and not blow up the whole pattern.

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Tammie Lister: Could ruin a party, that really can.

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Birgit Pauli-Haack: Yeah. I’m scrolling past it, but there is just stop to say that the interactivity API will not be in 6.3. It has been merged for the Gutenberg plugin, but it will only be available… they’re aiming for 6.4, which is not so far away, actually. September is the next beta. So it’s really going forward. There were some questions in the community about the interactivity API. A lot of people are very excited about it.

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Tammie Lister: We’re going to have some really nice toys for Christmas.

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Birgit Pauli-Haack: And November 8th is I think the release of 6.4. So let’s get those toys wrapped up for Christmas.

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Tammie Lister: That’s actually going to be some really interesting testing, I think. Some difference in testing because yes, we’ve done, but how you test some of that stuff is going to be a little bit different, I think.

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Birgit Pauli-Haack: Yeah. And we need a lot more examples.

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Tammie Lister: That’s where I’m going. How do you push some of that stuff?

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Birgit Pauli-Haack: Yeah. And definitely there’s some documentation. I think they started with the documentation now. There were quite a few insights already in the make blog on core. I think two of them, and I can certainly add them to the show notes. So people who are all interested in that and want to help with the rollout, definitely can get a headstart on it, but not in 6.3.

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Tammie Lister: The next one, I’m going past so much, this is such a long list. It’s amazing. It is in the design tool section and that’s a sticky position. That’s not a phrase. Try re-enabling non-root sticky position. So actually, I think any improvements to things like this is really nice. The fact that we have this shows maturity of design tools. So I think that’s part of calling this out. Design tools as a whole are a concept that is still relatively new to us, but design tools means again, that people are going to build using it. And so I’m really excited anytime that any of our refinement happens to any of our design tools.

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Birgit Pauli-Haack: And I think in 6.2, the sticky position was already introduced for the header and the footer, but it was not for the sidebar because somehow it was really, really hard.

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Tammie Lister: Sticky is hard. Sticky is hard to stick.

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Birgit Pauli-Haack: You never get it to stick. And it needed to be a root wrapper or root block to make it sticky. You couldn’t do it in a column block where you have a sidebar and make that sticky.

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Tammie Lister: Because CSS.

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Birgit Pauli-Haack: Because of CSS, yes. Yeah. So there is another attempt to make this work and needs definitely testing.

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Tammie Lister: Yes, I was about to say that if anything needs testing, any time you see something listed in design tools, I would point anyone who is building themes or building anything to please test around those things because these are what really you will be building with. Having native sticky positions is much better than having to call on libraries or add things. And again, it means that people who want to build and create in the editor themselves have that capability to create some incredible, powerful, beautiful designs without having lack of access to them. It all sets us up to what amazing things could be done with the default themes, and that’s super exciting, what Christmas is going to bring there with all these tools.

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Birgit Pauli-Haack: So the next one is actually for media and we need to set this up a bit. So when you copy paste something from Google or from another website and there’s images in there, when you paste them into your canvas, the image will always go back to the original. So when the original site goes away, especially when you migrate from one domain to the other, the image goes away. And now there was a little button on every image where you could say and if it was allowed from the source site, that you could add that image to your library with a button. But of course when you have 15 images, it’s a little harder to do that. So now in the pre-publish screen, there is a section that suggests that you upload the external images and gives you a button and you can do it all at once. You also can click on the images and see how they show up in the post or in the page. So I think that’s a great addition to…

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Tammie Lister: Just what people expect. Again, and I do not belittle it by saying that. It’s more just, it just raises it up. It’s what people expect, it’s what people want. So it’s amazing.

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Birgit Pauli-Haack: It really raises the quality of the tools that you use, that it actually helps you also with the little things. Images are important.

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Tammie Lister: Quality of life. Really, the release is quality of life and completion, which is a beautiful summer thing.

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Birgit Pauli-Haack: And refinement.

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Tammie Lister: Yeah. So I think we’re going to talk maybe a little bit later about the command section, but we’re into commands.

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Birgit Pauli-Haack: We’re good?

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Tammie Lister: Going down the list, there’s two things about the commands and that is add commands to templates, template parts and styles, and to related commands as well. I don’t know if you want to talk about commands right now or later?

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Birgit Pauli-Haack: We could. So we have a name now for it.

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Tammie Lister: We do.

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Birgit Pauli-Haack: In the development, it was always called the command center, but now it’s command palette and it tries to convey that’s the tool when you hit control K in the site editor, it gives you quick access to various commands, context-sensitive. And so you can say go to library or go to templates or go to template parts or delete template parts. All this you can do, and it’s also extensible. So you can create commands for your plugins, you can create commands for your themes as well. But the API is very, very new. So there are commands and with this release, there are commands with template, template parts, styles, how to manage the custom patterns, which custom patterns are the former reusable blocks. Sync patterns. So now you can say to your command palette, manage patterns or you also get UI commands for your post editor. So where you can say, add new post or something like that. So it’s not the center of it because it’s not a mission control palette or something like that. Or dashboard, it’s just you have a thought that you wanted…

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Tammie Lister: It’s your friendly helper there and there. And I think what these are doing is giving you examples. As you said, this is the start and it’s new. So by having these there, and this is just to start again, I think it’s worth of saying these are an example that someone could look at and be like, “Oh, that’s how you write one,” as well. So I am super curious to do that myself and be like, “Oh, okay, that’s how you write one. Okay.” And I am really excited to see what people create with this. Now we have decided the name, I was going to call it Bob, but it didn’t catch on.

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Birgit Pauli-Haack: I always call him Fred.

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Tammie Lister: I call everyone Bob. No idea. Everyone picks a name that they call things repetitively, I think. And now that it has a name, which is amazing. And I think one of the good things is its translatable. And I think that was key in all of it. Personally, as long as it’s translatable, as long as we agree to something, we get it in, things can change. But let’s get it in and iterate. So these are great examples to then copy, rehash, and learn from. So I think 6.4, we’ll probably see more. And then I imagine there’s going to be a flowy of plugins, some nice little iterations and people exploring what it means to have these things as well. So it’s going to be very exciting to see what people create.

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Birgit Pauli-Haack: Yeah, I’m really happy about that. I would’ve never thought that my website tool would have these quick commands that I can just call up and then do stuff.

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Tammie Lister: So the way that I think of it is a combination of… Because initially, I was Alfred was where my mind went because it’s searchy, I think of it now like Alfred. And if this, then that, and those two things combined is where I go because it is that, but it’s also workflow. So it’s that but in WordPress for me, and I am very excited about extending that and then where people take it, because people always take it in a way that you would never expect it to go. So I think the next year or so, we’re going to see some really exciting things come from that.

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Birgit Pauli-Haack: Yeah, I totally agree with that.

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Tammie Lister: New toys.

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Birgit Pauli-Haack: New toys for everybody when the biggest toy is probably creating those commands and find, “Yeah, oh I can do this. It’s not that hard.”

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Tammie Lister: And then even vigilant spaces to be able to create those commands ourselves. That becoming easier and easier I think is something that will happen over time as well.

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Birgit Pauli-Haack: Yeah, I totally get it. I want to get into programming so much and lock myself away for two weeks and do all this.

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Tammie Lister: You don’t have to lock yourself away for it, but that’s all right.

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Birgit Pauli-Haack: Yeah. So I’m scrolling and scrolling and scrolling. I don’t see anything anymore.

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Tammie Lister: So much. And I think that’s the thing. If we are going through the bug fixes and the enhancements and there’s just so much, I like the repetitive word flaky because when I see the fix flaky, that means that all the things which flaky is a bug report for, it kind of works and it kind of didn’t. I love that we’re down to that end of polishing, is my reflection on that. So I think that is really, really exciting that there’s so much polishing here.

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Birgit Pauli-Haack: Yeah, and I think that was actually the outlook for 6.3, that most of the features get in and then we’re almost already…

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Tammie Lister: This is a giant section of those, which I love.

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Birgit Pauli-Haack: Are we done? I think we’re done. Oh yeah.

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Tammie Lister: Yeah.

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Birgit Pauli-Haack: There are a lot of documentation fixes. Code quality fixes, code quality in block library, code quality in site editor. No, this is cool. Yes. Tooling. Yeah, the whole testing thing was kind of, whoa.

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Tammie Lister: Yeah.

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Birgit Pauli-Haack: That’s what you were talking about.

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Tammie Lister: And I think that’s the thing that’s there. It’s probably testing coming in for command as well, but it’s all maturity of that. As I’m scrolling down, I’m seeing improving, improving, improving, improving.

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Birgit Pauli-Haack: Yeah. No, I think we made it. Yay.

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Tammie Lister: Yay.

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WordPress 6.3 Beta

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Birgit Pauli-Haack: Yeah. So we want to bring it back to the WordPress 6.3 beta and talk a little bit about what this means plus tickets for 6.3.

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Tammie Lister: I think one of the big things to think about is yes, there are things in now, but things that are in are going to have to respond to feedback. So whilst you might think, “Oh, that burden is perfectly placed,” I am really paraphrasing here, “That burden might not be perfectly placed.” So during beaters, you might see that burden moves because that burden needs to be in a better place. And there are a couple of tickets out there at the moment, which one of them particularly has things could be done in a better way. That’s where I’m going with this. So we are going to see that. We are going to see, “Oh dear, this breaks this under this circumstance when we actually tested it under this load or we tested it under this situation.” Because you can test under all the situations you think, but you don’t have that until you are real world testing or you’re testing. And as the betas get towards the higher numbers, we’re on two now. So we’re probably going to go at least four I would say, I don’t know.

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Birgit Pauli-Haack: I agree, I agree.

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Tammie Lister: I want to be optimistic. But realism kicks in here a little bit. You’re going to see fixes. So people need to bug report. People need to test or poke it, prod it, and use it. If you find something, see something, report something is the biggest thing because if you see something at release candidate, it’s a little bit late. It’s like shouting after the sheep have left the field. But if you say something now, it can be fixed. So if something doesn’t work with the plugin that is the only reason your client’s site works, now’s the reason to say basically.

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Birgit Pauli-Haack: Yeah, definitely. And there will be. So I also wanted to caution some of the more eager WordPress news people or that want to grab screenshots and that kind of thing. There might be changes there. 

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Tammie Lister: Going back to my button moving.

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Birgit Pauli-Haack: For instance, one change is from 6.0 to beta or to 16.2, so plugin releases 6.0 to 6.2, which will probably have some of the things that will get into 6.3 WordPress. But there was one menu item in the site editor on the bottom that was called library. And that has been renamed to patterns because that’s what’s in there. It’s the reusable block that are patterns now, template parts that are patterns now, and your custom patterns that are patterns now. And one was thinking about the library part for a long time because also there will be a fonts library, something like that. But then there were quite a few smart people who said, “Well, if I’m looking for fonts, I won’t go to library. I go to my styles and that’s a separate place.”

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So while we were using it, it was rethought what would make it a better idea or better metaphor for that. And pattern is something that’s WordPress branded and that a lot of people are really responding to. So library was not, it removes cognitive load when you have to think about, “I need to think of library.” When you see patterns, that’s where you want to go. So that’s just one example. There might be others. So when you do a screenshot for your video, make sure you have the latest beta or the latest…

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Tammie Lister: Really, screenshots is release candidate as much as it feels late, it’s not. There’s several weeks and that’s when you’ll find a lot of documentation takes it as well. I’ll working on the about page and we’re going to be doing the graphics around there as much as possible. But honestly, the final-final 01 PSD graphics… I don’t have to deal with PSDs, that’s when you take them because things rightly about translation.

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This language though, I think so many of these language refinements happening, whether you agree with it or not, because language is so subjective and everyone has feelings about Bob or Fred, what things should be called, is a sign of maturity of the product, is that we’re working our own language system and we’re saying these things are called this because it makes sense in our ecosystem. So I welcome that we’re finally clarifying some language and not just confusing everybody because it’s always been very confusing. We’re finally settling on some terms and we are then documenting what they are called because one of the problems we’ve always done is called something and then not written it down. So actually doing that is really helpful.

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Birgit Pauli-Haack: Yeah. Release candidate is scheduled for the 27th of July, so it’s another four weeks to go. So caution.

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Tammie Lister: So you got to let the dust settle, you got to let stuff go. If everything is amazing and unicorns walk and everything, then nothing will change, but something’s going to change because humans in software.

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Birgit Pauli-Haack: Yeah, it’s going to change. And computers, right? Computers are involved, all bets are off, right?

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Tammie Lister: Yeah. And that’s okay, right?

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Birgit Pauli-Haack: Yeah.

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Tammie Lister: That’s totally okay. Just if you’re going on holiday, maybe have a friend do your screenshot for your blog post.

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Birgit Pauli-Haack: All right. So before we all come to an end, just a reminder, the two live Q&As on July 6th and July 21st. Hit the registration button so we can all see you also on the live show and with some great demos. Before we end this show, do you have anything that you want to… How can people get in touch with you, Tammie?

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Tammie Lister: I’m karma Toast on all the things and I’m still around core, I’m around everywhere and I would love to speak to people. I will be at WordCamp U.S. as well if someone else is going. So I’d love to say hi, but reaching out, I’m always welcome.

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Birgit Pauli-Haack: Awesome, awesome. Thank you so much for being on the show. And as always, dear listeners, the show notes will be published on gutenbergtimes.com/podcast. This is episode 85, and if you have questions or suggestions or news you want us to cover, send them to changelog@gutenbergtimes.com. That’s changelog@gutenbergtimes.com. So thank you so much Tammie. It has been a great pleasure geeking out with you over Gutenberg.

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Tammie Lister: It’s been a pleasure. It’s always great talking to you. Thank you so much for having me.

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Birgit Pauli-Haack: Thank you so much, and you all have a good weekend and a good week and I’ll see you all or hear you all in the next two weeks. Take care, bye-bye.

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\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 01 Jul 2023 20:43:33 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:19:\"Gutenberg Changelog\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:25;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:92:\"WPTavern: WordPress Plugin Review Team Adds 6 New Sponsored Volunteers, Opens Applications \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146444\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:100:\"https://wptavern.com/wordpress-plugin-review-team-adds-6-new-sponsored-volunteers-opens-applications\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2286:\"

A new era has begun for WordPress.org’s Plugin Review Team. Mika Epstein, who has served for the past decade, is stepping down, but not before launching a new crew of volunteers.

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The team is responsible for approving newly submitted plugins, maintaining the Plugin Reviewer Handbook, as well as investigating any reported security issues and guideline violations.

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Historically, the Plugin Review team has had very little turnover, but a new crop of six sponsored volunteers will be contributing an estimated 50+ hours per week. The new members include David Pérez, Evan Herman, Francisco Torres, Luke Carbis, Marta Torre, and Paco Marchante. Their efforts are already in demand as they work to tackle a large backlog of plugins.

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“Given the nature of the work the team does, joining this team is a little different than some of the others: each new member will go through a vetting process by current team members before being selected,” Epstein said. “Some of the things the team is looking for are: a solid track record as a plugin developer; the ability to communicate clearly, kindly and constructively – both with other developers and users; interest in improving tools and processes; and excellent collaborative and conflict-management skills.” 

\n\n\n\n

Epstein is encouraging more volunteers to apply, if they have at least five hours per week to devote to the team, as they could still use more help. Prospective team members can submit an application, which will be evaluated by current team members. Applicants will be required to send examples of plugins they have coded to demonstrate their experience, provide references, and detail some of their contributions to the project.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 01 Jul 2023 02:52:15 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:26;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:105:\"Post Status: WordPress 6.3 Beta 2 • Help Test • WPDiversity • Plugin Team Next Phase • Mentorship\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:32:\"https://poststatus.com/?p=149753\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:100:\"https://poststatus.com/wordpress-6-3-beta-2-help-test-wpdiversity-plugin-team-next-phase-mentorship/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:21961:\"

This Week at WordPress.org (June 26, 2023)

\n\n\n

Release season is upon us as we approach WordPress 6.3’s August 8th release. Your help is needed testing the latest changes.

Do you run or attend WordPress events and notice only one type of person is attending? What can you do to be a good ally to foster, promote, and support diversity and an inclusive space? Sign up now for the July 20th WPDiversity workshop.

Stop by the Plugin team to wish Mika a happy retirement as she hands over the work to the 6 new Plugin Review teammembers.

Applications to be mentored as a contributor in the inaugural Mentorship Program have now closed. The team is selecting both mentors and mentees at this time and will kick off the first cohort on July 12.

\n\n\n
\n\n\n\n

WP6.3b2 • Test • WPDiversity • Mentorship • Plugin Team Next Steps

β WordPress 6.3 Beta 2

\"🧑🏽‍💻\" Help Test WordPress 6.3

\"🧕🏿\" Attention WordPress event organizers: This important workshop on July 20, 2023 is for you!

\"🔌\" Plugin Review Team Update: The next phase begins

\"🧑🏻‍🏫\" Launch your WordPress Contributor Journey through the Mentorship Program Pilot

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\n\n\n\n

News

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\n
\n
\n
\n

WordPress 6.3

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WordPress 6.4

\n\n\n\n\n\n\n\n

Accessibility

\n\n\n\n\n\n\n\n

Community

\n\n\n\n\n\n\n\n

Core

\n\n\n\n\n\n\n\n

Developer Blog

\n\n\n\n\n\n\n\n

Meetings

\n\n\n\n\n\n\n\n

Design

\n\n\n\n\n\n\n\n

Docs

\n\n\n\n\n\n\n\n

Hosting

\n\n\n\n\n\n\n\n

Meta

\n\n\n\n\n\n\n\n

Mobile

\n\n\n\n\n\n\n\n

Openverse

\n\n\n\n\n\n\n\n

Performance

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Plugins

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Polyglots

\n\n\n\n\n\n\n\n

Project

\n\n\n\n\n\n\n\n

Support

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Sustainability

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Test

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Theme

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Training

\n\n\n\n\n\n\n\n

Tutorials

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Online Workshops

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Courses

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WPTV

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\n
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Thanks for reading our WP dot .org roundup! Each week we are highlighting the news and discussions coming from the good folks making WordPress possible. If you or your company create products or services that use WordPress, you need to be engaged with them and their work. Be sure to share this resource with your product and project managers.

Are you interested in giving back and contributing your time and skills to WordPress.org? \"🙏\" Start Here ›

Get our weekly WordPress community news digest — Post Status’ Week in Review — covering the WP/Woo news plus significant writing and podcasts. It’s also available in our newsletter. \"💌\"

\n\n\n\n
\n\n\n\n
\"Post
\n

You — and your whole team can Join Post Status too!

\n\n\n\n

Build your network. Learn with others. Find your next job — or your next hire. Read the Post Status newsletter. \"✉\" Listen to podcasts. \"🎙\" Follow @Post_Status \"🐦\" and LinkedIn. \"💼\"

\n
\n\n\n\n
\n

This article was published at Post Status — the community for WordPress professionals.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 01 Jul 2023 02:36:21 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:18:\"Courtney Robertson\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:27;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:52:\"WordPress.org blog: People of WordPress: Allison Dye\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:35:\"https://wordpress.org/news/?p=15287\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:67:\"https://wordpress.org/news/2023/06/people-of-wordpress-allison-dye/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:12498:\"

A way to escape chronic pain and give a sense of independence, is what using WordPress means for Italian-American Allison Dye. Now as a project manager and social media content manager living in North Carolina, USA, she uses the software in her work and in disability-advocacy.

\n\n\n\n

The People of WordPress series shares inspiring stories of how people’s lives can change for the better through WordPress and its global community of contributors.

\n\n\n\n\"Allison\n\n\n\n

Allison was first introduced to WordPress when she was 13 years old. Her parents gave her own WordPress website to use, play, test, and try whatever she wanted with it. Her health issues had started when she was eight years old, and being able to express who she was and learn new skills provided an escape she needed.

\n\n\n\n

My first encounter with WordPress

\n\n\n\n

Allison said: “While the technical aspects of my new WordPress website intrigued me, I was more interested in the space it made for me to write. All throughout my childhood I had struggled with chronic pain, fatigue, and other unexplained symptoms. Having a private world I could call my own, I was able to write my story.”

\n\n\n\n
\n

“There is something truly amazing about having a place to tell your story.”

\nAllison Dye
\n\n\n\n

Her family faced many doctors, nurse, specialists and hospital visits, but could not get an answer to the difficulties faced by Allison. She said: “I felt like my life and world were out of control. But logging onto my little website and typing away on the computer keys gave me a sense of control. I couldn’t always do things that other kids had the energy to do. But I could get lost in writing for hours. I couldn’t control my life story, but I could write about it.”

\n\n\n\n

She felt it was like writing letters to her future self and would act as a reminder of how strong she had become. Even now when Allison writes on her website, she feels it is writing letters to her past self, expressing reassurance and pride. The practice of writing online continues to help her reflect on how she coped and made it through the difficulties.

\n\n\n\n

WordPress in the real world

\n\n\n\n

Allison hoped her early experiences with hospitals and being unwell was just part of being a child, and that in adulthood she would be healthy. She longed for this time.

\n\n\n\n

Growing up did not bring her this dream of a healthier life and an end to chronic pain. In fact, her condition worsened as she went through her teens and at 18 she finally received a diagnosis of Multiple Sclerosis.

\n\n\n\n\"AllisonAllison enjoying time with nature and trees\n\n\n\n

This changed what had been conventional job choices, as she was not able to handle a 9 to 5 work schedule. She could not drive herself to work on some days and relied on her mother to help with transport. She knew that she would have to find another way to work and she was determined to find it.

\n\n\n\n

She began writing music and book reviews online, and then moved onto writing blog posts. As they were published she started to receive payment and a sense of power over her life. She said: “WordPress felt familiar, typing on the computer keys felt comfortable, and sharing my words with the world felt surreal.”

\n\n\n\n

Allison’s sense of ownership of the software became part of her strength. “I think I believed WordPress was mine somehow. I was learning that WordPress is something that belongs to everyone in some way. And I loved it.”

\n\n\n\n

Finding work with WordPress

\n\n\n\n

The confidence using the platform gave Allison led her to find more about what it could do and meet other people who used it. She said: “The thing I love about WordPress is that it’s not just for developers or bloggers or SEO experts. I began to meet more people in the community and was delighted to find people like me, who didn’t know the technical stuff, but were a part of WordPress.”

\n\n\n\n

This global community orbiting around the software gave her an opportunity to meet social media managers, designers, and people from many different areas. She found that ‘there was a place for everyone’. The guiding strength and fascination Allison found and still finds today is in that community. Allison said: “The community felt as important as the rest of everything that makes WordPress what it is. It felt like it was about people and relationships as well as codes and databases.”

\n\n\n\n

In 2020, she was hired by a WordPress company. She said: “I like being a part of a WordPress company, and I love that I contribute to a team that helps people with their websites. I understand the importance of having a space that’s yours. Whether it’s a business or personal site, having a website gives you the power of telling your own story.”

\n\n\n\n

WordPress gave Allison a freedom and an independence. She did not have to work a 9 to 5 job, rely on others to drive her on bad days with her MS, nor worry about days when she wanted to stay in her sweatshirts rather than go into an office to work. She said: “I have a 100% remote job which I can do despite the plot twists in my story, thanks to WordPress and the people in it.”

\n\n\n\n

WordPress took Allison into the world of project management for a small agency, and this experience was to help guide her path, skills and confidence into the future. She went on to work in content management in WordPress, building pages for awareness campaigns for non profit organizations and small businesses as a contractor. She helps people update their websites, add and edit content, perform basic updates and help them to learn how to use their sites.

\n\n\n\n
\n

“I tell all my clients to use WordPress because there is really no other solution that can scale as easily for growing organizations and small businesses. I love how WordPress allows them to tell their stories, share their passion, and have a place to call their own on the internet.”

\nAllison Dye
\n\n\n\n

As a fluent English and Italian speaker, Allison is able to support clients in different countries from where she lives. “I love that with WordPress I’m able to support clients remotely. This is thanks to all of the many WordPress contributors, developers, project managers, content writers, and many, many volunteers that work tirelessly to enable people around the world to use WordPress.”

\n\n\n\n

Allison also became a certified as an English As A Second Language (ESL) teacher. “My affinity for words and languages allows me to teach passionately and creatively. I’m Italian-American and am fluent in English and Italian. Teaching English allows me to share my passion for communication with others.”

\n\n\n\n

Welcomed into the WordPress community

\n\n\n\n\"AllieAllie interviewed for a podcast on her use of WordPress\n\n\n\n

Allison attributes mentors and supporters in the WordPress community for helping her appreciate she really is part of it. Allison recalled: “It felt unreal. I wasn’t a dev, I don’t know how to code, and yet I got to be a part of it all? I felt like I was a fake. But Kimberly continues to remind me that I’m real, I get to be here, I get to stay, I have a place.”

\n\n\n\n

She was later encouraged to contribute by a WordPress community member to the Big Orange Heart, which aims to support and promote positive well-being and mental health within remote working communities. She said she felt ‘honored typing my words, pieces of my story, and sharing them with a community of people’.

\n\n\n\n

She also joined the WordCamp US 2021 online organizing team.

\n\n\n\n

Allison enjoys the fact that in the WordPress community, ‘everyone here is constantly working to be better and do better’.

\n\n\n\n

Facing the future with strength from her friends and colleagues in WordPress

\n\n\n\n\"\"\n\n\n\n

Allison was later diagnosed with two additional neurological conditions: Functional Neurological Disorder and Migraine. She said: “If it were not for WordPress I would really be unable to work. But WordPress and its community continue to be a part of my life and I am grateful to everyone who’s helped me along my way. I don’t know where I would even be without it.”

\n\n\n\n

She strives to raise awareness of dynamic disabilities and invisible illnesses like her own through podcasts and social media. She feels that her WordPress friends have helped her both in her professional life and in her wish to be an advocate for others with disabilities too.

Allison hopes reading of her experience will help others who are worried about not progressing in a WordPress career due to health concerns.

\n\n\n\n
\n

“I hope that it will remind anyone reading this that WordPress is a space for everyone. Healthy or not, developer or not, blogger or not — WordPress belongs to you too.”

\nAllison Dye
\n\n\n\n

Share the stories

\n\n\n\n

Help share these stories of open source contributors and continue to grow the community. Meet more WordPressers in the People of WordPress series.

\n\n\n\n

Contributors

\n\n\n\n

Thanks to Allie Dye (@allisondye) for sharing about her adventures in WordPress.

\n\n\n\n

Props to Abha Thakor (@webcommsat) and the late Surendra Thakor (@sthakor) for interviews and writing the feature, Meher Bala (@meher) for work on images, and to Meher, Maja Loncan (@mloncar) and Chloe Bringmann (@cbringmann) for reviews.

\n\n\n\n

The People of WordPress series thanks Josepha Haden (@chanthaboune) and Topher DeRosia (@topher1kenobe) for their support.

\n\n\n\n
\"HeroPress
\n

This People of WordPress feature is inspired by an essay originally published on HeroPress.com, a community initiative created by Topher DeRosia. It highlights people in the WordPress community who have overcome barriers and whose stories might otherwise go unheard. #HeroPress

\n
\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 30 Jun 2023 21:23:11 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:11:\"Abha Thakor\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:28;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:100:\"WPTavern: WP Feature Notifications Contributors Seek Feedback on Admin Notices with Community Survey\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146339\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:111:\"https://wptavern.com/wp-feature-notifications-contributors-seek-feedback-on-admin-notices-with-community-survey\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2075:\"

The WP Feature Notifications project has launched a community survey to get feedback on the current system of notices in the WordPress admin. The project aims to create a better way to manage and deliver notifications in the admin, and the survey is intended to further refine this work.

\n\n\n\n

A few months ago, the project released version 0.2.0 of the feature plugin in which contributors implemented a more robust JavaScript-based system for standardizing how notifications appear in the admin. This is a proof of concept plugin that uses demo data only. They are working towards an MVP for 0.3.0, which will remove the demo content and provide a functional notification system. Contributors have also put together an updated design based on the idea of working within WordPress’ existing design system.

\n\n\n\n\n\n\n\n

“The team has recently made some solid progress on things like database storage and REST API endpoints,” WordPress core contributor Joe Bailey-Roberts said. “However this is slightly paused for now so we can revise things if necessary, based on the survey results. We also have an updated design for the admin notices UI that we’ll shortly be showcasing, which came out of the WCEU Contributor Day.”

\n\n\n\n

Anyone who uses WordPress is welcome to take the survey – it’s for developers and users alike. It takes just a few minutes and may help shape the direction of the WP Feature Notifications project in the future.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 30 Jun 2023 21:18:51 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:29;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:108:\"WordCamp Central: WordCamp Finland: back to Tampere with educational, insightful and thought-provoking talks\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:39:\"https://central.wordcamp.org/?p=3166382\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:131:\"https://central.wordcamp.org/news/2023/06/wordcamp-finland-back-to-tampere-with-educational-insightful-and-thought-provoking-talks/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3153:\"

The first-ever Finnish WordCamp gathered a few hundred fellow WordPress enthusiasts to Tampere back in 2015. This September, on 14.-15., our community will return to the city where everything started.

\n\n\n\n

Content has been planned with all skill levels, employment types and interests in mind. We do not discriminate, and WordPress users, developers, designers, people working in agencies or as a freelancer and other enthusiasts are all welcome, regardless of the experience level.

\n\n\n\n

We are more than thrilled about the upcoming lineup of talks and speakers. The best and most exciting part is that many of the topics do come outside of the WordPress world! WordCamp Finland will truly have educational, insightful and thought-provoking talks for everyone. 

\n\n\n\n

Here’s a sneak peak of some of the topics:

\n\n\n\n\n\n\n\n

WordCamp Finland 2023 sessions will take place in Tampere on Friday 15. September. Most of the sessions will be held in English, although there are a handful of sessions held in Finnish as well.

\n\n\n\n

The day before, on Thursday 14. September, a contributing evening will take place starting at 16:00. The contributing evening will feature workshops where you can contribute and learn about various WordPress-related topics in a hands-on setting. No coding skills required!

\n\n\n\n

During the whole event, there will also be ample time for networking and meeting other WordPress enthusiasts. Getting to meet and learn from other WordPress users face-to-face is one of the main reasons people attend WordCamps. In addition to learning from each other, attendees often make new friends and find employees/employers from the WordCamp crowd. 

\n\n\n\n

Secure your tickets now and ensure you’ll get to experience all of the insightful talks and activities with a welcoming community!

\n\n\n\n

The full list of speakers, session descriptions and schedule will be published in early August, so make sure to follow us on Twitter, Facebook and Linkedin to get the latest updates. Naturally the WordPress Finland Slack has #events-wcfi channel and discussion is ongoing on WPWoofi Facebook group.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 30 Jun 2023 13:51:20 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:14:\"Timi Wahalahti\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:30;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:108:\"WPTavern: Gutenberg 16.1 Introduces Pattern Creation and Library, Adds Distraction Free Mode to Site Editor\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146374\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:117:\"https://wptavern.com/gutenberg-16-1-introduces-pattern-creation-and-library-adds-distraction-free-mode-to-site-editor\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3391:\"

Gutenberg 16.1 was released this week, debuting of the Pattern Library, which coincides with reusable blocks getting renamed to synced patterns. Users can now create and manage their own patterns that will also show up in the block inserter. Custom patterns are saved to the new Library alongside custom template parts.

\n\n\n\n\n\n\n\n

This release also adds a new Distraction Free mode to the Site Editor, which removes all controls and menus, functioning in a similar way to the mode added to the content editor in October 2022. The mode can be accessed under the more menu of the Site Editor.

\n\n\n\n

Automattic-sponsored engineer Andrei Draganescu submitted the PR for the feature and cited three reasons why the Site Editor could benefit from a Distraction Free mode:

\n\n\n\n\n\n\n\n

Draganescu published a video of the Distraction Free mode working in concert with the new Command Palette:

\n\n\n\n\n\n\n\n

Another new feature in this release is automated footnotes.* Users can add them by highlighting the text and selecting Footnote from the formatting menu. This will automatically insert the note and create a Footnote block at the bottom of the content. (This block can be moved.)

\n\n\n
  1. This is an example of a footnote. \"↩\"︎
\n\n\n

Footnotes can be added inside paragraph, heading, and list blocks, and are saved as post meta. The Footnote block doesn’t seem to be accessible in the block inserter. It is automatically created and inserted with the first footnote.

\n\n\n\n\n\n\n\n

A few other notable features in this release include the following:

\n\n\n\n

\n\n\n\n\n\n\n\n

Gutenberg 16.1 is included in the upcoming WordPress 6.3 release, but if you want to take advantage of these features before August, you will need to be using the plugin or test 6.3 Beta 2. Check out the release post for the full changelog that includes all the latest enhancements, bug fixes, and performance and accessibility improvements.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 30 Jun 2023 03:04:33 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:31;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:108:\"WPTavern: Hackers Actively Exploiting Unpatched Privilege Escalation Vulnerability in Ultimate Member Plugin\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146380\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:119:\"https://wptavern.com/hackers-actively-exploiting-unpatched-privilege-escalation-vulnerability-in-ultimate-member-plugin\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2446:\"

WPScan is reporting a hacking campaign actively exploiting an unpatched vulnerability in the Ultimate Member plugin, which allows unauthenticated attackers to create new user accounts with administrative privileges and take over the site. The vulnerability has been assigned a CVSSv3.1 (Common Vulnerability Scoring System) score of 9.8 (Critical).

\n\n\n\n

Automattic’s WP.cloud and Pressable.com hosting platforms picked up on a trend in compromised sites where each had rogue new administrators popping up. After further investigation they found a discussion on the WordPress.org support forums about a potential Privilege Escalation vulnerability in the plugin, as well as indications that it was already being actively exploited.

\n\n\n\n

Ultimate Member, which is active on more than 200,000 WordPress sites, patched the plugin, but WPScan reports that it wasn’t sufficient.

\n\n\n\n

“In response to the vulnerability report, the creators of the plugin promptly released a new version, 2.6.4, intending to fix the problem,” WPScan security researcher Marc Montpas said. “However, upon investigating this update, we found numerous methods to circumvent the proposed patch, implying the issue is still fully exploitable.

\n\n\n\n

“Adding to the urgency of the situation, a look at our monitoring systems also confirmed attacks using this vulnerability were indeed happening in the wild.”

\n\n\n\n

WPScan has identified more than a dozen IP addresses from which exploits are originating, common usernames for malicious accounts, and other indicators of compromise, such as malicious plugins, themes, and code. Check the security advisory if you believe you have been compromised.

\n\n\n\n

Version 2.6.6 is the latest release from the Ultimate Member plugin but it is still believed to be vulnerable. WPScan recommends users disable the plugin until it has been adequately patched.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 30 Jun 2023 01:35:52 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:32;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:91:\"WordPress Foundation: 2023 Kim Parsell Memorial Scholarship Recipient: Yumi Nishioka (mimi)\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:41:\"https://wordpressfoundation.org/?p=569710\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:95:\"https://wordpressfoundation.org/news/2023/2023-kim-parsell-memorial-scholarship-recipient-mimi/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:1692:\"

This year’s Kim Parsell Memorial Scholarship recipient is Yumi Nishioka (mimi). mimi is a passionate WordPress contributor who embodies the values that Kim would have appreciated.

\n\n\n\n

mimi is a Web/UI Designer and Developer based in Tokyo, and has been a WordPress contributor since 2018. She was lead organizer of WordCamp Tokyo 2019. That year she also began hosting a personal study group on the Gutenberg Project, which meets twice a month. Then in 2021, she started co-organizing monthly small study sessions about Design and WordPress.

\n\n\n\n
\n

While there have been numerous contributions I’m proud of, one that stands out is my commitment to the core code. Although it was a small code change, the experience of being actively involved in the open-source software that I use daily was incredibly rewarding.

\n– mimi
\n\n\n\n

The WordPress Foundation created this memorial scholarship in 2015, to honor the memory of longtime WordPress contributor Kim Parsell and ensure that Kim’s values would continue to be infused into the WordPress community.

\n\n\n\n

This scholarship provides travel to WordCamp US for a woman who contributes to the WordPress open source project, and who would not otherwise be able to attend WordCamp US. More information on the scholarship, including past recipients, is available here.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 29 Jun 2023 15:43:46 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:12:\"Julia Golomb\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:33;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:61:\"Do The Woo Community: Reflecting Back on WordCamp Europe 2023\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"https://dothewoo.io/?p=75373\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:55:\"https://dothewoo.io/reflection-on-wordcamp-europe-2023/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:368:\"

In this episode, nothing goes untouched. A lot of great reflection on WordCamp EU 2023 in Athens.

\n

>> The post Reflecting Back on WordCamp Europe 2023 appeared first on Do the Woo - a WooCommerce Builder Community .

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 29 Jun 2023 12:28:43 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:5:\"BobWP\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:34;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:58:\"WPTavern: WordPress 6.3 Beta 2 Released, Ready for Testing\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146291\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:68:\"https://wptavern.com/wordpress-6-3-beta-2-released-ready-for-testing\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:4422:\"

WordPress 6.3 hit a major milestone today with the release of Beta 2. The release leads opted to skip Beta 1, which was delayed yesterday after some technical issues with packaging the release, and have moved straight on to Beta 2.

\n\n\n\n

As WordPress 6.3 is set to be the last major release of the Gutenberg project’s Phase 2 focus on customization, it ties up many loose ends related to the Site Editor and usability in general. It rolls in the ten most recent releases of the Gutenberg plugin – versions 15.2 through 16.1.

\n\n\n\n

Major interface enhancements in this release, as outlined by the comprehensive 6.3 testing guide, include the following:

\n\n\n\n\n\n\n\n

Patterns are also getting a big boost in this release, as reusable blocks have been renamed to “synced patterns.” Pattern creation is now available to users and a new pattern library will be located inside the editor for saving and managing both synced and unsynced patterns. Theme authors now have the capability to register custom patterns to templates, so they appear in the start modal to speed up page building.

\n\n\n\n

WordPress 6.3 will introduce three new blocks, including details, time-to-read, and footnotes, along with many improvements to existing blocks.

\n\n\n\n

This release comes with significant performance updates, most notably the addition of defer and async support to the WP Scripts API and fetchpriority support for images. Support for PHP versions 8.0+ has been improved, along with block template resolution, image lazy loading, and the emoji loader.

\n\n\n\n

In the rare event that the manual update of a theme or plugin fails, auto-rollback is available as of WordPress 6.3.

\n\n\n\n

Beta 2 testers are encouraged to file bug reports on WordPress Trac. During beta testing until the last RC, the WordPress project will also be doubling its monetary reward for any new, unreleased security issues that are uncovered. The vulnerabilities must be found in new code in order to qualify for the doubled reward.

\n\n\n\n

Check out the Beta 2 release post for more information on new features, accessibility improvements, and instructions on how to test. WordPress 6.3 is scheduled for release on August 8, 2023.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 29 Jun 2023 03:28:24 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:35;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:62:\"WPTavern: WordCamp Asia 2024 Scheduled for March 7-9 in Taipei\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146336\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:73:\"https://wptavern.com/wordcamp-asia-2024-scheduled-for-march-7-9-in-taipei\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:1883:\"

WordCamp Asia has announced its dates for 2024. The flagship event is now officially scheduled for March 7-9, in Taipei, Taiwan. Organizers have secured the Taipei International Convention Center (TICC) venue to host the event, which is located in the business district not far from Taipei 101, formerly known as the Taipei World Financial Center, a skyscraper that is the city’s most visible landmark. TICC has a capacity of more than 3,000 people.

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“The local community is massive and I’ve been told that WordCamp Taiwan (this October) alone would boast of at least 500 attendees,” organizer John Ang said after visiting Taipei with his team to sign the venue. “While we were on the same trip, we were lucky to be able to celebrate  the 20th Anniversary of WordPress with the Taiwanese community.

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“There’s also active work bringing in government support and other open source communities across the region (e.g. Hong Kong) to WordCamp Asia next year.” 

\n\n\n\nphoto credit: Preparations have started for WordCamp Asia 2024\n\n\n\n

WordCamp Asia attendees can expect 3-5 tracks of sessions featuring diverse presentations across a range of topics for beginners and seasoned WordPress professionals alike. The venue also offers ample common areas for networking.

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More details on the event and calls for speakers and sponsors should be coming soon. Those who are hopeful to attend can subscribe to updates on the event’s website or follow @WordCampAsia on Twitter.

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WordPress 6.3 Beta 2 is ready for download and testing. This is the first release of the 6.3 cycle, as there was no Beta 1 due to technical issues with packaging the release. Rather than further delaying a beta release, the release squad has decided to package and ship Beta 2.

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This version of the WordPress software is under development. Please do not install, run, or test this version of WordPress on production or mission-critical websites. Instead, the release squad recommends you evaluate Beta 2 on a test server and site.

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WordPress 6.3 demonstrates incredible progress toward achieving the goals outlined in the WordPress roadmap and is the final major release of Phase 2. Phase 2 has focused mainly on the Site Editor, enabling site creators to build websites, design compelling layouts, and manage content without toggling between multiple configuration areas or editing code.

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Learn more about Gutenberg updates debuting since WordPress 6.2 by reviewing prior editions of What’s New in Gutenberg posts for 15.2, 15.3, 15.4, 15.5, 15.6, 15.7, 15.8, 15.9, 16.0, and 16.1.

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WordPress is the result of contributions by users, developers, and extenders across the globe. As this community seeks new features, the platform will continue to evolve, including the site editing features and beyond. Get an overview of the 6.3 release cycle, and check the Make WordPress Core blog for 6.3-related posts in the coming weeks for further details.

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A first look at 6.3

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This latest WordPress release includes many updates spanning all platform areas, emphasizing the editing experience and polishing usability. This release contains more than 500 new features and enhancements and 400+ bug fixes.

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Performance

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Following the incredible performance improvements introduced in 6.2, the release includes more than 170 performance-related updates, including adding defer and async support to the WP Scripts API and fetchpriority support for images. Optimizations were made to block template resolution, image lazy-loading, and the emoji loader, all of which benefit LCP performance. Support for PHP versions 8.0, 8.1, and 8.2 has been improved. 

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Site Editor

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The Site Editor expands to include navigating and editing pages, styles, templates, and content. The unified site editing experience will include a distraction-free mode, enhanced navigation, and an improved loading experience. Additionally, you can use the Site Editor to preview a block theme and adjust your site before activating the new theme. This release includes style revisions so you can toggle between and preview different saved styles. Rounding out the changes, 6.3 ushers in a new Command Palette, enabling users to context switch and perform actions quickly across different sections of the site editing experience.

\n\n\n\nPrototype of the Command Palette in action\n\n\n\n

Blocks

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New blocks for details and footnotes debut in this release, along with updates for better handling of image aspect ratios and improved fallback states. Spacer blocks now include presets, and the cover block gets updates for managing text colors and layout support.

\n\n\n\n\"\"The new height control for the Spacer block\n\n\n\n

Patterns and Design

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Reusable blocks have been renamed to synced patterns. This change reflects the unification of reusable blocks and traditional block patterns (unsynced patterns) within the Editor. A new option allows you to assign patterns to templates, adding the ability to have starter patterns to speed up the creation process. Site creators can now easily create, save, and manage custom synced and unsynced patterns, as well as browse a directory of curated patterns. Additionally, the duotone filter and captions can now be edited in the Styles interface.

\n\n\n\n\"\"Style your captions in the new Styles interface\n\n\n\n

Usability

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Some key usability highlights include toolbar updates, updated template descriptions, enhanced list view drag-and-drop, improved padding and margin controls, and a new area for managing patterns (including reusable blocks, now called synced patterns.) Link control receives some updates, rounding out high-level usability enhancements in 6.3.

\n\n\n\n\"\"Add and modify descriptions for templates\n\n\n\n

Accessibility

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WordPress remains steadfast in making the site-building experience accessible to everyone. 6.3 incorporates over 50 accessibility improvements across the platform. Improved labeling, optimized tab and arrow-key navigation, revised heading hierarchy, and new controls in the admin image editor allow those using screen readers, keyboard navigation, and other assistive technology to navigate more easily. The login form, installation steps, and list tables (for sorting and selection) have all been updated. Additional accessibility tickets are viewable in the WordPress Trac.

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Other notes

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This release includes auto-rollback for failed manual updates of themes and plugins.

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Please note that the features in this list may change before the final release.

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Testing makes WordPress stronger!

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Testing for issues is a critical part of developing any software, and it’s a meaningful way for anyone to contribute—whether you have experience or not. 

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While testing the upgrade process is essential, testing new features is too. Review the many new features listed above and focus your testing efforts on those areas in particular.

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If you encounter an issue, please report it to the Alpha/Beta area in the support forums. If you are comfortable writing a reproducible bug report, you can file one on WordPress Trac. You can also check your issue against a list of known bugs.

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New to testing? This detailed guide is a great place to start if you’ve never tested a beta release.

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Want to know more about testing releases in general? Follow along with the testing initiatives in Make Core and join the #core-test channel on the Making WordPress Slack.

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Vulnerability bounty doubles during Beta 2

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Between the Beta 2 release and the final release candidate (RC) for each new WordPress version, the monetary reward for reporting new, unreleased security vulnerabilities is doubled. Please follow responsible disclosure practices as detailed in the project’s security practices and policies outlined on the HackerOne page and in the security white paper.

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Get WordPress 6.3 Beta 2

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You can test WordPress 6.3 Beta 2 in three ways:

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Option 1: Install and activate the WordPress Beta Tester plugin (select the “Bleeding edge” channel and “Beta/RC Only” stream).

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Option 2: Direct download the Beta 2 version (zip).

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Option 3: Use the following WP-CLI command:

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wp core update --version=6.3-beta2

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The current target for the final release is August 8, 2023, which is about six weeks away. Your help testing this version ensures everything in this release is the best.

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The first haiku for 6.3

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A chapter closes
Excitement yet much newness
Phase 2 finale

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Thank you to the following contributors for collaborating on this post: @DanSoschin, @Meher, @JPantani, @CBringmann, @AudrasJB, @annezazu, @ndiego, @davidbaumwald, @desrosj, @priethor, @flixos90, @wildworks, and @JPantani for authoring the haiku.

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\n

[00:00:00] Nathan Wrigley: Welcome to the Jukebox podcast from WP Tavern. My name is Nathan Wrigley. Jukebox is a podcast, which is dedicated to all things WordPress. The people, the events, the plugins, the blocks, the themes, and in this case how AI and WordPress can work together.

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If you’d like to subscribe to the podcast, you can do that by searching for. WP Tavern in your podcast player of choice. Or by going to WPTavern.com forward slash feed forward slash podcast. And you can copy that URL into most podcast players.

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If you have a topic that you’d like us to feature on the podcast, I’m keen to hear from you. And hopefully get you or your idea featured on the show. Head to WPTavern.com forward slash contact forward slash jukebox, and use the form there.

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So on the podcast today, we have James Dominy. James is a computer scientist with a master’s degree in bioinformatics. He lives in Ireland working at the WP engine Limerick office.

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This is the second podcast recorded at WordCamp Europe, 2023 in Athens. James gave a talk at the event about the influence of AI on the WordPress community and how it’s going to disrupt so many of the roles which WordPressers currently occupy.

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We talk about the recent rise of ChatGPT, and the fact that it’s made AI available to almost anyone. In less than 12 months, many of us have gone from never touching AI technologies to using them on a daily basis to speed up some aspect of our work.

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The discussion moves on to the rate at which AI systems might evolve, and whether or not they’re truly intelligent or just a suite of technologies which masquerade is intelligent. Are they merely good at predicting the next word or phrase in any given sentence? Is there a scenario in which we can expect our machines to stop simply regurgitating texts and images based upon what they’ve consumed; a future in which they can set their own agendas and learn based upon their own goals?

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This gets into the subject of whether or not AI is in any meaningful way innately intelligent, or just good at making us think that it is, and whether or not the famous Turing test is a worthwhile measure of the abilities of an AI.

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James’ his background in biochemistry comes in handy as we turn our attention to whether or not there’s something unique about the brains that we all possess. Or if intelligence is merely a matter of the amount of compute power that an AI can consume. It’s more or less certain that given time machines will be more capable than they are now. So when if ever does the intelligence Rubicon get crossed?

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The current AI systems can be broadly classified as Large Language Models or LLMs for short, and James explains what these are and how they work. How can they create a sentence word by word if they don’t have an understanding of where each sentence is going to end up?

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James explains that LLMs are a little more complex than just handling one word at a time, always moving backwards and forwards within their predictions to ensure that they’re creating content which makes sense, even if it’s not always factually accurate.

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We then move on from the conceptual understanding of AI to more concrete ways it can be implemented. What ways can WordPress users implement AI right now? And what innovations might we reasonably expect to be available in the future? Will we be able to get AI to make intelligent decisions about our websites SEO or design, and therefore be able to focus our time on other more pressing matters?

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It’s a fascinating conversation, whether or not you’ve used AI tools in the past.

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If you’re interested in finding out more, you can find all the links in the show notes by heading to WPTavern.com forward slash podcast. Where you’ll find all the other episodes as well.

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And so without further delay, I bring you James Dominy.

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I am joined on the podcast today by James Dominy. How are you doing James?

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[00:04:51] James Dominy: I’m well, thanks. Hi Nathan. How are you doing?

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[00:04:53] Nathan Wrigley: Yeah, good, thanks. We’re at WordCamp Europe. We’re upstairs somewhere. I’m not entirely sure where we are in all honesty. The principle idea of today’s conversation with James is he’s done a presentation at WordCamp Europe all about AI. Now, I literally can’t think of a topic which is getting more interest at the moment. It seems the general press is talking about AI all the time.

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[00:05:17] James Dominy: Yeah.

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[00:05:17] Nathan Wrigley: It’s consuming absolutely everything. So it’s the perfect time to have this conversation. What was your talk about today? What did you actually talk about in front of those people?

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[00:05:24] James Dominy: Right. So my talk was about the influence of AI on the WordPress community. The WordPress community involving, in my mind, roughly three groups. You’ve got your freelancer, single content generator, blogger. You have someone who does the same job but in a business as in an agency or a marketing or a brand context. And then on the other side, you’ve got software developers who are developing plugins or working on the actual WordPress Core.

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And AI is going to be changing the way all of those people work. Mostly I focused on the first and the third groups. I don’t know enough about the business aspects to really talk about the agency and the marketing side of things.

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I personally, I’m a software developer, so I suppose I really skewed towards that in the end. But, my wife has been a WordPresser for 15, 20 years, which is how I ended up doing this. And a lot of the things that she’s been using ChatGPT quite actively recently.

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And she’s been chatting to me after work going, you know, I was trying to use ChatGPT to do X Y Z. And I thought, well, you know, that’s interesting. I know some bit about machine learning and the way these things work. I’ve read some stuff on the internals and I have opinions.

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[00:06:33] Nathan Wrigley: Perfect.

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[00:06:34] James Dominy: So that’s how I got here.

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[00:06:35] Nathan Wrigley: Yeah. Well, that’s perfect. Thank you. It seems like at the moment the word ChatGPT could be easily interchanged with AI . Everybody is using that as the pseudonym for AI and it’s not really, is it? It really is a much bigger subject. But that is, it feels at the moment, the most useful implementation in the WordPress space. You know, you lock it into the block editor in some way shape and you create some content in that way.

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[00:07:00] James Dominy: And I mean, I am absolutely guilty of that. I think the number of times I’ve said ChatGPT, I mean AI generative systems, or something during my workshop this morning is well beyond count.

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it is likely to fall victim of a trademark thing at some point. Like Google desperately tries to claim that Google is a trademark and shouldn’t be used as a generic term for search. I expect the same thing will happen with ChatGPT at some point.

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[00:07:25] Nathan Wrigley: This is going to sound a little bit, well, maybe snarky is the wrong word, but I hope you don’t take it this way, but it feels to me that the pace of change in AI is so remarkably rapid. I mean, like nothing I can think of. So, is there a way that we can even know what AI could look like in a year’s time, two years’ time, five years’ time? So in other words, if we speculate on what it could be to WordPress, is that a serious enterprise? Is it serious endeavor? Or are we just hoping that we get the right guess? Because I don’t know what it’s going to be like.

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[00:07:59] James Dominy: I think if we rephrase the question a bit, we might get a better answer. So AIs are human design systems. And there is a thing called the alignment problem where there is an element of design to AIs, and we give it a direction, but it doesn’t always go the direction we want and I think that is the unanswerable part of this question.

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Yes, there are going to be emergent surprises from the capabilities of AIs. But for the most part, AIs are developed with a specific goal in mind. Large language models were developed, okay I’m taking a wild educated guess here perhaps, but they were developed with the idea of producing text that sounded like a human. And I mean, we’ve had the Turing test for nearly a hundred years, more than a hundred years? 21, yeah, more than a hundred years now.

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So I mean, that’s been a goal for a hundred years. Everyone says that AI has advanced rapidly and it has, but the core mathematical principles that are involved, those haven’t advanced. I don’t want to take away from the people who’ve done the work here. There has been work that’s been put into it, but I think what’s really given us the quantum leap here is the amount of computational power that we can throw at the problem.

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And as long as that is increasing exponentially, I think we can expect that the models themselves will get exponentially better at roughly the same rate as the amount of hardware we throw at it.

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[00:09:28] Nathan Wrigley: So we can stare into the future and imagine that it’s going to get exponentially, logarithmically it’s going to, it’s just going to get better and better and better. But we can’t predict the ways that it might output that betterness. Who knows what kind of interface there’ll be, or.

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[00:09:41] James Dominy: Yeah. I think better’s a very evasive term perhaps, on my part. I think there are specific ways that it is going to get better. For example, we are going to see less confused AIs, because they are able to process more tokens. They have deeper models. Deeper statistical trees for outputs. They’re able to take more context in and apply it to whatever comes out. So in that sense we’re going to see a better output from an AI. Is it going to ever be able to innovate? Ooh, that’s a deep philosophical question, and I mean we can get into that, but I don’t know that we have time.

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[00:10:20] Nathan Wrigley: I think I would like to get into that.

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[00:10:22] James Dominy: Okay.

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[00:10:22] Nathan Wrigley: Because when we begin talking about AI, I think the word which sticks is intelligence. The artificial bit gets quickly forgotten and we imagine that there is some kind of intelligence behind this, because we ask it a fairly straightforward, or even indeed quite complicated question.

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And we get something which appears to pass the Turing test. Just for those people who are listening, the Turing test is a fairly blunt measure of whether you are talking to something which is a human or not human, masquerading as a human. And if something is deemed to have passed the Turing test, it’s indistinguishable from a human.

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And so, I have an intuition that really what we’re getting back, it’s not intelligent in any meaningful sense of the word. It’s kind of like a regurgitation machine. It’s sucking in information and then it’s just giving us a best approximation of what it thinks we want to hear. But it’s not truly intelligent. If you asked it something utterly tangential, that it had no capacity, it had no data storage on, it would be unable to cope with that, right?

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[00:11:22] James Dominy: I think yes. If you can clearly delineate the idea of, we have no data on this, which is very difficult considering the amounts of information that, you know, give something access to Wikipedia and that AI generative system might well be able to produce an opinion on practically anything these days.

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But if it hasn’t read the latest paper on advanced quantum mechanic theory, it’s not going to know it. That text isn’t going to be there. Could it reproduce that paper? That’s a subtely different question, because then it comes down to, well, when a human produces that paper, what are they really doing?

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They’re synthesizing their knowledge from a bunch of different things that they’ve learned, and they’re producing text in a language, in a grammar, that they have learned in a very similar way, that statistically speaking this sentence follows this grammatical form. Because I have learned that as a child through hearing it several thousand times from the people around me and my parents. What’s different?

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A more practical example here, I was having this discussion earlier today, and someone said yes, but they’re not truly intelligent. But if you consider it, even now, we can ask Chat GPT something, and I’m going to be abstract cause I don’t have a concrete example here, I’m sorry. But we can say to ChatGPT, I want you to produce a poem in the style of Shakespeare, a sonnet or something. But I want you to use a plot from Goethe.

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Okay, fine. Now it can do that. It can give you a response. I’m not sure that it’ll be a good response. I haven’t tried that particular one. But in that context, if you are asking a human to do that, and we automatically make the assumption of other human beings that they understand. And, sorry, I’m making air quotes here. That they understand, in quotes, who Goethe is. That that is a person and a character. That Goethe has a particular style and a proclivity for a certain pattern in his plots.

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And that those are all, to use a computer science term, symbolic representations. Abstract concepts. So is ChatGPT actually understanding those abstract concepts? Does it understand that Goethe is a person? Educated guests here, probably not. But it does understand that Goethe refers to a certain, can draw a line in all the stuff that it has learned and know this is Goethe.

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It has a concept of what it thinks Goethe is. Then from there it can say, and he has done work on the following things, and these are plots. And so it kind of understands. There’s another line there about what a plot is, which is a very abstract concept.

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Does that mean it’s intelligent? Does that mean it understands? I don’t know. That’s my answer because I did biochemistry at university, and there’s also the question there, and it’s exactly the same question. It’s at what point do the biological machines, the biochemical machines, your actual proteins and things that are obviously on their own, unintelligent, and yet when they act in concerts, they produce a cell, and a living being.

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Where does that boundary exist? Is it gray? Is it a hard line? And the same for me is true of the intelligence question here. Intelligence is a, it’s an aglomeration of lots of small, well-defined things that when they start interacting, become more than the sum of their parts. Does it come down to the Turing test? I mean, the fact that people on support, little support popups on the web, have to ask, are you a human every now and then. It immediately says, we have AIs that have passed the Turing test long ago.

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But here in this case, like the extended Turing test is the thing actually intelligent? I don’t know. I genuinely don’t know the answer there. In some sense, yes, because it’s doing almost the same thing as we are, just in a different, with different delineations and different abstractions, but the process is probably the same.

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[00:15:33] Nathan Wrigley: Given that you’ve got a background in, forgive me, did you say biochemistry?

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[00:15:37] James Dominy: Yeah, biochemistry and computer science, bioinfomatics.

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[00:15:39] Nathan Wrigley: Yeah, do you have an intuition as to whether the substrate of the brain has some unique capacity that can lock intelligence into it? In other words, is there a point at which a computer cannot leap the hurdle? There’s something special about the brain, the way the brain is created? This piece of wetwear in our head.

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[00:16:00] James Dominy: Unpopular opinion, I think it comes down to brute force count. We’ve got trillions of cells. Large language models, I don’t know what the numbers are for GPT4, but we’re not at trillions yet. Maybe when we get there, I don’t know where the tipping point is, you know. Maybe when we get to tens of billions, or whatever number it happens to be, is the point where this thing actually becomes intelligent.

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And we would be unable to distinguish them from a human, other than the fact that we’re looking at a screen that, that we know it’s running on the chip in front of us. But if it’s over the internet and it’s on a machine running, or whether we’re talking to a person in the support center. Or we are at the McDonald’s kiosk of 2050 and being asked whether we want fries with that. If we can’t see the person who’s asking the question, if we’re at the drive-through, we can’t see the person. Do we care?

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[00:16:54] Nathan Wrigley: Interesting. You mentioned a couple of times large language models, often abbreviated just to LLM. My understanding at least, forgive me I’m, I really genuinely am no expert about this. This is the underpinning of how it works. I’m going to explain it in crude terms, and then I’m hoping you’ll step in and pad it out and make it more accurate.

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[00:17:12] James Dominy: I should caveat anything that I say here with I also am not an expert on these, but I will do what I can.

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[00:17:17] Nathan Wrigley: So a large language model, my understanding is that things like ChatGPT are built on top of this, and essentially it is vacuuming up the internet. Text, images, whatever data you can throw at it. And it’s consuming that, storing that. And then at the point where you ask it something, so write a sonnet in the style of Goethe, written by Shakespeare. It’s then making a best approximation, and it’s going through a process of, okay, what should the first word be? Right, we’ve decided on that. Now, let’s figure out the second word, and the third word and the fourth word. Until finally it ends in a full stop and it’s done.

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And that’s the process it’s going through. Which seems highly unintelligent. But then again, that’s what I’m doing now. I’m probably selecting in some way what the next word is and what the next word is. But yeah, explain to us how these large language models work.

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[00:18:03] James Dominy: I think that’s a pretty fair summation. I think the important bit that needs to be filled in there is that what we perceive and use as customers of AI systems in general is a layer of several different models. There is a lot of pre-processing that goes into our prompts and post-processing in terms of what comes out.

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But fundamentally the large language model is, yes, it’s strings of text generally. There are different systems that the AI images, image systems, are a different form of maths. Most of them, at least the ones that I know of, are mostly based on something called Stable Diffusion.

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We can chat about that separately, but large language models tend to be trained on a large pile of text where they develop statistical inferences for the likelihood of some sequence of words following some other sequence of words. So as you say, like, if I know that a pile of words were written by Goethe, then I can sub select that aspect of my trained data.

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And I’m personifying an AI here already. The AI can circumscribe, isolate a portion of its training set, and say, okay I will use this subset of my training, and use the statistical values for what words follow what other words that Goethe wrote. And then you will get something in the style of Goethe out.

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[00:19:29] Nathan Wrigley: It’s kind of astonishing that that works at all. That one word follows another in something which comes out as a sentence because, I don’t know if you’ve ever tried that experiment on your phone where you begin the predictive text. On my phone there’s there’s usually three words above the little typewriter, and it tries to say what the next word is based upon the previous word.

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[00:19:49] James Dominy: It’s not called auto corrupt for nothing.

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[00:19:50] Nathan Wrigley: Yeah, so you just click them at the end of that process, you have fantastic gibberish. It’s usually quite entertaining, and yet this system is able to, in some way just hijack that whole process and make it so that by the end the whole thing makes sense in isolation.

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It is Goethe. It looks like Shakespeare, sounds like Shakespeare, could easily be Shakespeare. How is it predicting into the future such that by the end, the whole thing makes sense? Is there more processing going on than, okay, just the next word. Is it reading backwards?

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[00:20:22] James Dominy: Yes absolutely. Again, not an expert on LLMs, but there is this thing called a Markov Model. Which is a much more linear chain. It’s used often for bioinformatics, for genome and predicting the most likely next amino acid or nucleic acid in a genomic or a proteomic sequence.

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And so Markov Models are very simple. They have a depth and that is how much history they remember of what they’ve seen. So you point a Markov Model at the beginning of the sequence of letters of nucleic, the ACGT’s. And then you want to say, okay, I’ve managed to sequence this off my organism. I’ve got a hundred bases and I want to know what the most likely one after that is, because that’s where it got cut off.

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You give it a hundred, maybe you have a buffer of 10. So it remembers the last ten. It sort of slides this window of visibility over the whole sequence and mathematically starts working out, you know, what comes after an A? Okay, 30% of the time it’s a C. 50% of the time it’s a G. And by the end of it, it can with reasonable accuracy to some value of how much information you’ve given it, predict okay, in this particular portion of 10 that I’ve seen, the next one should be T.

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And they get better as you give them more and more information. As you give them a bigger and bigger window. As you let them consume more and more memory whilst they’re doing their job, their accuracy increases.

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I imagine the same is true of large language models, because they do. They don’t just predict the next word, they operate on phrases, on whole sentences. At some point, maybe they already do, but I imagine they operate on whole paragraphs. And again, it depends on what you’re trying to produce. Like if you’re trying to produce a legal contract that’s got a fairly prescribed grammar and form to it. And you know, then like statistically you’re going to produce the same paragraph over and over again because you want the same effect out of contracts you do all the time.

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[00:22:22] Nathan Wrigley: You described this slider. That really got to the nub of it. I genuinely didn’t realize that it wasn’t doing any more than just predicting the next word. And because that’s the way I thought about it, I thought it was literally astonishing that it could throw together a sentence based upon just the next word, if it didn’t know what two words previously it had written.

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It’s back to my predictive text, which produces pure gobbledygook. But it still, occasionally, it goes down a blind alley, doesn’t it? Because although that is, presumably 99 times out of a hundred that will lead to a cogent sentence, which is readable. Occasionally it does this thing, which I think has got the name hallucinate, where it just gets slightly derailed and goes off in a different direction. And so produces something which is, I don’t know, inaccurate, just nonsense.

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[00:23:06] James Dominy: Yes. Well known for being confidently wrong for sure. I’ve experienced something similar, and I find that it is especially the case where you switch contexts. Like when you are asking it to do more than one thing at a time, and you make a change to the first thing that you expect to carry over into the context of the second task, and it just doesn’t. It gets confused.

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And then the two things, this is especially true in coding, where you ask it to produce one piece of code and a function here, and another piece of code and a function on the other side. And you expect them, those two functions to interoperate correctly. Which means that you have to get the convention, the interface between those two things, the same on both sides.

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But if you say, actually, I want this to be called Bob, that doesn’t necessarily translate. Again, I suppose this is my intuition. There are a lot of ways that that failure can happen. The most obvious one is that you’re doing too much and it’s run out of tokens.

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Tokens are sort of an abstraction. Sorry I used that word a lot. Computer scientist. Tokens are, they’re not strictly speaking individual words, but they are a rough approximation of a unit of knowledge, context. I don’t know what the right word here. They chose token, right? So, if you use the API for ChatGPT, one of the things that you pass is how many tokens is the call allowed to use?

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Because you are charged by tokens. And if you say only 30 tokens, you get worse answers than if you give it an allowance of a hundred tokens. Meaning that you might have given it a problem that exceeds the window that I was describing earlier. That sort of backtrack of context that it’s allowed to use.

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Or you give it to two contexts and together they just go over and then it’s confused because it doesn’t know which, again, I say this as a semi-educated guess. We as humans don’t have a good definition of what context means in this conversation. How do we expect a computer system to?

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[00:25:05] Nathan Wrigley: Just as you’ve been talking, in my head, I’ve come up with this analogy of what I now think AI represents to me, and it represents essentially a very, very clever baby. There’s this child crawling around on the ground, I really do mean an infant who you fully forgive for knocking everything over and, tipping things over, damaging things and what have you. And yet this child can speak. So on the one hand, it can talk to you, but it’s just making utterly horrific mistakes because it’s a baby and you forgive it for that. So I don’t know how that sits, but that’s what’s it landed in my head.

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[00:25:40] James Dominy: I wouldn’t say that AI is in its infancy anymore, but it’s probably in its toddler year, and maybe we need to watch out when it turns two.

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[00:25:47] Nathan Wrigley: So we’ve, done the sort of high level what is AI and all of that. That’s fascinating. But given that this is a WordPress event and it’s a WordPress podcast, let’s bind some of this stuff to the product itself. So WordPress largely is a content creation platform. You open it up, you make a post, you make a page, and typically into that goes text, sometimes images, sometimes video, possibly some other file formats. But let’s stick with the model of text and images. Why do we want, or how could we put AI into WordPress? What are the things that might be desirable in a WordPress site that AI could assist us with?

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[00:26:21] James Dominy: I am totally going to be stealing some ideas from the AI content creation things that have happened this morning. I mean, there’s the obvious answer. I need to generate a thousand words for my editor by 4:00 PM today. Hey, ChatGPT, can you generate a thousand words on topic, blah?

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I think there are a lot of other places. I’d be super surprised if this hasn’t actually happened already. But, hey ChatGPT, write me an article that gets me to the top five Google ranking.

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The other obvious place for me as a software developer is using it to develop code. Humans are inventive. We’re going to see a lot of uses for AI that we never thought of. That’s not a bad thing at all. The more ways that we can use AI, I think the better.

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Yes, there are questions about the dangers, and I’m sure that’s a question coming up later on, so I won’t dive into them now, but in the WordPress community, there’s content creation, but there’s also content moderation, where AI can probably help a lot. Analyze this piece of text to me and tell me is it spam? Does it contain harmful or hateful content?

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Again, it’s a case of you get what you give. There’s that story about Microsoft, I think it was Microsoft, and the chatbot that turned into a horrible Nazi racist within about two hours, having been trained on Twitter data. We need to be careful about that, certainly. I’m struggling to think of things beyond the obvious.

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[00:27:47] Nathan Wrigley: Well, I think probably it is going to be the obvious, isn’t it? Largely, people are popping in text and so having something which will allow you within the interface, whether you are in a page builder or whether you’re using the Gutenberg editor, the ability to interrupt that flow and say, okay, I’ve written enough now, ChatGPT, take over. Give me the next 300 words please. Or just read what I’ve written and can you just finish this? I’m almost there.

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[00:28:11] James Dominy: Yeah, we are doing it already, even if it’s a sort of fairly primitive flow now where we write some stuff in our block editor, copy it up, pop it in ChatGPT or Bard or whatever, and say, hey, this is too formal. Or this is not formal enough. And it’s really great at that. Make this sound more businessy. And it understands the word businessy. The tool integration, it’s obvious in a lot of ways, but I think there are going to be a lot of non-obvious integrations. Like, oh wow, I wish I thought of that, and, you know, made my millions off that product. I mean, Jetpack is doing it already, you know. I am able to actively engage with ChatGPT whilst I’m editing my blog post. Fantastic.

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Another thing that I’ve just thought of is oh, I run a WooCommerce site and I want to use, not necessarily ChatGPT, but some other AI system to analyze product sales and use that to promote, to change the listing on my product site, so that I can sell more product. That’s going to happen.

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[00:29:09] Nathan Wrigley: Yeah, given that it’s incredibly good at consuming data.

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[00:29:13] James Dominy: Yeah, or even generating it on the fly. Generate 300 different descriptions of this product and randomize them. Put them out there and see which one sells best. We are doing that manually already. It’s AB testing at a larger scale.

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[00:29:28] Nathan Wrigley: Yeah. You can imagine a situation where the AI runs the split test, but it’s divided over 300 variations. And it decides for itself which is the winner.

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[00:29:39] James Dominy: On a day-to-day basis.

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[00:29:40] Nathan Wrigley: On an hourly basis. Implements the winner and then begins the whole process over and over again. I also wonder if in WordPress there is going to be AI to help lay out things. So at the moment we have the block editor. It enables you to create fairly complex layouts. We also have page builders, which allow us to do the same thing. So it alludes to what I was speaking about a moment ago.

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Talking, so literally talking, as well as typing in. I would like a homepage. I would like that homepage to show off my plumbing business, and here’s my telephone number. I’d like to have a picture of me, or somebody doing some plumbing, some additional content down there. You get the picture?

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[00:30:17] James Dominy: Yeah, absolutely.

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[00:30:18] Nathan Wrigley: A few little prompts, and rather than spitting out text or an image, whole layouts come out. And we can pick from 300 different layouts. I’ll go for that one, but now make the buttons red. The AI takes over the design process in a way.

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[00:30:32] James Dominy: Yeah. I’m going to confess here that I’m absolutely stealing this opinion from the AI panel earlier. I think the danger for WordPress specifically there, is that that level of automation for us with human engagement and, you know, developing something through conversation with an AI, might actually skip WordPress entirely. Why must the AI choose WordPress to do this?

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Maybe if we as a WordPress community invest in making WordPress AI integrated, then yeah, absolutely. Then hopefully we’re first to market with that in a way. And then it will generate stuff in WordPress. But there’s no, there’s no reason for it to maybe choose a Wix page as a better solution for you as a plumber, who doesn’t update things very often. You just want a static, you know.

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Chances are it’ll just say, here is some HTML it does the job for you, it’s pretty. I made some images for you as well. And, all you need to do is run the sequence of commands to, SSH it up to provider of your choice. Or I have selected this provider because I know how much they all charge and this is the cheapest. Or you’ve asked for the fastest, whatever.

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[00:31:41] Nathan Wrigley: Oh, interesting, okay. So it’s not just bound inside the WordPress interface. Literally, put this in the cheapest place as of today. And then if it changes in the next 24 hours, just move it over there and change the DNS for me and.

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[00:31:53] James Dominy: One day. For sure. Yeah.

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[00:31:54] Nathan Wrigley: Okay. So that very nicely ties into the harms.

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[00:31:58] James Dominy: There it is.

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[00:31:58] Nathan Wrigley: What we’ve just laid out is potentially quite harmful to a lot of the jobs that people do inside of WordPress. We’ve just described a workflow in which many of the things that we would charge clients for, which we could potentially get AI to do. Whether that’s a voice interface or a visual interface or a type, we’re typing in.

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So that is concerning, if we are giving AI the option to put us out of work. And I know at the moment, this is the hot topic. I’m pretty sure that there’s some fairly large organizations who have begun this process already. They’ve taken some staff who are doing jobs which can be swapped out for AI, and they’ve shed those staff.

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And whilst we’re in the beginning phase of that, it seems like we can swallow so much of people getting laid off. The problem, potentially is, if we keep laying people off over and over and over again and we give everything over to the AI, we suddenly are in a position where, well, there’s no humans in this whole process anymore. Does any of that give you pause for thought?

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[00:32:53] James Dominy: Yeah, it certainly does. I think we should temper our expectations of the capabilities of AI. So there’s a technical term called a terminal goal. The delineation between specific artificial intelligences and machine learning, in that world, and the concept of the general artificial intelligences, which is what everyone thinks of when they think of the I in artificial intelligence, is an AI that is capable of forming its own terminal goals.

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Its own, don’t get me wrong, like we have AIs that are capable of forming what are called intermediate nodes. If you tell an AI of a particular type to go and do a particular thing, then it is capable of forming intermediate steps. In order to do the thing you’ve told me, I need to first do this, which requires me to do that. And, you know, it forms a chain of goals, but none of those goals are emergent from the AI. They are towards a goal we have given the AI externally.

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That ability to form a goal internally is the concept of a terminal goal. And we don’t have, large language models don’t have terminal goals. Large language models, stable diffusion, all of the different algorithms that are hot topics today, are all couched within the idea of solving a problem given to them as an input.

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Which means there’s always going to need to be a human. At least with what we’ve got now. No matter how good these models get, how much brain power we give them. And this maybe is going against what I said earlier of like, I think it’s probably a quantity thing.

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Maybe there’s a tipping point. Maybe there’s a tipping point where the intermediate goal that it forms is indistinguishable from a terminal goal in a human brain. But for the moment, I think there always needs to be a human there to give the AI the task to solve. Open AI isn’t just running servers randomly just doing stuff. It spends its computational time answering users prompts and questions.

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[00:34:48] Nathan Wrigley: So if we pursue artificial intelligence research, and the end goal is to create an AGI, then presumably at some point we’ve got something which is indistinguishable from a human because it can set its own goals.

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[00:35:02] James Dominy: The cyberpunk dystopia, right?

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[00:35:03] Nathan Wrigley: But we’re not there yet. This is a ways off, my understanding at least anyway. But in the more short term, let’s bind it to the loss of jobs.

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[00:35:11] James Dominy: In my workshop this morning, I think the primary point that I wanted to get across is, if you are currently in the WordPress community, employed and or making an income out of WordPress. ChatGPT, Bard, generative AI, large language models are a tool that you should be learning to use. They’re not going to replace you.

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Maybe that’s less true on the content generation side, because large language models are particularly good at that. But there’s a flip side to that because on the software development side, programming languages have very strict grammars, which means the statistical model is particularly good at producing output for programming languages.

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It’s not good at handling the large amounts of complexity that can exist in large pieces of code. But equally so, I mean, if you ask it to give you a hundred items of things to do in Athens, whilst I’m totally, totally, working hard at a conference, uh, then you are probably going to get repeats. You might run into the confusion problem, the hallucination issue at some point there, where just a hundred is too much.

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Nobody has ever written an article of a hundred things to do in Athens in a day. I don’t know, I haven’t tried that. I’m guessing that there are going to be limitations. So some jobs are more in threat than others, but I think that if you’re already in the industry, or in the community and working with it, go with it and, absorb the tools into your day-to-day flow.

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It’s going to make you better at what you do. Faster at what you do. Hopefully able to make more money. Hopefully able to communicate with more people, translations et cetera. Make your blog multilingual. There are a lot of things that you can use it for that aren’t immediately coming after your job.

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The problem for me, and this again is the point that I was trying to get across in the workshop, the problem is the next generation. The people who are getting into WordPress today and tomorrow, and in six months time. Who are coming into a world where AI is already in such usage that it’s solving the simple problems. And the same as true, my editor wants 200 words or whatever on fun things to do in Athens overnight.

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Okay, great. ChatGPT can do that for the editor. Why does he need a junior content writer anymore? But the problem is, I mean, we’ve already said, sometimes it’s spectacularly wrong. Does that editor always have the time to actually vet the output? Probably not. And so the job of that junior is going to transform into, they need to be a subeditor. They need to be a content moderator almost, rather than a content generator.

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But that’s a skill that only comes from having written the content yourself. We learn by making mistakes, and if we are not making those mistakes because AI is generating the stuff, and either not making mistakes or making mistakes that we haven’t made before ourselves, and thus don’t recognize his mistakes. So my fear of the job losses aspect of AI is not that it’s going to wipe out people who are working already. It’s going to make that barrier to entry for the next generation, it’s knocking the bottom rung out of the ladder.

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And unless we change the ways that we teach people as they are entering the community, the WordPress community, the industry, and all the industries which AI is going to affect, the basics, and we focus on it. You know, it’s a catch 22. We have to teach people to do stuff without AI, so they can learn the basics. But at the same time, they also have to learn how to use AI so they can do the basics in the modern world.

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And I mean, we get back to that old debate like, why am I learning trigonometry in school? Because maybe someday it actually helps you do your job. Admittedly, so far, not so much. But I will say this. History, I did history in school. That has surprisingly turned out to be one of the most useful subjects I ever did, just because it taught me how to write. Which I didn’t learn in English class. Go figure.

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[00:39:17] Nathan Wrigley: It sounds like you are quite sanguine for now. If you are in the space and listening to this podcast now, everything is fine right now.

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[00:39:26] James Dominy: Yeah.

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[00:39:27] Nathan Wrigley: Maybe less sanguine for the future. Given that, do you think that AI more broadly needs to be corralled. There need to be guardrails put in place. There needs to be legislation. I don’t know how any of that works, but manufacturers of AI being put under the auspices of, well it would have to be governments, I guess. But some kind of system of checks and balances to make sure that it’s not, I don’t know, deliberately producing fakes. Or that the fakes are getting, the hallucinations are getting minimized. That it’s not doing things that aren’t in humanity’s best interests.

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[00:39:59] James Dominy: Absolutely. Yes. Although I’m not sure how we could do a good job of it, to be fair. The whole concept of, we want AIs to operate in humanity’s best interests. Who decides? The alignment problem crops up here where, it’s well known that we can train an AI to do something we think that it’s going to do, and it seems to be doing that thing until suddenly it doesn’t.

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And we just get some weird output. And then when we go digging, we realize actually it was trying to solve an entirely different problem to what we thought we were training it on, that just happened to have a huge amount of overlap with the thing that we did. But when we get to those edge cases, it goes off in what we think is a wildly wrong direction. But it is solving the problem that it was trained to solve. We just didn’t know we were training it to solve that problem.

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As far as regulation goes. Yes, I think regulation, it’s coming. I really want to say nobody could be stupid enough to put weapons in the hands of an AI. The human race has proved me wrong several thousand times already in history. Yeesh, I personally think that that’s an incredibly stupid idea. But then the problem becomes what’s a weapon?

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Because a weapon these days can be something as subtle as enough ability to control trading, high frequency trading. Accidentally crash a stock market. It’s already happened. Accidentally, and again, I’m air quoting the accidentally here, accidentally crash your competitor’s stock, or another nation’s stock market. AI is there, is being used as a validly useful tool to participate in the economy, but the economy can be used as a weapon.

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Putting AI in control of the water infrastructure in arid countries. Optimization, it can do those jobs a lot better. It can see almost instantaneously when there’s a pressure drop. So there’s a leak in this section of the pipe. Somebody needs to go fix it. And also it can just shut off the water to an entire section of the city because, I don’t know, it feels like it. Because for some reason it is optimizing for a different goal than we actually think we gave it.

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The trick is we can say, we can input into ChatGPT, I want you to provide water to the entire city in a fair and equitable way. That doesn’t mean that’s what it’s going to do. We just think that that’s what it’s going to do. We hope.

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[00:42:26] Nathan Wrigley: I think we kind of come back to where we started. If we had a crystal ball, and we could stare five, two years, three years, 10 years into the future. That feels like it would be a really great thing to have at the moment. There’s obviously going to be benefits. It’s going to make work certainly more productive. It’s going to make us be able to produce more things. But as you’ve just talked over the last 20 minutes or so, there’s also points of concern and things to be ironed out in the near term.

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[00:42:52] James Dominy: Absolutely, yeah.

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[00:42:53] Nathan Wrigley: We’re fast running out of time, so I think we’ll wrap it up if that’s all right? A quick one James, if somebody is interested, you’ve planted the seed of interest about AI and they want to get in touch with you and natter about this some more, where would they do that?

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[00:43:06] James Dominy: The best way is probably email. I am not a social person in the social media sense. I don’t have Twitter. I don’t do any of that. So I’m probably terrible for this when I think about it. My email is, J for Juliet, G for golf, my surname D O M for mother, I, N for November, Y for yankee at gmail.com. Please don’t spam. Please don’t get AI to spam me.

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[00:43:30] Nathan Wrigley: Yeah, yeah. James Dominy, thank you so much for joining us today.

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[00:43:34] James Dominy: Thank you for the opportunity. It’s been great fun, and I’ve really enjoyed being able to kind of deep dive into a lot of the stuff I just had to gloss over in the workshop. Thank you.

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On the podcast today we have James Dominy.

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James is a computer scientist with a masters degree in bioinformatics. He lives in Ireland, working at the WPEngine Limerick office.

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This is the second podcast recorded at WordCamp Europe 2023 in Athens. James gave a talk at the event about the influence of AI on the WordPress community, and how it’s going to disrupt so many of the roles which WordPressers currently occupy.

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We talk about the recent rise of ChatGPT and the fact that it’s made AI available to almost anyone. In less than twelve months many of us have gone from never touching AI technologies to using them on a daily basis to speed up some aspect of our work.

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The discussion moves on to the rate at which AI systems might evolve, and whether or not they’re truly intelligent, or just a suite of technologies which masquerade as intelligent. Are they merely good at predicting the next word or phrase in any given sentence? Is there a scenario in which we can expect our machines to stop simply regurgitating text and images based upon what they’ve consumed; a future in which they can set their own agendas and learn based upon their own goals?

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This gets into the subject of whether or not AI is in any meaningful way innately intelligent, or just good at making us think that it is, and whether or not the famous Turing test is a worthwhile measure of the abilities of an AI.

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James’ background in biochemistry comes in handy as we turn our attention to whether or not there’s something unique about the brains we all possess, or if intelligence is merely a matter of the amount of compute power that an AI can consume. It’s more or less certain that given time, machines will be more capable than they are now, so when, if ever, does the intelligence Rubicon get crossed?

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The current AI systems can be broadly classified as Large Language Models, or LLMs for short, and James explains what these are and how they work. How can they create a sentence word by word if they don’t have an understanding of where each sentence is going to end up? James explains that LLMs are a little more complex than just handling one word at a time, always moving backwards and forwards within their predictions to ensure that they’re creating content which makes sense, even if it’s not always factually accurate.

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We then move on from the conceptual understanding of AI to more concrete ways it can be implemented. What ways can WordPress users implement AI right now, and what innovations might we reasonably expect to be available in the future? Will we be able to get AI to make intelligent decisions about our website’s SEO or design, and therefore be able to focus our time on other, more pressing, matters?

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It’s a fascinating conversation whether or not you’ve used AI tools in the past.

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Useful links.

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ChatGPT

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Stable Diffusion

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Markov Model

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Implementing a CAPTCHA or reCAPTCHA system is a highly effective way to protect your WordPress website or ecommerce business from spam and bots, which is crucial for ensuring online security.

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All that sounds great, but the effort involved in solving a CAPTCHA often results in reduced conversions. According to Moz, including a CAPTCHA could result in a loss of 3.2% of conversions. Yikes!

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That’s why today, we’ll explain the problem with the traditional CAPTCHA setup, offer a stand-out alternative, and provide steps to add CAPTCHA and reCAPTCHA to your WordPress site, if that’s still the route you feel most comfortable with.

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After following this guide, your website will be safer and more secure for your visitors.

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Let’s get started!

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The problem with traditional CAPTCHA solutions

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While CAPTCHA systems have been widely adopted for their ability to prevent spam and bot activity, they do come with a number of drawbacks. Make sure you’re aware of these downsides before you use a WordPress CAPTCHA plugin. 

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1. They’re challenging for those with visual impairments

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Traditional CAPTCHA systems often rely on distorted images of text, making it difficult for users with visual impairments to solve them. This can lead to accessibility issues and discourage visitors from interacting with your site.

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2. They create a frustrating experience 

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CAPTCHAs can be frustrating and time-consuming to solve, particularly when the distorted text is difficult to read. This annoyance can cause people to leave your site without completing their intended action, such as submitting a form or making a purchase. Sometimes, visitors may even have to solve multiple CAPTCHAs — a real test of endurance.

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3. They can generate false positives

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CAPTCHA systems can sometimes incorrectly identify real human users as bots, preventing them from accessing your site or submitting forms. This can lead to a loss of leads, customers, or subscribers.

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4. They’re easily bypassed by sophisticated bots

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As bots become more advanced, they’re increasingly able to bypass traditional CAPTCHA systems, rendering them less effective at preventing spam and malicious activity on your site.

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5. They can create a negative user experience

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Implementing CAPTCHA systems can negatively impact your site’s user experience, particularly when the CAPTCHAs are overly complex or difficult to solve. This can lead to lower visitor satisfaction and, ultimately, decreased engagement and conversions.

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6. They can lead to lower conversion rates

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As mentioned above, the frustrating experience of solving CAPTCHAs can lead to users abandoning your site before completing their intended actions. This can result in lower conversion rates for your business.

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7. They can cause higher page load times

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Implementing CAPTCHA systems can also contribute to slower page load times, as they often require additional resources and scripts to load. This can negatively impact your site’s performance and search engine rankings.

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Given these challenges, it’s important to find a solution that’s both effective at preventing spam and bots, while also providing a positive user experience. That’s where Akismet comes in to save the day.

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How does Akismet address these issues?

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Akismet addresses the shortcomings of traditional CAPTCHA systems by employing advanced algorithms and a continuously-updated database of spam signatures. It can effectively identify and block spam and malicious activity without any user input and without annoying barriers for site visitors. 

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The result is enhanced accessibility, a superior user experience, and fewer false positives. 

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Even the most sophisticated bots can be identified and blocked by Akismet due to its advanced spam detection technology and constantly-updated database. By staying ahead of emerging threats, Akismet ensures your online presence remains secure and your valuable content and data are safeguarded.

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The benefits of using Akismet over CAPTCHA

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Given the challenges associated with traditional CAPTCHA solutions, Akismet presents several benefits that make it a compelling and superior alternative for WordPress site owners.

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1. Greater user-friendliness

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Akismet doesn’t require users to solve puzzles or enter codes, ensuring a more pleasant and frustration-free browsing experience. It operates seamlessly in the background, allowing visitors to focus on your content and offerings without any distractions or interruptions.

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2. Improved accessibility for all users

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Akismet can be used by people with vision impairments because it doesn’t use visual puzzles to block spam and bots. This approach makes sure that your website is user-friendly and welcoming to a diverse audience, creating a positive online environment for everyone.

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3. Greater accuracy in spam detection

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Akismet uses advanced algorithms and a vast database of spam signatures to minimize false positives. This means that genuine users can access and interact with your site without being mistakenly identified as bots. This accurate spam detection helps build a trustworthy online presence and improve user experiences.

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4. Robust effectiveness against malicious activity

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Akismet is highly effective at identifying and blocking spam and malicious activity, including sophisticated bots that can bypass traditional CAPTCHA systems. Its constantly-updated database and advanced spam detection technology ensure your website remains secure and protected from emerging threats.

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5. Optimized performance and load times

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Akismet runs in the background and won’t slow down your website by using extra data or running unnecessary scripts. This means your website will stay fast and responsive for your visitors, which can help improve your search engine rankings and create a great browsing experience.

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If this sounds like a solid prospect, you’ll be delighted to hear that we’re discussing how to install and set up Akismet on WordPress next.

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How to add Akismet to WordPress

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Incorporating Akismet into WordPress comment and contact forms is a breeze, and you can accomplish it in just a few steps. However, the procedure might differ slightly depending on the contact form or plugin you’re using. Let’s explore how it’s done!

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Step 1: Install the Akismet plugin

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Akismet can be used for free to get rid of spam comments and harmful form submissions on your non-commercial site. Websites run for commercial purposes can choose from several affordable premium options.

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First, install and activate the plugin.

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To do this, log in to your WordPress dashboard, go to the Plugins tab, click Add New, and search for it. The plugin is usually included in the top “Featured” list.

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To install the plugin, click on Install Now and then Activate. After activation, go to Settings and select Akismet Anti-Spam. Under Settings, locate the API key field.

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You can get the key by going to the Akismet website and creating an account. 

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Once you finish the signup process on the website, log in to your new account then locate My Account and choose Add Subscription.

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You can select your desired plan next. The Personal plan is free for individual website use if your site is considered “non-commercial.”

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After registering, you’ll receive an API key in the My Account section. Copy this key and then navigate to the WordPress dashboard’s Settings → Akismet Anti-Spam screen. Next, paste the key into the API Key field.

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Click on Save Changes to finish.

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Akismet will automatically filter comment spam and put it in a queue for review on the dashboard. But if you want it to work on your contact form(s), you’ll need to complete another step.

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Step 2: Add Akismet to your contact form

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By default, WordPress does not have a contact form feature. Therefore, you’ll need to use plugins to include contact forms on their sites. The method to add these forms will vary based on the plugin being used.

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Some popular contact form plugins, including Jetpack, already have Akismet support built-in. 

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Other plugins necessitate setting up Akismet add-ons to incorporate spam protection into their forms. Gravity Forms is the most popular example of this.

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Still other WordPress plugins like Contact Form 7 require a code snippet to add Akismet support.

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Thankfully, it’s easy to configure Akismet on your contact forms, no matter which method you choose.

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Step 3: Set up the anti-spam settings in Akismet

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Akismet is very much a set-it-and-forget-it type of tool. Just install, activate, and you’re basically done. But it also allows you to control how to handle contact form spam a bit more precisely.

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The plugin is configured, by default, to send flagged comments to a holding queue located in the Comments section of the WordPress dashboard so that you can review them later. You can also set up Akismet to delete spam entirely.

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If this sounds appealing, just go to Settings → Akismet Anti-Spam and locate the Settings. 

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Scroll down to the section called Strictness.

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Akismet is good at identifying which messages are spam and which ones are legitimate, which means you can delete the spam messages from your contact form without worry. However, if you want to keep all messages, you can select the option to Always put spam in the Spam folder for review.

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Remember that Akismet stores spam comments for 15 days before they’re deleted. So, if you go for this option, review your queue regularly.

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Still want to use CAPTCHA?

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Although we suggest using Akismet due to its ease-of-use and success in blocking spam and bots, we realize that certain users may still want to learn how to add CAPTCHA to WordPress. This section will provide clear instructions on how to integrate both CAPTCHA and reCAPTCHA into a WordPress contact form.

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1. How to add CAPTCHA to a WordPress contact form

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Although most well-known contact form plugins include CAPTCHA functionality, you can also manually incorporate CAPTCHA into any form element on WordPress that’s being misused. This not only includes contact forms, but also comment forms, user registration pages, login pages, and opt-in forms.

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Step 1: Install and activate the Friendly CAPTCHA for WordPress plugin

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For the purposes of this tutorial, we’re using the Friendly CAPTCHA for WordPress plugins, though there are other options available. 

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Go to your WordPress dashboard then to Plugins → Add New and search for the plugin by name.

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Once you locate it, click Install → Activate.

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Step 2: Add the site key and secret key

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To input your Site key and Secret key, locate Friendly Captcha in the dashboard, then click Settings.

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Then go to the Friendly Captcha website and create an account. Pick a plan, then copy your site key. 

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Go back to your WordPress installation and paste in the Site key in the appropriate field. Then go back to your account on the website and generate an API key by typing in a name for it then clicking Create API Key. 

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Step 3: Finish configuring settings

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For this tutorial, please select the comment form box to enable forms and keep all other settings at their default values to configure the remaining options based on your preferences.

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Step 4: Save and view

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Once you’re done making changes, click Save Changes, then visit a live blog post to verify the comment form is working as intended.

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2. How to add reCAPTCHA to a WordPress contact form

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Google reCAPTCHA adds an extra layer of protection to your contact forms, using a two-step verification process. This tool can help stop bots and spammers, as they’ll need to pass the reCAPTCHA test. You can use a WordPress CAPTCHA plugin to get the job done. Here’s how you can incorporate it into your WordPress contact form:

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Step 1: Install and activate a WordPress reCAPTCHA plugin

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First, install and activate the Simple Google reCAPTCHA plugin. Just search for it by name under Plugins → Add New. Then click Install → Activate.

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After activation, navigate to Settings → Google reCAPTCHA to configure the plugin settings.

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Step 2: Configure the plugin settings

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The plugin will prompt you to enter Google reCAPTCHA keys. You can obtain these keys for free from the official reCAPTCHA website by clicking the register your domain link at the top of the page.

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Step 3: Obtain reCAPTCHA API keys by registering your website

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The register your domain link directs you to the Google reCAPTCHA website, where you can register your site to work with reCAPTCHA.

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Sign in with your Google account, and you’ll see the Register a new site page. Enter the necessary basic information to register your site.

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In the Label field, input your website name or any name of your choice to help you identify your site later.

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Step 4: Add a new site

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Next, choose the reCAPTCHA V2 radio button to reveal two new options.

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To add the reCAPTCHA checkbox to your site, select the first option, I’m not a robot checkbox.

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In the Domains text box, add the domain name of your website.

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You can also add multiple domains or subdomains by clicking the plus + icon, enabling you to use the same API keys across different websites.

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Step 5: Add domain and email to your reCAPTCHA site

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Google will automatically add your email address under Owners. You can also add another email if desired. Then accept the terms of service.

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Select the Send alerts to owners checkbox to allow Google to send emails if they detect any misconfigurations or suspicious activity.

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Step 6: Submit and register your WordPress site

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After completing the form, click Submit to register your site.

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Google reCAPTCHA will display a success message, along with the site key and secret key.

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Use these API Keys in your website’s plugin settings.

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Navigate to Settings → Google reCAPTCHA from your WordPress dashboard.

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On the Settings page, paste the site key and secret key.

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The plugin will incorporate reCAPTCHA verification into the WordPress comment form, registration form, reset password form, new password form, and login form.

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You can disable reCAPTCHA on the login form by selecting the appropriate checkbox.

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Remember to click Save Changes to store the API keys and activate reCAPTCHA.

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You have now successfully added reCAPTCHA to your WordPress comment form. Check the comment section of your blog posts to ensure it’s working correctly.

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So now you know how to add CAPTCHA or reCAPTCHA to your WordPress contact forms. Although these options can reduce spam and bot activity, we suggest using Akismet instead because it is easy to use, more accessible, and effective against advanced bots.

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Regardless of the solution you choose, however, keeping your WordPress site secure from spam and malicious activity is crucial for maintaining a positive user experience, safeguarding your online presence, and protecting your reputation.

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Frequently asked questions about CAPTCHA and reCAPTCHA

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Still curious about CAPTCHA, reCAPTCHA, and how to safeguard the contact forms on your website? Let’s take a look at some answers to the most commonly asked questions on the subject.

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What is CAPTCHA?

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CAPTCHA, which stands for “Completely Automated Public Turing test to tell Computers and Humans Apart”, is a security measure used on websites to prevent automated bots from submitting forms, leaving comments, or performing other actions that should only be done by human users. CAPTCHAs typically require users to solve visual puzzles — such as identifying distorted text or selecting specific images — to prove that they’re not bots.

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What is reCAPTCHA?

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reCAPTCHA is a more advanced version of CAPTCHA developed by Google. It improves upon traditional CAPTCHA systems by incorporating machine learning and advanced risk analysis techniques to better differentiate between human users and bots. reCAPTCHA is designed to be more user-friendly, with some versions requiring people only to click a checkbox.

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What is Akismet?

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Akismet is a powerful anti-spam solution for WordPress websites, developed by Automattic, the company behind WordPress.com. It uses advanced algorithms and a continuously-updated database of spam signatures to identify and block spam comments and form submissions, without requiring user input or creating accessibility barriers. Akismet operates in the background (kind of like an invisible CAPTCHA, in a sense), providing a seamless and user-friendly browsing experience.

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Is Akismet better than CAPTCHA and reCAPTCHA?

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While each solution has its own advantages, Akismet is generally considered more user-friendly and accessible compared to CAPTCHA and reCAPTCHA. It doesn’t require users to solve puzzles or enter codes, making it easier for those with visual impairments and providing a smoother browsing experience overall. Akismet is also highly effective at blocking spam and bots, even as they evolve and become more sophisticated.

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Does Akismet integrate with contact form plugins like Contact Form 7?

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Yes, Akismet integrates with many popular WordPress contact form plugins, including Contact Form 7. By connecting Akismet to your contact form plugin, you can effectively protect your forms from spam submissions without the need for CAPTCHA or reCAPTCHA.

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What are real-world examples of sites using Akismet?

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Akismet is trusted by over 100 million websites worldwide, including well-known enterprise brands such as Microsoft, ConvertKit, and Bluehost. Its widespread adoption and use by major companies serve as strong social proof for its effectiveness in preventing spam and ensuring a secure, user-friendly online experience. 

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Should you choose Akismet for your contact and registration forms, you’ll be in good company, joining millions of other websites that have successfully protected their online presence from spam and malicious activity.

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Akismet: Non-intrusive spam protection for WordPress 

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To keep your WordPress site free from spam and bots while ensuring a good user experience and accessibility, you should use Akismet. It offers an effective way to combat spam that doesn’t disrupt your site visitors’ browsing experience.

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If you add Akismet to your WordPress site, it will use complex calculations and a big collection of spam markers to keep your site safe from unwanted content. In addition, it integrates smoothly with well-known tools for contact forms, making sure that everyone can use your website securely and without hassle.

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While CAPTCHA and reCAPTCHA may still be preferred by some, Akismet stands out as a user-friendly, effective, and accessible alternative for securing your WordPress contact forms against spam and bots. And by choosing Akismet, you’re investing in the success of your online presence and ensuring a pleasant experience for your visitors, which is definitely worth prioritizing.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 28 Jun 2023 13:00:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:11:\"Jen Swisher\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:39;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:56:\"WPTavern: WordPress 6.3 Will Introduce A Command Palette\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146321\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:67:\"https://wptavern.com/wordpress-6-3-will-introduce-a-command-palette\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3341:\"

Last week Gutenberg contributors were engaged in a spirited debate regarding a proposal to rename the new Command Center to Wayfinder. The feature, designed to be an extensible quick search and command execution tool, will land in WordPress 6.3.

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The majority of participants in the discussion were strongly against calling it Wayfinder, as the term doesn’t translate well, nor does it make the feature’s benefits easy to understand. Wayfinder was proposed as a unique name that “has the potential to evoke a sense of curiosity, exploration, and discovery.” There were several attempts to wrap up the discussion with notes on alternatives even when it was apparent that the general consensus was unequivocally not in favor of the term Wayfinder.

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Automattic-sponsored Gutenberg contributor Anne McCarthy commented on the issue with the decision, which she said was reached after consulting project leadership and reading through the comments:

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Let’s move forward with Command Palette.

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Reasoning: easier to translate, consistent across other tooling outside of WordPress, matches current functionality, eases discoverability/understanding of value, and leans generic which matches the concerns raised here.

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Ultimately, we can always discuss renaming if the feature reaches a point of evolution outside of this initial name. As raised above, that would be more worth risking a unique name for than something that exists in other products and that ultimately we want people to quickly understand/find value in. Plus if we hold off on that name for the future, it can create a nice marketing push for something truly unique when/if the time comes. If folks have additional specific concerns around this naming, please speak up sooner rather than later.

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McCarthy also requested other contributors ensure the re-naming is updated throughout the interface for the upcoming release.

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This was an important decision that needed to be made ahead of WordPress 6.3 Beta 1, which was supposed to be released today but was delayed to Wednesday, June 28, due to an unrelated issue. The Command Palette will likely be introduced in blog posts, the 6.3 About page, and countless third-party resources so the proposal urgently needed a conclusion.

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It’s also to the team’s credit that they didn’t force a fancy marketing name and instead landed on the side of the majority of contributors who were in favor of using clear language. The API for the Command Palette is now public and ready for developers to create their own custom commands. Using a term that is easy to understand and translate will engender more global community buy-in, as 52% of WordPress users run the software in a language other than English.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Wed, 28 Jun 2023 01:46:35 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:40;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:51:\"WPTavern: WordCamp Europe 2024 Calls for Organizers\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146294\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:62:\"https://wptavern.com/wordcamp-europe-2024-calls-for-organizers\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3609:\"

WordCamp Europe 2023 in Athens attracted more than 2,500 attendees from 94 countries, made possible by 112 organizers and 250 volunteers. The event is now looking forward to 2024, which will be hosted by the Italian WordPress community in Torino, Italy, June 13-15. This modern city is located at the foot of the Alps in northwestern Italy and has more than 2,000 years of history to explore.

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WCEU 2024 is calling for organizers who will serve on one of a dozen teams that have been operating for the past few years, including attendee services, budget, design, sales and sponsors, communications, and more.

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Those selected to organize will begin planning WCEU in September 2023 and will work with a distributed team on a weekly basis until June 2024.

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During the 2023 event’s speaker announcements, the WCEU organizing team was criticized for the second year in a row regarding its commitment to diversity. The previous year organizers were called out for the lack of diversity on the organizing team and this year the complaint was a lack of diversity in the speaker selection.

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WCEU 2023 organizers published a transparent account of the various selection processes used for organizers, speakers, media partners, and others involved in the event. The article states that organizers are shortlisted based on their skills, with an effort “to keep gender parity high whilst also selecting people from all available European WordPress communities.” It also states that applicants’ experience and enthusiasm are chief among selection factors but organizers also reach out to encourage underrepresented groups to apply:

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During the selection process we don’t have anything that resembles a “positive discrimination” policy, whereby we choose people based on their race, color, background, gender, sexual identity, or any other attribute; we solely chose people based on their stated experience and enthusiasm to be part of the team…

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Acknowledging that diversity within the Organizing team is important, we reach out to community groups and members before and during the application process, encouraging people to apply where we have historically seen underrepresentation.

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The article concludes with a statement of willingness to modify this selection process if the organization is not able to achieve a diverse lineup:

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WordCamp Europe is an iterative event; each year learns from the last and 2024 will be no different. We cannot take for granted that achieving diversity one year guarantees it the next. As a flagship WordCamp event we may need to positively discriminate to achieve gender parity, or fair representation of communities. 

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The call for 2024 organizers does not identify any changes that have been made to the selection process. Prospective organizers will need to fill out the application form highlighting their skills, experience, and desired role.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 27 Jun 2023 21:40:06 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:41;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:80:\"WPTavern: Reusable Blocks Renamed to Patterns with Synced and Non-Synced Options\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146252\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:91:\"https://wptavern.com/reusable-blocks-renamed-to-patterns-with-synced-and-non-synced-options\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:7029:\"

There has always been some confusion and overlap between reusable blocks and patterns. The difference was that reusable blocks can be created and edited in the block editor and then reused in other places – inserted into posts or pages. Block patterns, once inserted, can be edited and are not synced. They give users the ability to apply the same layout to different posts and pages.

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Reusable blocks have now been renamed to patterns, with the option to be synced, which offers the same functionality as the former reusable blocks where all instances can be updated at once. Non-synced patterns are just regular patterns – those that can be edited independently of other other instances that have been inserted. These updates are coming in Gutenberg 16.1 and will be included in the upcoming WordPress 6.3 release.

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WordPress contributor Aki Hamano posted a diagram to Twitter regarding the renaming, which was confirmed as an accurate representation of the changes.

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I am trying to understand about the new naming of \"Pattern\" in WordPress. I currently understand it as this figure represents, is this correct? pic.twitter.com/WxKFRotB0V

— Aki Hamano / 浜野 哲明 (@tetsuaki_hamano) June 25, 2023
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“Clients already find the pattern and reusable block concept very difficult to grasp,” WordPress developer Mark Howells-Mead commented on the pull request for the renaming. “This change will make things much harder for regular users to comprehend.”

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Gutenberg contributor Paal Joachim Romdahl commented that it would be helpful to have more time to test this in a few versions of the Gutenberg plugin, as WordPress 6.3 beta 1 is expected this week. Learning materials and documentation will need to be updated with very little notice.

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Gutenberg contributor Daniel Richards encouraged contributors to see the change as part of “the great unification,” an effort towards consolidating the many different block types into a single concept and streamlining the content and site editors.

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“In the future it might also be possible for template parts to be considered ‘synced patterns’, and at that point things become much more streamlined and there are far fewer concepts for users to grasp,” Gutenberg contributor Daniel Richards said.

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“So the hope is that this is a first step on the path to making things easier for users, rather than more difficult. But I do realize that for existing users it’s quite a shift.”

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As part of this effort, WordPress 6.3 will also introduce pattern creation in the block editor using the same interface that it previously used for reusable blocks. Pattern creation necessitates having a place for users to view and manage their patterns. WordPress 6.3 will also include a first pass at a Pattern Library inside the Site Editor, which will include both patterns and template parts. Gutenberg designers shared a preview of what this would look like a couple weeks ago:

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The Potential of Partially Synced Patterns

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In May, contributors began a discussion about the concept of partially synced patterns, which Daniel Richards summarized:

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Today, when you insert a pattern, the blocks from that pattern are completely decoupled and standalone. There’s no way to tell that those blocks originated from a pattern, especially since they can be edited to no longer resemble the source pattern.

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Partially synced mode is different. When a pattern that’s partially synced is inserted, it retains a reference to the source pattern. The blocks within the pattern are locked so that they cannot be removed or reordered and new blocks cannot be inserted (this is called contentOnly locking). Only specific parts of the pattern considered ‘content’ can be edited (denoted by adding __experimentalRole: \'content\' to a block’s definition).

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When the source pattern is updated, all instances of blocks that reference the source pattern are updated too (much like a reusable block), but the content values the user entered are retained. The best way to think of this is that the user can update the design of a pattern, but doesn’t lose content that exists in templates and posts.

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This concept will not make it into the upcoming version of WordPress, as contributors are still discussing one of many complex implementations, but it offers a glimpse of what might be more granular control coming to patterns in the future. Partially synced patterns would bring distinct benefits to many CMS and content design use cases where clients may be editing content.

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“I am a site developer for an agency, and am actively making sites for clients using Gutenberg every day,” Eric Michel said. “Probably our biggest pain point right now is that the editor does not handle types of content that are mostly standardized with small content customizations per post – things like contact directories, majors at a university, products in a catalog.

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“For us, the absolute dream scenario is what you are proposing, except with the inclusion of the ability to alter the primary template and have all of the pages that use that template automatically change as well.”

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The discussion on making partially synced patterns possible continues in search of an implementation that will ensure users don’t modify the patterns in ways that destroy the ability to display the retained content. WordPress 6.3 will ship with synced and non-synced pattern options, and partially synced patterns may land further down the road in a future release.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 27 Jun 2023 02:11:22 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:42;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:128:\"Gutenberg Times: Reusable Blocks are Patterns too, Style Book, Block Handbook Navigator and Command Center—Weekend Edition 258\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:35:\"https://gutenbergtimes.com/?p=24511\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:135:\"https://gutenbergtimes.com/reusable-blocks-are-patterns-too-style-book-block-handbook-navigator-and-command-center-weekend-edition-258/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:15495:\"

Howdy,

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It’s been a more quiet week. Many people have been working hard to get the latest features into the next Gutenberg release, so they can also be merged with WordPress 6.3. If you want to start testing, the Gutenberg 16.1 RC is available here. The changelog is massive. Next week, Tammie Lister will be going over this with me when we record the next Gutenberg Changelog.

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On Friday, I’ll hope on a train to Leipzig and give a presentation to the attendees of the back-to-the-roots, no frills WordCamp. Added thrill for me: it’s my first time presenting in German about technology. Oy.

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Next week is also WordPress 6.3 Beta 1 release. Get ready for testing and filing bug reports! The best way to learn what will be in 6.3 is by using the beta version and heed the Testing Call #24: Momery Makeover. Testing a new version pre-release, is an open-source contribution with the highest impact. If you are keen to learn how to do it, please let me know and I do a short tutorial zoom with you.

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This weekend edition seems rather short, too

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Yours, 💕
Birgit

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Join us for the next Gutenberg Live Q & A July 6th, 2023, at 17:00 UTC

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Leveraging Gutenberg’s architecture to take plugin development to new levels.

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Learn how Gutenberg components and scripts can be used outside the block editor to revamp a plugin’s code base in this Case Study of GiveWP 3.0 with Jason Adams, Director of Development, Jon Waldstein, Lead Developer of GiveWP and co-host Lena Morita, JavaScript Developer on the Components team.

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Table of Contents

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Developing Gutenberg and WordPress

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🎙️ New episode: Gutenberg Changelog #85 – Gutenberg 16.1, WordPress 6.3 with special guest, Tammie Lister and host Birgit Pauli-Haack

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In his latest Design Share: Jun 5–Jun 16, Joen Assmussen shares the work of the WordPress Design team on the

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Plugins, Themes, and Tools for #nocode site builders and owners

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Jamie Marsland shared in his latest video, WordPress Block Theme Secret Hacks You Didn’t Know Existed, five secret features of Block Themes, you might not know about. Marsland also offers a Block Theme course: Mastering Site Editing and WordPress Block Themes, so you can get a head start.

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Wes Theron also shares his secrets, too in the tutorial Using the block editor: Tips and shortcuts for efficiency on Learn WordPress. He has eight tips and shortcuts for you to work faster and more efficiently in the block editor.

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In this video on WordPress TV, Kathryn Presner and Sarah Snow showed their students how to Create a four-page WordPress website: Explore Plugins + Contact Forms. Watch this workshop to learn about plugins–how to find them, how to vet them, what can go wrong–in WordPress in 2023.

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Another new feature is coming to WordPress 6.3, the Command Center. Be aware that’s only the working title and contributors discuss renaming it. Sarah Gooding reports on the discussion WordPress Contributors Discuss Renaming Command Center Tool.

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Reusable blocks are now called Patterns

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Creating patterns using the block editor has been one of the most requested features since Patterns have been available and since the release of the Pattern directory on WordPress.org in Summer of 2021. It’s now coming to the editor in WordPress 6.3 version. It uses the same workflow as creating reusable blocks. To remind you: create a collection of blocks, group them, and use the 3-dot menu “Create reusable Block” except it now says “Create custom pattern”.

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Turns out Patterns and Reusable blocks are cut almost from the same cloth. The only difference is that the change to a reusable block synchs over all the instances the block has been used, hence the new name “synched pattern”. There is now a toggle switch to “Keep all pattern instances in sync” or not. This is the first iteration: the name change and the creation workflow.

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To re-use the pattern, you find them in different places, though. Synched patterns are listed in the list of Blocks in the Inserter and available via slash “/” command. Unsynched patterns are in a new Pattern category = Custom Patterns in the Patterns Tab in the big blue button inserter.

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There are many users, and I might be one of them, who find patterns, should also be at least partially sync-able. That feature is planned to come to the block editor after WordPress 6.3 is released. It will take a few more thoughts on how to separate the various pieces. You might want to synch the design but not the words, or styles but not the images. The headings but not the links. And immediately you see that this can be quite complicated. So, it might take some more time. You can read up on the genesis of this new feature in the PR Reusable blocks: Rename to ‘Patterns’ and add option to also add a non-synced Pattern. (51144)

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Theme Development for Full Site Editing and Blocks

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Ganesh Dahal, also writer at CSS-Tricks, published his first article on the WordPress Developer Blog about The Style Book: a one-stop shop for styling block themes. The Style Book is the new one-stop Global Style feature of the Site Editor that allows you to add all global or per-block design elements with a live preview window. This also lets users create a new set of variations that they can modify with a single click.

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Wrestling with a huge theme.json might deter people from creating block themes. Petter Walbø Johnsgård developed the npm package @theme-json/create that helps you with that. It allows you to create a logical directory structures to separate out various parts of the theme.json. It makes it easier to maintain and quickly navigate to the necessary area you wish to modify. This way you can standardize variables and reference them in our theme.json, and makes it them much more maintainable when designers decide to make changes. (Thank you to Marius Jensen for the tip).

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 “Keeping up with Gutenberg – Index 2022” 
A chronological list of the WordPress Make Blog posts from various teams involved in Gutenberg development: Design, Theme Review Team, Core Editor, Core JS, Core CSS, Test and Meta team from Jan. 2021 on. Updated by yours truly. The index 2020 is here

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In his post for the Torque Magazine, How to Add Widget Areas to WordPress (Block & Classic Themes), Nick Schäfferhoff took a look at different ways to add widgets to your WordPress theme. You learn how to use widgetized areas and create new ones in classic themes, as well as how to make widgets show up in your block themes.

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Building Blocks and Tools for the Block editor

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It might be the post you have been waiting for. In his post on How to Navigate the Block Editor Handbook, Michael Burridge leads the way with Compass and Maps so to speak. “The Block Editor Handbook is intimidating even for seasoned developers. If you are new to block development, you’re likely to feel completely overwhelmed. This guide will help you find your way around the Block Editor Handbook. It suggests a learning path that will help you become an expert in no time.” he wrote in the excerpt

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Brian Coords published a tutorial about Custom Lists in WordPress with Register Block Style. He explains how to work with Block styles without a build process. It’s a great way to learn to customize the blocks without any JavaScript and very little php.

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Earlier this year, Justin Tadlock wrote about Creating custom block styles in WordPress themes, that could be another great tutorial for you.

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Need a plugin .zip from Gutenberg’s master branch?
Gutenberg Times provides daily build for testing and review.
Have you been using it? Hit reply and let me know.

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\"GitHub

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Questions? Suggestions? Ideas? Don’t hesitate to send them via email or send me a message on WordPress Slack or Twitter @bph.

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For questions to be answered on the Gutenberg Changelog, send them to changelog@gutenbergtimes.com

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Featured Image: Skyline of Athens, view of the Acropolis from the roof of the Museum for contemporary art by Birgit Pauli-Haack

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Don’t want to miss the next Weekend Edition?

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\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Sat, 24 Jun 2023 06:07:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:18:\"Birgit Pauli-Haack\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:43;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:68:\"WPTavern: Really Simple SSL Plugin Adds Free Vulnerability Detection\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146129\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:79:\"https://wptavern.com/really-simple-ssl-plugin-adds-free-vulnerability-detection\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:2999:\"

Really Simple SSL, a popular plugin used on more than five million sites for installing SSL certificates, handling website migrations, mixed content, redirects, and security headers, has added a new feature in its most recent major update.

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Version 7.0.0 introduces vulnerability detection as part of a partnership with WP Vulnerability, an open source, free API created by Javier Casares with contributions from other open source, freely available databases. Once enabled, it notifies users if a vulnerability is found and suggests actions.

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“Really Simple SSL mirrors the free database with its own instance to secure stability and deliverability, but of course provides the origin database with an API to enrich, or improve its current data,” Really Simple Plugins developer Aert Hulsebos said.

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The new vulnerability detection feature is not enabled by default, so users will need to enable it in the settings. A modal will pop up where users can configure their notifications and run the first scan.

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When emailed about a vulnerability users can manually respond with an action or set the plugin to automatically force an update (when available) after 24 hours of no response. There are other automated actions the plugin can take based on how users configure the Measures section of the settings.

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For the past several years Really Simple SSL has been providing SSL certificate configuration and installation via Let’s Encrypt as a first pass at securing WordPress sites. To finance this for the free users, the plugin also has a Pro version that handles Security Headers, such as Content Security Policies, which are highly complex for most and not easily configured.

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“We figured that with our reach we could impact security on the web as a whole, by adding features in order of impact on security,” Hulsebos said. “So vulnerabilities, after hardening features specific to WordPress, was next. 

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“The nature of our partnership with Javier and WP Vulnerability is sponsoring the efforts of WP Vulnerability and appointing a security consultant ourselves to this open-source effort to improve, and moderate the open-source database daily. WP Vulnerability does not compensate us, nor does it have a stake in Really Simple SSL. Vulnerability detection is available for everyone and always will be.”

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Because Really Simple SSL started as a lightweight SSL plugin, Hulsebos said they have taken a modular approach to minimize impact on users who only want or need certain features. Following the launch of the new vulnerability detection feature, the plugin’s authors plan to add login security with 2FA to better secure authentication on WordPress sites.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 23 Jun 2023 21:34:02 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:44;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:81:\"WPTavern: WordPress Pattern Directory Updated to Show Curated Patterns by Default\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146143\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:92:\"https://wptavern.com/wordpress-pattern-directory-updated-to-show-curated-patterns-by-default\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3905:\"

If you haven’t visited the WordPress Pattern Directory lately, it may look very different from when it launched two years ago. At first there was an emphasis on getting the community to contribute to the resource but the directory has now passed more than 1,500 patterns.

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Contributors are making changes to provide a more curated experience ahead of the inclusion of a new Pattern Directory Explorer that is still in progress. A recent update to the Pattern Directory alters the homepage and category pages to show curated patterns by default, a change that has been a bit confusing for some when returning to the directory.

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Anyone know where all the block patterns have gone on https://t.co/LpzR9lR7uc ? https://t.co/Dt9EK7Ssik #gutenberg

— Jamie Pootlepress – YouTuber and WP Plugin builder (@pootlepress) June 22, 2023
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The curated patterns are those by WordPress.org – the core bundled patterns. Community-contributed patterns are available as a filter in the dropdown of the directory’s menu.

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There are only 46 core patterns, so some category pages tend to look a little sparse and far less colorful than when community patterns are selected. At the moment, having curated patterns display by default does not offer the best experience for users coming to browse, as Pootlepress founder Jamie Marsland pointed out on Twitter. Automattic-sponsored contributor Rich Tabor responded that there is still more work to be done on providing a better curated experience in the Pattern Directory.

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The top ones are the best. Still lots to do though.

— Rich Tabor (@richard_tabor) June 23, 2023
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“This change also prepares to support the Pattern Explorer in the editor,” Automattic-sponsored contributor Kelly Choyce-Dwan said in the announcement. “It’s still in progress, but it will be possible to search through community-submitted patterns directly from the editor.”

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Choyce-Dwan referenced an effort that is currently underway to bring a new flyout to the patterns tab of the inserter inside WordPress, making the modal a place where users can more easily explore and access patterns from the directory.

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There are also related discussions on how themes could create pattern bundles, enabling the possibility of users filtering by theme. In this discussion, Automattic-sponsored contributor Anne McCarthy suggested these pattern bundles could be automatically submitted to the directory upon the theme’s approval, which would make it effortless for theme authors to contribute them.

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Updates to the Pattern Directory’s filtering are part of the redesign work on WordPress.org and more discussions are happening on the Pattern Directory GitHub repository.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Fri, 23 Jun 2023 17:44:29 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:45;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:70:\"WPTavern: WordPress.com Makes Monetization Features Available for Free\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146188\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:81:\"https://wptavern.com/wordpress-com-makes-monetization-features-available-for-free\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3111:\"

WordPress.com has been known to experiment with its pricing from time to time, and the platform announced another major change today. Users on the Free plan are now able to use monetization features without upgrading.

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In the past, WordPress.com users who wanted to earn money on their websites by collecting donations, creating a newsletter, or selling items or subscriptions, had to be on one of the paid plans. These monetization features are now available to all users on all tiers.

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The fee structure varies, based on the user’s plan. Transaction fees are the highest for Free users at 10%, but it gives creators the opportunity to see if they can make money without it costing anything upfront. Commerce plan users ($70/month or $45/month billed annually) don’t pay any transaction fees. Stripe also collects 2.9% + US$0.30 for each payment made to a Stripe account in the US.

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WordPress.com PlanPayment Fees
WordPress.com Commerce0%
WordPress.com Business2%
WordPress.com Premium4%
WordPress.com Personal8%
WordPress.com Free10%
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Self-hosted WordPress users already have many free plugin options to monetize theirs sites but with that comes the requirement of knowing how to maintain and update their own sites. WordPress.com’s offering is targeted at creators who just want to get started making money online. The company is inching closer to being a one-stop shop for websites, especially as it makes a play for former Google Domains customers who are looking for somewhere to host domains after theirs were sold to Squarespace.

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It’s important to note that creating a full-featured online store is still restricted to Business and Commerce plans. Using Pay with PayPal to accept credit and debit card payments via PayPal is also only available via an upgraded plan.

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WordPress.com’s pricing page has not yet been updated to reflect monetization features as being free – i.e. the Personal plan still lists paid subscribers and premium content gating as an upgrade. It’s possible the team hasn’t edited that page yet or this may be another pricing experiment.

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Expanding the availability of monetization features is likely to be received as a positive change, since users are not losing any features that were previously free. Instead, they have the opportunity to see if they can monetize and then adjust their plans based on their comfort level with the transaction fees extracted.

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 22 Jun 2023 22:58:38 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:46;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:57:\"WPTavern: Gravatar Adds New Payment Features for Profiles\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:30:\"https://wptavern.com/?p=146134\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:68:\"https://wptavern.com/gravatar-adds-new-payment-features-for-profiles\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:3203:\"

Up until yesterday, the Gravatar (Globally Recognized Avatar) blog lay dormant for nine years, the last post chronicling how the team set out to create a Gravatar app that somehow “morphed into a Selfies app.” Communication went silent after that, although the Twitter account posted occasionally.

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The service has pivoted to become “a personal digital business card” where users can link to various apps and websites that help to establish their identities online.

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Gravatar announced this week that it has launched new payment features for profiles. Users have the option to add links for PayPal, Venmo, and Patreon. The Gravatar team is looking at adding Cash App and more providers in the future.

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On mobile, profiles appear with new “Send Money” and “Share Profile” buttons. Each profile has its own unique QR code that can be copied and shared.

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The payment accounts show up as links that visitors can click through. Users can also display links to cryptocurrency wallet addresses, including Bitcoin (BTC), Litecoin (LTC), Dogecoin (DOGE), Ethereum (ETH), XRP, and Cardano (ADA).

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Profiles can be customized with a background image, photo gallery, social links, and links to verified services.

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Gravatar is used by Slack, Atlassian (owner of Jira and Trello), GitHub, Stack Overflow, and Disqus, serving millions of requests per day. Another new major user is OpenAI, which displays users’ Gravatar images when chatting with ChatGPT. The service is also integrated with every WordPress install, and an Automattic representative confirmed there are no plans to change this.

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Automattic reported that the company does not receive a cut of any payments passed through Gravatar links, nor does it have financial partnerships with any of the payment providers. The company also has no visibility into the transactions that happen through Gravatar payment links.

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During the past nine years, the small Gravatar team has been improving how profile pages look, adding services that can be verified, working to improve the hashing and security of data, and maintaining the infrastructure required to store and serve so many images and profiles.

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“We aren’t currently working on a Gravatar app, but it is something we are considering,” an Automattic representative told the Tavern.

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After the Selfies app was retired, some of the code went into Jetpack and is now part of the app. Jetpack users can manage their Gravatar profile information and avatar photo inside the app. 

\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Thu, 22 Jun 2023 18:58:19 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:13:\"Sarah Gooding\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:47;a:6:{s:4:\"data\";s:13:\"\n \n \n \n \n \n \n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:2:{s:0:\"\";a:5:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:75:\"Do The Woo Community: Woo AgencyChat Live with Jimmy Rosén and Shadi Manna\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"https://dothewoo.io/?p=75343\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:73:\"https://dothewoo.io/woo-agencychat-live-with-jimmy-rosen-and-shadi-manna/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:869:\"

Woo AgencyChat Live with Jimmy Rosén and Shadi Manna June 22, 2023 Transcript Shadi: Here we are, the agency chat interview with Bob. Thanks for inviting us. My name is Shadi Manna from Progressus.io and... Jimmy: And I\'m Jimmy Rosen from Angry Creative. Shadi: Where should we get started, Jimmy? Jimmy: I don\'t know. How …

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Woo AgencyChat Live with Jimmy Rosén and Shadi Manna Read More »

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>> The post Woo AgencyChat Live with Jimmy Rosén and Shadi Manna appeared first on Do the Woo - a WooCommerce Builder Community .

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Transcript ↓

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Corey Maass and Cory Miller continue the development of their new WordPress plugin, Crop.Express. In this episode, they discuss the importance of finding personal fulfillment, embracing the journey, and enjoying the process of pursuing hobbies and personal projects. They encourage everyone to reevaluate their definition of success and find meaning in the act of creation while also cherishing the connections and collaborations that come along the way.

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Top Takeaways:

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\"🔗\" Mentioned in the show:

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\"🐦\" You can follow Post Status and our guests on Twitter:

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The Post Status Draft podcast is geared toward WordPress professionals, with interviews, news, and deep analysis. \"📝\"

Browse our archives, and don’t forget to subscribe via iTunes, Google Podcasts, YouTube, Stitcher, Simplecast, or RSS. \"🎧\"

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Transcript

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Session 18 Corey & Cory Launch a WordPress Product Live

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C&C 18

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[00:00:00] Corey Maass: And don’t forget to record this time. Yeah, no.

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[00:00:23] Cory Miller: Excellent. All right everybody. Welcome back to Corey and Cordy launching a pro WordPress product live session 18. And we’ve had, we were just kind of in prep for this real quick, just talking about a little of the things that’s been going on in our lives. It’s always fun to talk real life with a great person like Corey.

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So, um, this time we’re just gonna kind of talk about catching up. We’ve been out kind of the last two, maybe three weeks I wanna say. Yep. And, um, I have been on, uh, uh, last week I was at CLOUDFEST in Austin for post status. Then we extended and went on a Epic Clark w Griswold type. Um, Road trip. Got to see Carlsbad Caverns.

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Um, and, and they were closed. Yes. No, dead ants on the roof of the minivan. When we did render vans, I had to go Griswold South. Um, but I know you’ve had things going on too, so, um, that’s a little snippet for me just trying to kinda get things a little bit better sane for me work-wise. And, um, I think that’s in preparation for the.

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Real conversation here, but um, you wanna Yeah. Updates on what you’ve been 

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[00:01:36] Corey Maass: up to. Yeah. And on my end, so it’s, I’ve, so I’ve got, you know, one, one main client and, uh, I have a monthly. They, they ask me to stay within a window of, of how much I work and what, uh, what I actually like about that is I tend to work a little less the beginning of the month.

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Um, and then, uh, which lets me work on side projects or lets me work on the house or whatever. Uh, Um, and then towards the end of the month, you know, the days get longer to make sure I hit my quota, um, and maximize my budget. But, um, so at the beginning of the month I wound up helping my dad drive from South Carolina up to Maine, um, which is a really fun road trip with dad.

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But, you know, and of course the, the client website goes down when I’m the farthest from my computer. Uh, you know, sitting at a restaurant in, uh, Fredericksburg, Virginia, if you ever have the opportunity, it’s a beautiful little place to stop. Um, but anyway, and then you can probably hear from my voice. I think last week I begged off because I was sick as a dog.

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Um, And it’s funny, it actually, you’re like, oh, it’s been I think two, three weeks and I’m like, it feels like it’s been months. Cuz I spent at least, uh, a few days last week. Literally just in bed in a NyQuil haze, you know? So it felt like weeks went by and, um, you know, and then you come out of that and you’ve gotta scramble to make up work and, um, get caught up on life.

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And, um, and then for me time, um, Always means house projects. So we’ve built another, uh, 11 times eight. So 88 feet of fencing. No. And then we turn a corner, so about 120 feet of fencing, stockade, fencing, cuz we’re getting a new foster dog. Um, and uh, so setting up a room for him and anyway, yeah, it just gets crazy.

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And, uh, and so I think you and I touched. Space briefly last week and, and said, okay, so, you know, that’s fine. We missed a week or two. Let’s, let’s start, um, moving forward. I was like, all right, you know, I’m still working on a review of, uh, the product. I’ll get you a new version for post status. I don’t think you heard from me until nine minutes ago.

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Uh, that never happened. So, yeah. You know, but it’s like, and I hate to. It, it’s easy to fall into like, well, it’s not out yet, so it, you know, there are no expectations other than our own. Yeah. Which is true. Um, you know, but it’s also like, I mean, this is, this is part of why we do this, right? Like, yeah. We’re, we’re at least part of our, our aspirations is, is freedom, uh, to make our own choices, to manage our own hours, to work on what we wanna work on.

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Um, which also means, I mean, family comes first and health comes first, and Yeah. You know, and, and paying clients come first when you’re at this stage. So, you know, these are just things we have to juggle and, and keep trying to make progress. I mean, it says everything to me that. You and I at least are like, okay, let’s keep talking once a week.

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Where are we at? You know? And, and cuz I have other people who I’ve worked with who many, many other people who, who ghost or who just wanna stop. There’s, there’s inherently so much shame in all of it that the moment they miss a day or a deadline or don’t hit the mark in some fashion, don’t want to talk about it.

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You know, I have friends who we’ve been talking about, Collaborating for years talking about like music or art or whatever. And, and now we, we, we’ve gone months where we’ll talk every week or every month, you know, how are you, how are the kids, da, da da. And we literally won’t, we won’t talk about the subject now because there’s, you know, because we didn’t, one of us didn’t move forward with it.

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There’s shame associated with it, so, you know. Definitely none of it’s that important, you know? 

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[00:05:56] Cory Miller: Yeah, exactly. Like we started with really good intentions and openness. Um, what it occurs to me is just kinda your references back to music and bands and stuff is like, I’ve not, I, I played an instrument when I was in like middle school, but I’ve not been in a band, but it’s occurs to me.

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It’s like, it seems like that you’re, mm-hmm. Stru, you know, struggling to kinda get something going. And then there’s seasons of life that happened. Um, this, this stage of my life and my career, I really see more of the seasonal aspects of life. Yeah. Better than I ever have. And you go. You know, just things you don’t, you can’t anticipate, or if you tried to, you’d have another set of problems.

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And, um, it’s just like you said, like we’ve got other priorities, but, uh, it’s important for us to keep talking. I, I think too, when I think about entrepreneurship, I think there’s like part real hard work just doing things, trying to do it consistently, getting things out there, getting the next thing, and then there’s this bigger part.

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Which is, maybe somebody would’ve called it luck, you know? But it is like magic. You know? You stay around doing something. Maybe bands operate like this, I don’t know, but like you, you got enough interest, you know something’s there, you just haven’t figured it out yet. And then a magical moment, and I say magic cuz it’s like oftentimes in my career, specifically my professional career as an entrepreneur couldn’t have planned those things, man.

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They just happened, you know? Um, however, I might have tried to take credit for them. They just happened and it’s like the reading I’ve been and work I’ve been doing too personally is like creativity. You don’t control creativity. Those really magical moments we’re talking about, they kind of blossom out.

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And there was somebody I was just like, well, Anna, who runs feeder bars, Lindsay and her have been friends for a decade, you know? Anna tried so many things over the years, so many things, and then Vita Bars was the spark, the magic that made it happen. Mm-hmm. Now, now she’s full-time with it and she’s got employees and all that kind of stuff.

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So like all that time it’s kinda like learning the piano. People go, oh, you’re at the piano. You’re doing this beautiful thing at the wedding, or whatever it is. They don’t think about all those years spent. Right. You know, in the practice of it, and it’s kinda like that moment too. It’s like, I’m dribbing for a second, but do enough things to get to a moment that, that you probably didn’t plan.

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I think most of us, at least the entrepreneurs I know would say. Yep. That’s about it. Absolutely. Yeah. However, we like to think we control it and plan it. We don’t. 

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[00:08:59] Corey Maass: And there’s, there’s time. Sometimes you, you, you ha you just have to let time go by. It’s like, in music, it’s one of the hardest things I’ve, I’ve had to learn.

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It’s like for years I made music and put out music, made music, and put out music. And then I actually started writing music that people were like, oh, this is a summertime song. It’s the end of the summer. We’re not gonna put it out now. That’d be dumb. So we’re gonna sit on it and you, and it’s like in actual pop music, you can find out that there, there were pop songs, but huge, huge hits.

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And in our minds, you know, you’re picturing, you know, Taylor Swift yesterday was in the, in the recording studio and then today you’re hearing the song cuz that’s cuz music can be live. Um, and in this day and age, sometimes that’s true and it’s a truer than it used to be. It used to be that, you know, a band would go into a studio and produce an album and it would take months and yada yada, you know.

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But a lot of the times thing, tunes or tracks or albums are actually held back. To try to be released strategically. It’s like big movies that sit on shelves for, you know, years potentially, because they’re like, this is a Christmas day blockbuster, we’re not gonna release, you know, or a summertime when all the kids are outta school type of movie.

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You know, we’re not gonna release it on the second day of school on a Tuesday. That’s dumb, you know? Um, but we don’t, we don’t really think about that, but, There’s sometimes there’s strategic reasons and sometimes like this where it’s like, I’m a lot better about it than I used to be, especially since, um, years ago now.

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So for a while I tried to make music an actual career or second career, um, and it really broke my heart. And so I stepped away from it for a while, and then when I was getting back into it, this is where having an amazing spouse is worth everything. Lindsay and I sat down, my Lindsay spelled with an A, sat down and, and she’s like, okay, so you, you know, you wanna get back into music.

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Great. Like, how do we, how does it not break your heart again? And one of the things that, that. Came outta that conversation was me being able to articulate like, okay, I’m not taking it as seriously this time, it’s a hobby. Mm-hmm. And, and so suddenly a lot of things changed. One, you know, I couldn’t just go out and, and buy new instruments or, you know, throw money at it the way I used to.

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Sure. But it also meant that like I could work on, like, I have found that I make a lot of. Music in the fall and then tend to not make any music, but it, but a lot of that music that I finish, I can like leak out again, a track a month or I can wait until summertime and put it out or whatever. And so it’s like I’ve got these big waves rather than it just being, you know, picturing this straight line of productivity.

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Um, and I think it, that kind of goes for this, this stuff too, like, This stuff. Uh, entrepreneurship side hustles. They’re, they’re side hustles. And for a long time I, I was like, I want this to be a day job. Still would love it. I’d still love my own product to be my primary focus. Then it’s a job that’s very different, right from, um, side, side hustles, um, ideas, putting out little apps, little ideas, um, little products.

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I mean, um, so. And so it’s, it’s picking things up, putting things down, um, and, and these days being okay with, again, letting some time go by or occasionally changing priorities even for a, a little while. Um, cuz there was a time when. I remember one time in particular that I was like, I was in between paying client gigs and came up with an idea [00:13:00] for an app and was like, okay, I’ve gotta crank this out and then it’s also gotta make money.

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And it was like the dumbest little idea. I won’t even share it, I’m embarrassed. Um, but it was like, it was an app that nobody wanted, you know? It solved a problem that nobody had. It was just an idea. But I remember like, Going, this is the first time where I, I, it has to make money. And I was like, it’s never gonna make money.

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Like, and I’m, so, I’m putting myself in danger here. That’s dumb. You know? Um, and that’s not to say that there aren’t entrepreneurial journeys. With VC capital or, you know, we’ve gotta double down and, and make this our full-time gig and all that stuff. But it’s like, at least for me, I find often that I’m, if I’m making decisions from a position of desperation, of, of need.

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That I’m not gonna make the best decision, you know, cuz my priorities, I can’t have any, I can’t have proper perspective on it. So, stepping back for a few weeks, honestly, what I look forward to is going back into my code, realizing that I did everything wrong and cleaning it up and then it’s a better product.

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And, and you know, are we the worst off for having missed a few weeks? Maybe. Who can say nothing’s obvious? Um, you know, but again, you know, just trying to keep moving forward with it. 

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[00:14:19] Cory Miller: I think it’s like when we’re thinking about bands and hit music or products and entrepreneurs think about, you know, with or, and Anna and yours.

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My experience in this is like, If there’s enough of a fire to keep it going. Mm-hmm. You know, just enough. It doesn’t have to be a bonfire. There’ll be times of that for sure, but, but then mostly it’s probably just. Sometimes a little candle, sometimes just a little mini campfire. But if there’s enough in fuel in there that there’s something here.

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I think time is on your, like you said, as time goes by, time is on your side because yeah, it’s only a matter of time where th where things kinda move and shift and the, the market, the world where you’re like that. Some of the classic stories, the person I’m thinking of, I think it’s a product company and how it came out.

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It’s just a recent example, but the classic ones were in Founders at Work where you almost stumbled into, backed into what became the hit thing. But you couldn’t have kind of planned that. Right. Um, where you were just keeping on a path enough, knew something was here, didn’t thought you had a beat on it a couple of times, and then just really it was just.

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The fire was stoked long enough where something did really hit and it became this, it, it became its own thing, I guess. Yeah. Lot of the, and I’m not, go ahead. A lot of the entrepreneurial stories I hear, they aren’t like the VC route. We saw a big market and we went after and we got a big money. Uh, that’s a, that’s an outlier I think, um, for the, Millions of us, the rest of us, I think it’s mostly backing into something, staying around long enough to find the opportunity that really fits.

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[00:16:09] Corey Maass: Yeah. Chipping away at it, having, having fun with it, working around real life needs, family, money, mortgages, healthcare, you know, that kind of stuff. And it’s like, and that’s kind of the difference. Like I, I have friends who I. Are, have always wanted to do something. And I’m like, so outside of their job and, and so I’m like, so do something, you know, talking art, music, entrepreneurship, whatever.

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And it’s like you just, you, you, you have it in you or you don’t is one aspect and then the timing is right. Where it’s like you have that drive and you look around and you’re like, okay, right now I’ve got a couple hours a day where I’ve got. Whatever commitment you need, you know, to work at it. And so, um, and I think you and I also, I mean this is, this is the warm and fuzzy moment, but it’s like you and I also I think, have looked for an opportunity to work together for a long time.

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So it’s like we will continue to be friends and, you know, hopeful partners in something kind of always, you know. Yep. Um, I do have to say that. We have to keep the fire burning at least long enough to, so that I get to rock the swag at WordCamp us. That’s true. These are the, these are the real important things.

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[00:17:40] Cory Miller: Um, yeah, a absolutely. I know. Um, no, and I think that’s the other part on, down to this is, you know, at the base I enjoy our conversations. It it, it’s this hot, crazy hobby we might have of. Seeing what’s out there, seen, seeing something following the path down it. And, uh, I still believe in the product. Yeah.

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Um, but it’s funny, it’s like I believe in the product, but I also believe in the path that might lead to something else. Yeah. Because, I mean, well, we’re on our second iteration of a product. Like, not even same product, there’s similarities. Mm-hmm. But like, we went down this path to here and I think it just adds to the ongoing conversation that we’re having is something’s gonna happen.

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Yeah. And then there’s a flat, simple, practical byproduct. All of this is that we’re having a conversation live and sharing our philosophies, sharing our thoughts, sharing our actions, um, all these things that has another byproduct that could lead us in another direction altogether, which is good. Yeah.

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Yeah. You just say from a professional opportunity standpoint, 

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[00:18:53] Corey Maass: right, exactly. I mean, it’s the part, being part of the same network overlapping concentric circles. Um, And, uh, and kinda seeing what comes out of it. Cuz the other, I think the other thing I’m, I’m thinking in from the perspective of somebody who’s listening, who’s like, right, you, you know, you are both established.

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You have, you know, other income streams or you’ve got your networks, you’ve, you know, and, and you’re also putting a product out there. Like, I still see people on entrepreneurial forums that are like, you know, somebody’s gonna steal my idea. And, and we have gone the other direction and, and obviously we’re not the first, but, um, of, you know, just brazenly putting it out there and taking our sweet time.

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Let’s be honest. Like if we were other people, if we had venture capital, if we, you know, Didn’t have, you know, responsibilities and mortgages and things like we’d eat ramen and we’d have cranked this thing out years, uh, months ago. And, um, and there’s absolutely the chance that somebody listens and goes, oh, that’s a great idea.

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And, and comes in and, and, Steals it and releases it before we do. Um, you know, but it’s still, like you just said, it’s all part of the journey. We’re going to put our own twist on it. We’re going to put our own experience on it and, uh, and continue to iterate on the project, the product too. So when the product does come out, like it’s very much ours.

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And it might overlap with other people’s, but frankly it already will. Like, that’s the nature of. Pretty much any product. There’s no, there’s, there’s really, you know, almost nothing that hasn’t been invented. Um, and I also, another, uh, thread I saw recently again on, um, I think it was Reddit, one of the entrepreneurial ride along, or, or one of those subreddits, um, That people were concerned about not having an idea.

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And everybody else was like, just you, you don’t, you know, okay, don’t, don’t steal an idea and reproduce it. Like that’s boring. But you know, if you can build the better mousetrap, if you can build the better to-do list, if you can build the better time tracking app, uh, you know, whatever, do it. Like, that’s how most.

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Competition starts as, as these pretty subtle little differences. Um, and then you listen to your users, you listen to your own gut, and you end up di I feel like you end up diverging more and more and more. Um, you know, and or you’ve got, you’ve got a network that, that you can tap into that existing client or existing products can’t or whatever.

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So, um, You know, it’s all, I guess I, these days I view it, I view it as kind of as a game, which is more flippant than it probably sounds, but it’s like you’re wheeling and dealing, but there’s times when you win and there’s times when you lose. God. I’m being very metaphorical here, but, um, you know, but it’s the, the.

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I view it as an ebb and flow, which is, uh, again, I think for me the, the way that I had to phrase it a while ago was like, this is a hobby. And, uh, and so it’s, it’s meant to be fun. Um, and that isn’t to say that everything we do has to be fun cuz, and, and, or that I don’t take it seriously, but, um, but it gives you, I think, a little more perspective.

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You don’t have, I don’t, I don’t have board members that I have to, or, you know, or stockholders that I have to appease. Um, And I don’t have, uh, you know, I don’t have to burn the, the, the candle at both ends, um, to make ends meet if there’s a bug. And I’ve got users that are depending on me, that happens with my apps or my plugins once in a while, but it’s honestly like once in a while.

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That’s fun. I don’t wanna do it all the time, but it’s like, oh, I’ve gotta do a little hackathon and, and you know, figure this out until 2:00 AM cuz a bunch of people are depending on me. That’s fun too, you know? So, 

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[00:22:45] Cory Miller: Yeah. It occurs to me it’s really a low pressure and stress for us, which is what we both need.

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Right. Um, having a little bit more, I mean, I guess that’s the definition of a hobby, right? You know, enjoyment without the stress and pressure. Yeah. When it switches from hobby. Oftentimes it counts with stress and pressure. Yeah. 

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[00:23:08] Corey Maass: Well, and and it’s interesting cuz like I, I worked at startups, you know, it’s like I’ve done, I’ve done a lot of work in WordPress, um, and there’s been a lot of overlap.

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But I also, for a long time specifically was working for and with and at startups, um, of different natures. Um, and some of it was WordPress work and some of it was not. But there, there, and I was in New York City for a long, long time, um, so-called Silicon Alley. Um, during the WeWork stuff, I think I’ve mentioned that before.

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You can actually see me in the WeWork movie and, um, and all that. And I was surrounded by people who were hustling all the hustlers and, and all that stuff. And it’s like, Most people were chipping away. I mean, almost like, like almost anything. It’s a, everything’s a bell curve, right? So most of the people on the bell curve were just chipping away, you know, and they weren’t burning themselves out, but they weren’t also only working a day a week or something.

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And you had people who were working very, very hard. And you did have people who were there just for the lifestyle and honestly spent all day just playing ping pong. Um, and were there for the beer kegs, you know? Um, But working at different startups, like I’ve worked at startups where it was all hustle, hustle, hustle, and we’ve gotta put in long hours.

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And, um, and I, I found that I got out of those pretty quickly in part because I would, would burn out. Um, and I think it would be different if I had been in charge. Um, but like the one main startup where I was CTO was. Um, I think there’s a cultural difference here. Um, but it was in Nashville. It wasn’t in New York.

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So there’s, um, there two things were different. We were not in the hustle bustle of New York City. Nashville’s a little more easygoing. Um, but also we were generally all, you know, in our thirties and older, we weren’t all a type. Hustler entrepreneurs. Um, and then, uh, stereotypically, uh, down south you’ve got family values are, uh, or at least the family itself is prioritized higher.

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And so we, there, we absolutely put in some long days, but for the most part it was. A priority of the founder and subsequently everybody else on the team that, you know, you wouldn’t, if it could be done tomorrow, if it was five or six o’clock, then fine. Do it tomorrow. You know, keep chipping away, make good progress.

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But, um, you know, but you didn’t, we didn’t have to burn ourselves out. Uh, we weren’t gonna really get anywhere by burning ourselves out. And, and we did just fine till we ran outta money, which happens with startups. Um, you know, but it, but it doesn’t, it doesn’t always have to be that crazy atmosphere. Yeah.

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I, I 

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[00:26:02] Cory Miller: can’t help but think there’s a shift going on globally too, with work. 

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[00:26:07] Corey Maass: Um, what, sorry, what, what was it like at, like, ithe or, you know, some of the, the bigger places you’ve worked? 

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[00:26:13] Cory Miller: The biggest place I have been be beyond like liquid web would be, um, I was at a seminary and I think there was 150, 200 people employed by the seminary.

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Maybe that it’s too much. No, I actually, there’s a hundred, 150, um, that, that was just a very academic setting, so it was money, always money. So, Um, I loved it cause it was a learning stuff, but as far as like in the past, um, you know, I worked at newspapers, so it was always deadline. I think it was more startup, you know?

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Yeah. Very much startup. Except every day we were launching a new product. 

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[00:26:58] Corey Maass: That’s, that’s insane. 

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[00:27:00] Cory Miller: Which I think is why I probably liked entrepreneurship is just the deadlines and product is, it was so fulfilling to come. At the end of the day. But as far as values and stuff goes, I think I learned more in my leadership from what the not to do what I didn’t like, the obsession with whatever the goal was at the expense of people and just realistically, like what are we expecting people to do?

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You know, I could, my truck. Get it all, get it up to 150 miles per hour and get into the red line, then it’s eventually gonna break. And I don’t think you can do that. We try to do that with people. Um, but I took a lot of those lessons leadership wise. I had, um, probably some things I go, I’m not gonna do that ever.

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My last job before I started iThemes, um, I worked for a really amazing pastor. The one that kind of refreshed my optimism that. There could be one who at the time, the way I understood the Bible was be just a shepherd. You know? Um, he was really awesome. I really, I, I took his archive as a leader into, into I themes or eventually when we grew on our team.

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But you’re right, the first, first couple years, um, it was just fun and new. It was creating stuff. With hopes and dreams and thoughts and ideas and, uh, it was messy. Um, it was messy, but we got to do some cool stuff. We did like create an office that eventually grew to about 5,000 square feet and got to, like, my dad actually drove up.

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From about two hours from where he lives from us and came and helped me, helped us demolish some of the walls that were up at this place. Cause we wanted more of that bigger open thing and we went to IKEA and get all the tables. And I think about all that initial time, very romantically, very affectionately, because it was just, we didn’t all know.

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We didn’t know what we were doing. I sure as hell didn’t know what I was doing, but it was fun creating something that. What would our expression look like? And so I would say for the first three years it was just kinda hanging on and having fun with, yeah, doing some real stuff. Um, there was electricity in the air and uh, with a whole set of problems that developed out of that.

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And then I think when we hit about a million in revenue, I couldn’t manage the team by myself. Um, we were up to at least 10 people by that time and. I think things got more serious and probably professional, um, in the sense of, okay, you know, we, we had health insurance probably I think our first year. As soon as we hired the first couple employees we needed to get health insurance type of thing.

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And uh, but I think that year something was different is like, we’ve got something here. Yeah. Lining in the bottle. Let’s figure out how to protect it, grow it. Maintain it. And um, and so we needed some of the structure in there. Um, my value as leader though, was always, like, I did a talk early on. I was like, I wanted to build a tree house.

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I wanted to have a tree house, and I wanted to invite all these cool people to play with me in the tree house. That’s what it was the first couple years. And, and some really good stuff came out of that. Um, you know, we didn’t fall out of the tree house and break her arm. Um, mostly, and then it was, it was shifting of like, holy crap, like look at this thing, we gotta figure out that.

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And then, but when it really serious was toward the end when it was like, oh, there was more children of our employees than there were employees, and that was responsibility barrier. And then it’s like, house gets a little serious, you know? Yeah. 

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[00:31:07] Corey Maass: That’s interesting. Um, 

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[00:31:11] Cory Miller: so yeah, I’m. I look back at that time very fondly and nostalgically.

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Um, cuz I remember it was toward the end of the year. No, it was after the first of the year. And I got invited to be in, uh, entrepreneurs organization and said, well, you need a million in sales. And I remember going to our accountant like in January and going, okay, where do we hit? And we were like, $70 over a million or something.

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And I thought we did it, but here’s how weird it was. More treehouse thing is like, That money didn’t flow directly to me. That was, I wasn’t swimming in the lap of luxury or anything. It was like that childhood c childish feeling of I get the high score on Gallagher. Oh wow. We did it. We did it. You know, and, uh, [00:32:00] but what’s, what’s crazy related to the whole entrepreneur journey is I think that was probably, I.

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Those circumstances and timing and backing into that was just ideal, obviously. But I go, it wasn’t all luck, right? It was both. It was all luck, all hard work. You know? It was both. Um, cuz I’ve since then tried to recreate the magic experiment, you know? Yeah. It was cool. My partner came in, I think it was our first year, we had our first office, and I would buy these, sorry, I’m these plastic tables from Sam’s Club.

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Mm-hmm. Basically picnic tables, you know. Yeah. And I was like, these are our desks. I held onto that for the longest time until we got our next office. And Matt was like my co he was like, Time to time to probably upgrade from the white desk. And I was like, no, I don’t want to. I did eventually. Um, but I think that was part of that magic right time, right place, right?

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People were partners, right. WordPress. Um, but it, I that those conditions were really conducive to creativity and magic and pulling. People were pull. Pulled in to that, like Christine was one, um, I think it was our second or third team member, man, changed the change, solidified the entire direction of the company and.

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Um, huge, uh, different people like Dusti Bolton, Matt Danner, and Kristen Rutten, and different people that poured into our orbit. I go, wow, this is cool. So like when you talk about band, I go, that’s what my band was. Mm-hmm. Because it’s just like, we just made really good music for a long time. Yep. Uh, but how do I recreate that?

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That’s been the obsession for the last five years. Uh, until I just go, that was done. That was there. Yeah. That was album. I laid, we laid, excuse me. And it’s on to new music, right? 

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[00:34:03] Corey Maass: Yeah. Or yeah, arriving at a different thing, different voices. You can’t just recreate the same thing. Music’s always the perfect metaphor in, in entrepreneurship, ownership and programming.

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And I think there’s a reason why so many of us are into music or are musicians or whatever. Um, but yeah, and I think that’s, That’s what a lot of, like, I, I was really into all the entrepreneur stories for a long time and I’m glad I listened to a bunch of the podcasts and, you know, and whatnot. But you can’t recreate somebody else’s story can be inspired 

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[00:34:44] Cory Miller: by for sure.

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[00:34:46] Corey Maass: Oh hundred percent. A hundred percent. And, and, and some of it is good advice or, you know, in certain situations you’re like, oh, you know, I remember this thing. It’s like, like reading a playbook, but you still have to know what plays to apply or whatever. 

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[00:35:01] Cory Miller: I, so when I le met Lindsay and in like 2010, which was that year, we hit a million, um, we started this thing that, um, was called Startup Sofa.

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[00:35:13] Corey Maass: I’m sorry, I’m laughing because you know, you’re, She’s clearly in it for the money. Um, you know, yes. That year, you know, you were walking around being like, uh, my company just turned a million. You know what? Beautiful women want, want, want me now? She, she, 

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[00:35:30] Cory Miller: she remembers. She goes, no, you know, we were dating when.

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You hit your first six figure month. And I was like, Uhhuh, I realized everything got better with you. It did. Um, that’s the other way 

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[00:35:44] Corey Maass: she sees it. The she sees it the other way around. Yeah. 

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[00:35:47] Cory Miller: And it. And honestly, candidly, it did, everything did get better when you just had some like, like while we’re doing this together, not apart, right?

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It’s right. It’s just better together. I’ve said that with post status. All the other things, it’s like, God, as much as I want to think I’m a solo act, I’m really not. Well, I’m much better as a collaborator. Um, oh, so we started, I started this thing called Startup Sofa, um, and tried to share all these things I had learned.

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I was laughing, telling her that, and I said, I was two years into this thing and thought I was, I could share, I do believe there’s a point where if you’re like one step, two step ahead of someone, sure it’s very helpful. It’s very good stuff. Like this is where I’ve got, uh, but I started laughing. I go, cuz now I try to share less.

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I really actively try to not give advice as best I can until I go, okay, now it’s time for advice. I just share experiences cuz I go right. Everybody I hear doing that and you’re like, how long have you been doing this? All right. Have you been doing it exactly the way they have? Do you know their dna N do you know their company?

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Do you know the mix? Do you know the environment? The answer is no. Very few bands lose their cover singer and have can just plug in another person and know, I think Queen is one of them, but you’re like, it’s very hard to, the magic is that band, those people that time to 

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[00:37:12] Corey Maass: do that. Yeah. Yeah. And I mean, you can’t, and time is is the other, is the other thing.

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It’s like you can’t, you know, I’m, I’m stuck in that a little bit with music. It’s like I am, I am getting better and better at making a genre that basically died 10 years ago. I do it cuz I love it. And again, I’m, I’m, there are moments where I’m like, uh, these other genres are more popular. I would get more airplay if I switch genres again cuz I switched genres.

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Like I rode a lot, the wave of, a lot of genres for a lot of years and I was sincere about it. I wasn’t, cuz I, I’ve never made music thinking that it was really going to get popular or what have you. Um, But now I make the music that I love the most and nothing else has come along that I love more. Um, but, so if you’re the perfect band, but you’re making seventies rock, uh, you might have a hard time if it sounds too much.

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Just like seventies rock, you know? Okay. That’s 

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[00:38:15] Cory Miller: so good because then I go, there’s this other part to the whole magic is that you want magic to happen. Probably some baseline passion, desire, interest for you. Seventies rock music, right? And I go, well, as time goes by, everything works in cycles. We know it might be dead 10 years ago, but it could be alive 10 years from now.

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And you’re like, oh, it’s those people that I admire very much, Corey, that have their interests and desires and passions and don’t. Stop. Mm-hmm. There’s some little fire of that in what we’re talking about while we keep showing up on [00:39:00] Wednesdays. But I really admire it because I go, those are the people that, that something is gonna happen.

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It’s probably gonna be better than what they imagined. Not what they imagined, but better. And, uh, I go to like seventies music. You said it just so organically. It’s something I, I like probably not gonna stop and then I go, well, if you stay around for another 20 years, Doing that, something’s gonna happen of that.

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Right, 

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[00:39:25] Corey Maass: right. I mean, that’s been proven over and over again and it doesn’t happen for everybody. And I’m, I have, you know, there’s, there’s two thi, two things, only two, there are at least two. One, one is persistence, um, doing what you love. And, but again, this is where, and for me it had to be. Calling it a hobby, you have to make your peace with it.

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I think that’s the bigger, uh, the wider way to describe it is like there are people who are session musicians, you know, there are people who are, um, who will try to ride each wave to make the next, you know, hit song based on what trends are now. Um, there are people who would just grind. Um, Derek Sives talks a lot about this.

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Yeah. Um, love his work. And, um, you know, and, and, uh, and he’s a good example. And other people, uh, who are like, okay, well I’m going to, I’m gonna do other things to, you know, to pay the bills, but, uh, my passion lies over here. And, uh, because it’s my passion, it will, I will always keep chipping away at it kind of thing.

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Um, but I think, so that’s, that’s sort of one line. And then there’s another line, which is time and perspective and, um, Because you talk about good things will happen to them eventually. Right? And so it’s like I, for me, part of that I think can be the lowering of expectations, uh, which sounds so old and cynical and beaten down, but it’s like I get more out of.

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Smaller things musically, like again, I’m, I’m, I’m getting older and older. The likelihood that even if I got a song that blew up, am I gonna tour on that at age 46? I also, I generally make music that that’s popular in England and so am I going to tour in England at age 46 and I can barely stay awake past 10:00 PM Am I, am I really gonna go DJ gigs at three in the morning?

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No. You know, uh, and so managing, managing expectations and it’s like I’ve, but I, and being content with, uh, a little bit of airplay here and there, or the people who, uh, I’ve now been friends with for. You know, decades coming to me and saying like, this is the best song you’ve ever written. I’m like, that’s enough.

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Like, I don’t, you know, yes, I would still love, you know, uh, endless BBC airplay or something, but the li the likelihood is less. And so it’s the, uh, staying consistent for me. Staying consistent, plugging away, doing what I wanna do, but then also being more and more content with, again, smaller wins. Um, cuz it’s like there’s, yeah.

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You know, it’s hard not to like, um, I am reacting to what you just said of like going, there’s a lot of entrepreneur advice that, that the entrepreneurs that I was following, like for years I wanted to go to, um, Rob Walling and, and Mike, they do startups for the rest of us. Um, and they do a conference, MicroCon.

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Yeah. For years I wanted to go to MicroComp and, and then it, and, and I went to businesses, software, and some of these that were, I. Like only a few of the talks were relevant to the very, very bootstrapping I was doing. Um, and now even MicroComp, I mean, and years ago they split into two tracks. I don’t know where they are anymore, but the last time I looked, and this is no criticism of them, it’s just like I never.

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I never was able to go up, up, up with all the other people that were going up, up, up. And so then they were all, you know, you, you were, you mentioned being a couple of rungs ahead of me. They were ladders ahead of me. And so it stopped being, um, pertinent. Um, and I also took my foot off the gas and, and aimed a little smaller.

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And again, qualifying more the more side hustles and, and you know, uh, and stuff like that. And so it’s like, I struggle, I go back and forth, right? Pride at the end of my life, I, I would love to have owned a gajillion dollar company, or more importantly to me, honestly, would be to have a gajillion user product.

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Um, cuz it’s just more fun, frankly, and, and presume that money would come out of it and stuff like that. But it’s like, what are my, what are my actual goals? Like, why at 46 do I code extracurr? I, I, it’s a hobby. I love it. Okay, but what, what are the goals? You know, are there still goals? Am I still trying to earn millions of dollars?

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Like what is, it’s like I always, I always talk about, um, I don’t know, I, I don’t actually know anybody who makes canoes, but I always talk about, Uh, the, or I love the idea of a person who, cuz I think I, it’s the most frivolous thing I can think of. Um, and that’s that, and I don’t mean that negatively, but as a hobby, like in your garage, taking up most of your a, a car bay.

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So one of your cars probably has to be parked in the, in the driveway so that you can make a canoe. I guarantee you don’t need a canoe. And, and the world doesn’t need another canoe. There are canoes that you could go buy, probably get one for free because everybody buys a canoe and then never ends up using it.

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That’s, at least that was me, my family growing up. Um, but anyway, it’s like that to me is the epitome of a hobby. It’s pure love. Absolutely nothing in the world needs or requires or even probably encourages you to build a canoe, but you want to, so you’re gonna do it. Um, and that’s, and then I look at, at what I’m doing and it’s like, okay, well the, if, you know, the end goal of a canoe is that you can put it in the water and paddle it around, right?

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It’s like, so the end goal for me, for building a product is users as people, users it. And I’m like, look, I, I brought value or joy or productivity or, you know, something that it’s validating. Um, You know, but, but in the grand scheme of things, like there was a time when I was like, you know, the goal is to make a gajillion dollars.

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Um, now it’s like I’ve, I’ve gotten, I’ve gotten smaller and smaller and smaller. Now it’s to make a good product that people use. Mm-hmm. And it’s like, is that because I have failed so many times that my expectations have gone down, down, down, or. Is that still I’ve, I’ve, for myself, I have distilled it down to, that’s the first real spark, and then you kind of grow a, ideally grow a fire from there, right?

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If you’ve got people using something, then you’ve got something, presumably, and then that’s where you, you know, uh, You are, you are the fuel, and I’m the f I’m the spark or whatever, you know, that’s where you and I collaborate because fire takes three things. Um, and so you, you can’t, you probably can’t do it yourself or you don’t want to.

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Um, and, or, you know, the idea of cool people working together to build something bigger and bigger and bigger. And so part of the joy is like, I was texting my, talking about the, the startup in Nashville. I was texting with the ceo. Yes. This weekend, you know, and I haven’t, and that was at least 10 years ago.

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So it’s like friendships that last, or fond memories or, or war stories or, you know, I don’t know. It’s hard to, I’m, I’m totally rambling, but it’s hard to quantify now, harder to quantify now for me, like. Why on earth I do this, but I do it and it brings me joy and maybe that’s all I need. 

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[00:47:30] Cory Miller: Yeah. We’ve talked a lot about hobbies and historically I’ve been like, I don’t have hobbies.

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I have work, I don’t have a home life. Um, and work was always my hobby. I mean, I would say even before I, I could, I had so much fun. It was like a hobby, I guess. Mm-hmm. Um, and most of the business was fun and I didn’t. Have time and want to have time for other hobbies. Like it had to be productive. When you said hobby, it’s like when you’re talking about the canoe, I go, there’s a reason the person has makes space in the garage and the significant other probably goes, we don’t have any garage cause the canoe.

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But I go, that energy, that passion needs to take up space in your life somehow. And I go, so I haven’t had those. I do have two motorcycle, um, two motorcycles and the girls that don’t work. Um, but like what takes up space? I guess I was thinking what takes up space and this is it, this is part of this. So like we talked about it and your, your thoughts and hobbies have helped me so much more as go, I still think about it as.

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For some reason, I, it’s hard for me to do something just for the value of doing it. The joy of doing it. Yeah. Um, I do have joy in doing things that build. I just want the practical something to the end. But I go, you know, this has, this, this time should take, uh, space in my life because I enjoy it. Right for that only value.

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That’s something that did not exist probably a year ago, five years ago. 10 years ago. In my, in my mind, in my heart, because I was like, well, it’s just extra. It does take up just like the canoe in the garage takes up space, that other things could be there, but I go. No, enjoy talking to you. Enjoy having these conversations.

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Enjoy tinkering with these products. This is our little mm-hmm. Garage hobby. You know, my version because I don’t physical things, you know, you build fences and stuff. Um, I, I don’t really do a lot of that. Don’t feel like I have always the ability and patience to do it, but I was like, hobby that builds, I, that’s my version of hobby is something, even when I could say I.

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My reading hobby, my hiking hobby, for me, it still builds. I’d need that part. It’s just, it connects somewhere back. Um, like I can say we’re gonna my daughter and sent her home. Of course summer, we’ll go to the swimming pool. The value of that is rest and recuperation and enjoying time with them. That checks by something that builds.

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Sure. Thing, but I don’t know. As you were talking, I was like, no, it’s this time should take up this space. It has taken up, what, the last six months I think we’re our 18th session. 

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[00:50:40] Corey Maass: Yeah. I, yeah. I love, I love that you say it that way, like I think the hard part is, again, settling it in your own mind and then explaining it to other people.

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Yeah. And, and I know that we’ve struggled a little bit, um, where to my wife, it looks like I’m working all the time and I’m like, yeah. And sometimes I am. And sometimes it’s work, but it’s not earning me any money. And sometimes it’s fun and it’s not earning me any money. And it’s, you know, and it’s like there are four, the four quadrants of earns money or doesn’t, and it’s fun or it isn’t, but, um, and it’s client work or it’s not.

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And, and I know that like my folks struggle with this too. My dad, my folks are retired, but my dad still writes papers, um, using research that he did during his career as a forester. Um, And it just brings him joy. And my mom’s like, get off the damn computer, where, you know, go play golf. We’re retired.

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That’s not the retirement she wants. It’s the retirement he wants, you know? Um, and so it’s the hard, sometimes it’s hard to explain or show to other people, like, this is okay, this is what I wanna do. It’s like, as long as you’re getting enough exercise in vitamin D, you know, uh, but it’s, you know, cuz it’s, And it’s funny cuz people will look at gaming, you know, it’s like, oh, well you’re, you’re 10, 12 hours a day in front of the TV going zap, zap, zap or whatever.

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You know? We’ll go, okay, that’s fi that’s fine. That’s a hobby. It’s like, It may or may not be the healthiest me sitting here typing, building something, and I’m not judging one against the other, obviously, but it’s the, like, it’s hard to, it’s, it, it’s not as easy to demonstrate that it’s the same sort of thing of like, no, this is fun.

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You know? 

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[00:52:35] Cory Miller: Oh yeah. I, you know, self-care is all in the rage and I’m glad it is, but I go, it’s such an abstract concept for me. But because I’m, I try to be pretty practical with things, but I go, you know, that time and space is valuable to me. And you put the other part, is it seen as valued by others? And that’s another conversation.

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But I go, what I’m trying to do is like, I don’t have those things. Maybe I don’t consciously have those things a take up space that I go, this is me, this is for me. Right. It’s for others but me and this whole concept of taking, so I says, what the heck does that talk about? It means for me personally, being in a line, not worrying about everybody else, necessarily worrying about me too.

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I’m okay to be in this space. Um, there’s a great person on Instagram talking about, or Instagram talking about Enneagram, and I’m an Enneagram nine, which is peacemaker Art Tap. And the one thing they said, take up space. And I said, I think I’m starting to get that now from canoe in the garage to standing in line.

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And you know what? I’m in this part and I’m gonna take this particular space, you know, for myself. Yeah. And I think that goes back to hobbies is now of course communication with sniff and others and all that stuff. But I go, it’s one added element I think our conversations have been so enriching for me is just go, it’s okay.

\n\n\n\n

This time our async time takes up space and what I increasingly see is limited time. Yeah. And energy. But I go, I wanted to take up space. I wanted to take up that space. And you know, that’s the amber that I think keeps me coming to this. Uh, and then, you know, you never know. You just never know. Yep. Like we’re not losing our house families, all this stuff, like you said earlier.

\n\n\n\n

Yep. So good reflection on a Wednesday. 

\n\n\n\n

[00:54:48] Corey Maass: So, uh, I think both of us have limited availability for a while, but as we’ve said so I’m the only thing that is tugging at my sleeve. Given, given the reflection that we’ve just done, like I’m, I would be okay if time went by. Um, but the, the little bit that’s, that’s nagging at me is that we’re, we are really close.

\n\n\n\n

Like I have something working. Um, and so I think that that’s gonna keep, that’s gonna drive me soon to, again, start putting in a few hours here and there, um, to try to get something. Out the door, um, for you to use. For me to use and mm-hmm. Um, and you know, as quick as we can get it on the website. And, and so it’s on, it’s for sale.

\n\n\n\n

Like, and there it is. People can try it. And, and you know, um, we were 

\n\n\n\n

[00:55:55] Cory Miller: talking about our, don’t think feature damages post says that are gonna, we got this new theme in staging. We’re gonna be launching before work camps. I’ll say July 1st, and realizing thumbnails on the feature, damage on the archive pages, uh, how we’re gonna do the feature damages in the post gonna need to change as an awareness thing from the post edit client side.

\n\n\n\n

I go, this is gonna be good, you know, we’ll keep iterating on this. Um, with when, when you’re able to get the new update. Is, um, I think there’d be a lot of good feedback there, um, to how does that look on that home? How does that look on the inside page? That I think is that cornerstone to value for, yeah.

\n\n\n\n

So I like to say, I think it’s good timing when you get the new update, put it on staging, start trying it out. We’ll have another round of feedback. 

\n\n\n\n

[00:56:52] Corey Maass: Yeah, exactly. Exactly. So yeah, baby steps or big steps sometimes, you know. Yeah. But. Keep moving forward. Sounds good. 

\n\n\n\n

[00:57:04] Cory Miller: All right. Thanks my friend. 

\n\n\n\n

[00:57:05] Corey Maass: Yeah, great talking as ever.

\n\n\n\n

You too. 

\n\n\n\n

[00:57:08] Cory Miller: Talk to you next week. 

\n\n\n\n

Bye.

\n

This article was published at Post Status — the community for WordPress professionals.

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Have you updated your free Gravatar profile page recently?

\n\n\n\n

We are excited to announce the launch of new payment features on Gravatar profiles! 

\n\n\n\n

Now, you can add verified payment links for PayPal, Venmo, and Patreon and share your cryptocurrency wallet addresses (Bitcoin, Dogecoin, Ethereum, and more). When someone looks at your profile on their phone, they’ll see a new button at the top to Send Money. 

\n\n\n\n\n\n\n\n

A new Share Profile button also displays your unique QR code and a simple way to copy your link, allowing you to share your profile with others quickly.

\n\n\n\n

Millions of people view Gravatar profiles every month. Keep your profile up-to-date and manage your online identity by adding verified links to the services you use, such as Instagram, Tumblr, GitHub, Mastodon, and more. Adding multiple payment options to your profile builds trust that those paying you know they have the correct account.

\n\n\n\n

Gravatar is your personal digital business card. And now a one-stop place for those that need to send you payments.

\n\n\n\n
\n
Edit Your Profile
\n\n\n\n
Claim Your New Gravatar
\n
\n\n\n\n
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Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13193&preview=1&page_id=13927&post_type=post&nc=53b00fe9\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13193&all=1&nc=ee4afe98\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13927&nc=c8c7da0c\r\n\";s:4:\"time\";i:1698043146;s:8:\"time_gmt\";i:1698035946;s:11:\"revision_id\";i:13927;s:7:\"post_id\";i:13193;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:10;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:70:\"[Partition Le Livre d\'Image] Notification d’approbation de révision\";s:7:\"message\";s:88:\"\"Le demandeur était valentin.le moign.\r\n\r\nVoir en ligne : https://localhost/?p=13193\r\n\";s:4:\"time\";i:1698044181;s:8:\"time_gmt\";i:1698036981;s:11:\"revision_id\";i:13927;s:7:\"post_id\";i:13193;s:17:\"notification_type\";s:17:\"revision-approval\";s:18:\"notification_class\";s:26:\"rev_approval_notify_author\";}i:11;a:9:{s:7:\"address\";s:25:\"valentinlemoign@gmail.com\";s:5:\"title\";s:70:\"[Partition Le Livre d\'Image] Notification d’approbation de révision\";s:7:\"message\";s:118:\"La demande de révision pour Article « 0’02 » a été traitée.\r\n\r\nVoir en ligne : https://localhost/?p=13193\r\n\";s:4:\"time\";i:1698044181;s:8:\"time_gmt\";i:1698036981;s:11:\"revision_id\";i:13927;s:7:\"post_id\";i:13193;s:17:\"notification_type\";s:17:\"revision-approval\";s:18:\"notification_class\";s:27:\"rev_approval_notify_revisor\";}i:12;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:511:\"utilisateur.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=13934&post_type=post&nc=9173a2bb\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=3f405cff\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13934&nc=961fb8ec\r\n\";s:4:\"time\";i:1698083277;s:8:\"time_gmt\";i:1698076077;s:11:\"revision_id\";i:13934;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:13;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:511:\"utilisateur.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=13937&post_type=post&nc=2e2c76e0\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=2995de73\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13937&nc=1e1dd58e\r\n\";s:4:\"time\";i:1698090458;s:8:\"time_gmt\";i:1698083258;s:11:\"revision_id\";i:13937;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:14;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:512:\"utilisateur.test a envoyé des modifications à la « 01’04 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13202&preview=1&page_id=13949&post_type=post&nc=2e54b3c6\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13202&all=1&nc=8f6a85cd\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13949&nc=2bdf032e\r\n\";s:4:\"time\";i:1698234573;s:8:\"time_gmt\";i:1698227373;s:11:\"revision_id\";i:13949;s:7:\"post_id\";i:13202;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:15;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:505:\"test.test a envoyé des modifications à la « 02’11 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13215&preview=1&page_id=13952&post_type=post&nc=f4797b67\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13215&all=1&nc=f9e38fa6\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13952&nc=ffed3968\r\n\";s:4:\"time\";i:1698315217;s:8:\"time_gmt\";i:1698308017;s:11:\"revision_id\";i:13952;s:7:\"post_id\";i:13215;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:16;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:70:\"[Partition Le Livre d\'Image] Notification d’approbation de révision\";s:7:\"message\";s:80:\"\"Le demandeur était test.test.\r\n\r\nVoir en ligne : https://localhost/?p=13215\r\n\";s:4:\"time\";i:1698315598;s:8:\"time_gmt\";i:1698308398;s:11:\"revision_id\";i:13952;s:7:\"post_id\";i:13215;s:17:\"notification_type\";s:17:\"revision-approval\";s:18:\"notification_class\";s:26:\"rev_approval_notify_author\";}i:17;a:9:{s:7:\"address\";s:23:\"emailtest@emailtest.com\";s:5:\"title\";s:70:\"[Partition Le Livre d\'Image] Notification d’approbation de révision\";s:7:\"message\";s:119:\"La demande de révision pour Article « 02’11 » a été traitée.\r\n\r\nVoir en ligne : https://localhost/?p=13215\r\n\";s:4:\"time\";i:1698315598;s:8:\"time_gmt\";i:1698308398;s:11:\"revision_id\";i:13952;s:7:\"post_id\";i:13215;s:17:\"notification_type\";s:17:\"revision-approval\";s:18:\"notification_class\";s:27:\"rev_approval_notify_revisor\";}i:18;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=13956&post_type=post&nc=e7f03b0b\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=1da2301f\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13956&nc=4f92fa5f\r\n\";s:4:\"time\";i:1699366059;s:8:\"time_gmt\";i:1699362459;s:11:\"revision_id\";i:13956;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:19;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=13960&post_type=post&nc=4c7604fe\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=54b42b20\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13960&nc=e35b419f\r\n\";s:4:\"time\";i:1699366815;s:8:\"time_gmt\";i:1699363215;s:11:\"revision_id\";i:13960;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:20;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=13962&post_type=post&nc=e8c63ba4\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=3ff750ab\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13962&nc=706a1050\r\n\";s:4:\"time\";i:1699368524;s:8:\"time_gmt\";i:1699364924;s:11:\"revision_id\";i:13962;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:21;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:67:\"[Partition Le Livre d\'Image] Révision envoyée a été mis à jour\";s:7:\"message\";s:423:\"val a mis à jour une révision envoyée de la article « 0’26 ».\r\n\r\nAperçu et approbation : https://localhost/?p=13198&preview=1&page_id=13955&post_type=post&nc=2bdab837\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13198&all=1&nc=b07dfa51\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13955&nc=43d9c7be\r\n\";s:4:\"time\";i:1699519791;s:8:\"time_gmt\";i:1699516191;s:11:\"revision_id\";i:13955;s:7:\"post_id\";i:13198;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:22;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:67:\"[Partition Le Livre d\'Image] Révision envoyée a été mis à jour\";s:7:\"message\";s:424:\"val a mis à jour une révision envoyée de la article « 01’04 ».\r\n\r\nAperçu et approbation : https://localhost/?p=13202&preview=1&page_id=13949&post_type=post&nc=99bfb6f5\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13202&all=1&nc=4367b220\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13949&nc=33134302\r\n\";s:4:\"time\";i:1699519791;s:8:\"time_gmt\";i:1699516191;s:11:\"revision_id\";i:13949;s:7:\"post_id\";i:13202;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:23;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:67:\"[Partition Le Livre d\'Image] Révision envoyée a été mis à jour\";s:7:\"message\";s:424:\"val a mis à jour une révision envoyée de la article « 02’31 ».\r\n\r\nAperçu et approbation : https://localhost/?p=13216&preview=1&page_id=13954&post_type=post&nc=46f614d4\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13216&all=1&nc=464e8fdc\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13954&nc=f5576811\r\n\";s:4:\"time\";i:1699519792;s:8:\"time_gmt\";i:1699516192;s:11:\"revision_id\";i:13954;s:7:\"post_id\";i:13216;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:24;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:67:\"[Partition Le Livre d\'Image] Révision envoyée a été mis à jour\";s:7:\"message\";s:423:\"val a mis à jour une révision envoyée de la article « 0’26 ».\r\n\r\nAperçu et approbation : https://localhost/?p=13198&preview=1&page_id=13955&post_type=post&nc=c96b887c\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13198&all=1&nc=53911153\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13955&nc=a1cbf0d0\r\n\";s:4:\"time\";i:1699519994;s:8:\"time_gmt\";i:1699516394;s:11:\"revision_id\";i:13955;s:7:\"post_id\";i:13198;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:25;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:67:\"[Partition Le Livre d\'Image] Révision envoyée a été mis à jour\";s:7:\"message\";s:424:\"val a mis à jour une révision envoyée de la article « 01’04 ».\r\n\r\nAperçu et approbation : https://localhost/?p=13202&preview=1&page_id=13949&post_type=post&nc=774e5efc\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13202&all=1&nc=e39897a1\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13949&nc=b8a64852\r\n\";s:4:\"time\";i:1699519994;s:8:\"time_gmt\";i:1699516394;s:11:\"revision_id\";i:13949;s:7:\"post_id\";i:13202;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:26;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:67:\"[Partition Le Livre d\'Image] Révision envoyée a été mis à jour\";s:7:\"message\";s:424:\"val a mis à jour une révision envoyée de la article « 02’31 ».\r\n\r\nAperçu et approbation : https://localhost/?p=13216&preview=1&page_id=13954&post_type=post&nc=7154f869\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13216&all=1&nc=387cd4f0\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=13954&nc=23f6f497\r\n\";s:4:\"time\";i:1699519995;s:8:\"time_gmt\";i:1699516395;s:11:\"revision_id\";i:13954;s:7:\"post_id\";i:13216;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:27;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14678&post_type=post&nc=6a7dcecc\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=f290c885\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14678&nc=f166d7cd\r\n\";s:4:\"time\";i:1699522284;s:8:\"time_gmt\";i:1699518684;s:11:\"revision_id\";i:14678;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:28;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:505:\"test.test a envoyé des modifications à la « 01’29 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13205&preview=1&page_id=14680&post_type=post&nc=99f999d2\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13205&all=1&nc=1ded4b4b\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14680&nc=2554586c\r\n\";s:4:\"time\";i:1699522768;s:8:\"time_gmt\";i:1699519168;s:11:\"revision_id\";i:14680;s:7:\"post_id\";i:13205;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:29;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:70:\"[Partition Le Livre d\'Image] Notification d’approbation de révision\";s:7:\"message\";s:80:\"\"Le demandeur était test.test.\r\n\r\nVoir en ligne : https://localhost/?p=13205\r\n\";s:4:\"time\";i:1699522852;s:8:\"time_gmt\";i:1699519252;s:11:\"revision_id\";i:14680;s:7:\"post_id\";i:13205;s:17:\"notification_type\";s:17:\"revision-approval\";s:18:\"notification_class\";s:26:\"rev_approval_notify_author\";}i:30;a:9:{s:7:\"address\";s:23:\"emailtest@emailtest.com\";s:5:\"title\";s:70:\"[Partition Le Livre d\'Image] Notification d’approbation de révision\";s:7:\"message\";s:119:\"La demande de révision pour Article « 01’29 » a été traitée.\r\n\r\nVoir en ligne : https://localhost/?p=13205\r\n\";s:4:\"time\";i:1699522852;s:8:\"time_gmt\";i:1699519252;s:11:\"revision_id\";i:14680;s:7:\"post_id\";i:13205;s:17:\"notification_type\";s:17:\"revision-approval\";s:18:\"notification_class\";s:27:\"rev_approval_notify_revisor\";}i:31;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14685&post_type=post&nc=2a28a20f\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=f47917ad\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14685&nc=6c6ac6d4\r\n\";s:4:\"time\";i:1699523655;s:8:\"time_gmt\";i:1699520055;s:11:\"revision_id\";i:14685;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:32;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14687&post_type=post&nc=637dd5ae\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=76f714c9\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14687&nc=0cea0e9a\r\n\";s:4:\"time\";i:1699523920;s:8:\"time_gmt\";i:1699520320;s:11:\"revision_id\";i:14687;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:33;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:502:\"test.test a envoyé des modifications à la « 0\'13 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13195&preview=1&page_id=14688&post_type=post&nc=445eb754\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13195&all=1&nc=df33aac1\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14688&nc=f98c0737\r\n\";s:4:\"time\";i:1699524029;s:8:\"time_gmt\";i:1699520429;s:11:\"revision_id\";i:14688;s:7:\"post_id\";i:13195;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:34;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:505:\"test.test a envoyé des modifications à la « 01’55 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13210&preview=1&page_id=14689&post_type=post&nc=d5f1914f\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13210&all=1&nc=f02faffa\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14689&nc=fc4b30da\r\n\";s:4:\"time\";i:1699524094;s:8:\"time_gmt\";i:1699520494;s:11:\"revision_id\";i:14689;s:7:\"post_id\";i:13210;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:35;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:505:\"test.test a envoyé des modifications à la « 02’06 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13213&preview=1&page_id=14690&post_type=post&nc=d2db6ed8\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13213&all=1&nc=853cf027\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14690&nc=ddcd7607\r\n\";s:4:\"time\";i:1699524281;s:8:\"time_gmt\";i:1699520681;s:11:\"revision_id\";i:14690;s:7:\"post_id\";i:13213;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:36;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14691&post_type=post&nc=2b42d3b7\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=e9ef6a54\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14691&nc=18a7bf19\r\n\";s:4:\"time\";i:1699524373;s:8:\"time_gmt\";i:1699520773;s:11:\"revision_id\";i:14691;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:37;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14692&post_type=post&nc=3f81cefd\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=b4d28dc1\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14692&nc=54216c45\r\n\";s:4:\"time\";i:1699524423;s:8:\"time_gmt\";i:1699520823;s:11:\"revision_id\";i:14692;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:38;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14693&post_type=post&nc=3483e559\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=f4e1f470\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14693&nc=bae310bd\r\n\";s:4:\"time\";i:1699524465;s:8:\"time_gmt\";i:1699520865;s:11:\"revision_id\";i:14693;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:39;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14694&post_type=post&nc=c74fd4ec\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=0fc34ccb\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14694&nc=cb388cb4\r\n\";s:4:\"time\";i:1699524593;s:8:\"time_gmt\";i:1699520993;s:11:\"revision_id\";i:14694;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:40;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14695&post_type=post&nc=c881e2e0\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=34db3fb6\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14695&nc=266636ca\r\n\";s:4:\"time\";i:1699525731;s:8:\"time_gmt\";i:1699522131;s:11:\"revision_id\";i:14695;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:41;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’10 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13194&preview=1&page_id=14696&post_type=post&nc=c3054f7f\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13194&all=1&nc=4a946432\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14696&nc=e5e1f6a9\r\n\";s:4:\"time\";i:1699525787;s:8:\"time_gmt\";i:1699522187;s:11:\"revision_id\";i:14696;s:7:\"post_id\";i:13194;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:42;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14697&post_type=post&nc=c21d2a20\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=af4db5e1\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14697&nc=6da24992\r\n\";s:4:\"time\";i:1699525852;s:8:\"time_gmt\";i:1699522252;s:11:\"revision_id\";i:14697;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:43;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14698&post_type=post&nc=84625f36\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=1cb4ae5f\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14698&nc=f690cc2c\r\n\";s:4:\"time\";i:1699525887;s:8:\"time_gmt\";i:1699522287;s:11:\"revision_id\";i:14698;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:44;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14699&post_type=post&nc=98192ada\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=ec968155\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14699&nc=44b53aca\r\n\";s:4:\"time\";i:1699525984;s:8:\"time_gmt\";i:1699522384;s:11:\"revision_id\";i:14699;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:45;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14700&post_type=post&nc=0593bac5\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=61831dd8\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14700&nc=9b853a5e\r\n\";s:4:\"time\";i:1699526072;s:8:\"time_gmt\";i:1699522472;s:11:\"revision_id\";i:14700;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:46;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14701&post_type=post&nc=e7bdd41b\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=c35edd25\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14701&nc=8fcc84bd\r\n\";s:4:\"time\";i:1699526139;s:8:\"time_gmt\";i:1699522539;s:11:\"revision_id\";i:14701;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:47;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14702&post_type=post&nc=a976568b\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=290cd7f1\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14702&nc=0b5f2923\r\n\";s:4:\"time\";i:1699526191;s:8:\"time_gmt\";i:1699522591;s:11:\"revision_id\";i:14702;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:48;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’10 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13194&preview=1&page_id=14703&post_type=post&nc=1988deca\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13194&all=1&nc=de1a668f\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14703&nc=6e477660\r\n\";s:4:\"time\";i:1699526251;s:8:\"time_gmt\";i:1699522651;s:11:\"revision_id\";i:14703;s:7:\"post_id\";i:13194;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:49;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14704&post_type=post&nc=7584aa24\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=4bf41140\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14704&nc=16de289f\r\n\";s:4:\"time\";i:1699526329;s:8:\"time_gmt\";i:1699522729;s:11:\"revision_id\";i:14704;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:50;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14705&post_type=post&nc=e0319d49\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=0ed2b348\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14705&nc=f76f2004\r\n\";s:4:\"time\";i:1699526383;s:8:\"time_gmt\";i:1699522783;s:11:\"revision_id\";i:14705;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:51;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14706&post_type=post&nc=181ccbd6\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=4dd029e7\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14706&nc=de447a6f\r\n\";s:4:\"time\";i:1699553963;s:8:\"time_gmt\";i:1699550363;s:11:\"revision_id\";i:14706;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:52;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14707&post_type=post&nc=eb76dde1\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=b52ead6b\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14707&nc=c3e18810\r\n\";s:4:\"time\";i:1699554013;s:8:\"time_gmt\";i:1699550413;s:11:\"revision_id\";i:14707;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:53;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:504:\"test.test a envoyé des modifications à la « 0’02 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13193&preview=1&page_id=14708&post_type=post&nc=8106f4a7\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13193&all=1&nc=67045116\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14708&nc=07d09cdc\r\n\";s:4:\"time\";i:1699554033;s:8:\"time_gmt\";i:1699550433;s:11:\"revision_id\";i:14708;s:7:\"post_id\";i:13193;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:54;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:47:\"[Partition Le Livre d\'Image] Révision envoyée\";s:7:\"message\";s:498:\"val a envoyé des modifications à la « 0’00 » de article. Vous pouvez examiner les modifications en vue d’une éventuelle publication :\r\n\r\nAperçu et approbation : https://localhost/?p=13192&preview=1&page_id=14709&post_type=post&nc=bf743ca2\r\n\r\nFile d’attente des révisions : https://localhost/wp/wp-admin/admin.php?page=revisionary-q&published_post=13192&all=1&nc=415f08f5\r\n\r\nModifier Révision envoyée : https://localhost/wp/wp-admin/post.php?action=edit&post=14709&nc=23c5ce56\r\n\";s:4:\"time\";i:1699555114;s:8:\"time_gmt\";i:1699551514;s:11:\"revision_id\";i:14709;s:7:\"post_id\";i:13192;s:17:\"notification_type\";s:16:\"pending-revision\";s:18:\"notification_class\";s:28:\"rev_submission_notify_author\";}i:55;a:9:{s:7:\"address\";s:34:\"valentin_le_moign@figureslibres.io\";s:5:\"title\";s:70:\"[Partition Le Livre d\'Image] Notification d’approbation de révision\";s:7:\"message\";s:74:\"\"Le demandeur était val.\r\n\r\nVoir en ligne : 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\"\"
\n\n\n\n

Découvrez WordPress 6.4, nommée « Shirley » en l’honneur de l’artiste de jazz emblématique Shirley Horn.

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Sa voix distinctive et sa connexion extraordinaire au piano l’ont établie comme l’une des principales musiciennes de jazz de sa génération. Le parcours de Shirley Horn, de la scène jazz de Washington D.C. à la scène internationale, témoigne de son dévouement et de sa persévérance. Son influence s’est étendue bien au-delà des limites du jazz traditionnel, brisant les frontières et inspirant les publics du monde entier.

Lançons quelques tubes de Shirley Horn et musique, apprenons en davantage sur cette nouvelle version majeure de WordPress.

\n\n\n\n

Chaque version de WordPress renforce votre liberté créative, et WordPress 6.4 n’y fait pas exception. Les nouvelles fonctionnalités et les améliorations apportées à l’édition, à la conception et à l’écriture de votre site permettent à vos idées de prendre forme de manière transparente. Améliorez la construction de votre site avec la flexibilité et la puissance de WordPress 6.4.

\n\n\n\n
\n

La plupart des fonctionnalités et améliorations présentes dans WordPress 6.4 appartiennent à la catégorie des évolutions « petites mais puissantes ». En parallèle de la belle flexibilité du nouveau thème Twenty Twenty-Four, ces changements aideront les personnes créant du contenu ou développant leurs propres fonctionnalités à gagner du temps pour se concentrer sur la valeur ajoutée de leur cœur de métier.

\nJosepha Haden Chomphosy, Directrice exécutive du projet open-source WordPress.
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\n
Télécharger WordPress 6.4
\n
\n\n\n\n

Les nouveautés de WordPress 6.4

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Découvrez Twenty Twenty-Four

\n\n\n\n

Découvrez les dernières avancées en matière d’édition de sites avec Twenty Twenty-Four. Conçu pour trois cas d’utilisation distincts, la polyvalence du nouveau thème par défaut en fait un choix idéal pour presque tous les types de sites web. Plongez dans sa collection de modèles et de compositions et ouvrez vous un monde de possibilités créatives en quelques ajustements.

\n\n\n\n

Gagnez en efficacité avec sa collection de 35 modèles de pages et compositions et débloquez en quelques clics tout un monde de possibilités créatives. La flexibilité remarquable de Twenty Twenty-Four lui permet de s’adapter à presque n’importe quel type de site.

\n\n\n\n
\n
Voir la démo de Twenty Twenty-Four
\n
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\n\n\n\n
\"Cropped
\n\n\n\n

Profitez des améliorations apportées à la rédaction de contenu

\n\n\n\n

De nouvelles améliorations garantissent la fluidité de votre parcours de création de contenus. Vous trouverez de nouveaux raccourcis clavier dans la Vue en liste, une fusion de liste améliorée et un meilleur contrôle des réglages de lien. Une barre d’outils remaniée et cohérente pour les blocs Navigation, Liste et Citation vous permet de travailler efficacement avec les outils dont vous avez besoin.

\n\n\n\n
\"Screenshot
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Obtenez plus de résultats avec la palette de commandes

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Profitez d’un nouveau design et d’un plus grand nombre de commandes (en anglais) pour trouver ce que vous cherchez, effectuer des tâches de manière efficace et gagner du temps lors de vos créations.

\n\n\n\n
\"Screenshot
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Catégorisez et filtrez les compositions

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Organisez vos compositions synchronisées ou standards (non synchronisées) avec des catégories. Explorez le filtrage avancé dans la section Compositions de l’outil d’insertion pour les retrouver plus intuitivement.

\n\n\n\n
\"Screenshot
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Développez votre créativité avec davantage d’outils de conception

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Faites preuve de créativité avec de nouvelles images d’arrière-plan dans les blocs Groupe et veillez à ce que les dimensions des images soient cohérentes avec les proportions de taille des espaces réservés.

\n\n\n\n

Vous souhaitez ajouter des boutons à votre bloc Navigation ? Vous pouvez désormais le faire en toute simplicité, sans CSS personnalisé. Si vous travaillez avec des compositions synchronisées, les réglages d’alignement restent intacts pour une expérience de création de compositions transparente.

\n\n\n\n
\"Decorative
\n\n\n\n

Ajoutez un effet de visionneuse aux images

\n\n\n\n

Activez la fonctionnalité visionneuse (en anglais lightbox) pour des images interactives en plein écran d’un simple clic. Appliquez-la globalement ou à des images spécifiques pour personnaliser l’expérience de visualisation.

\n\n\n\n
\"Decorative
\n\n\n\n

Renommez les blocs Groupe

\n\n\n\n

Définissez des noms personnalisés pour vos blocs Groupe pour facilement organiser et différencier les parties de votre contenu. Ces noms seront visibles dans la Vue en liste.

\n\n\n\n
\"Screenshot
\n\n\n\n

Prévisualisez les images depuis la vue en liste

\n\n\n\n

Les nouveaux aperçus des médias pour les blocs Galerie et Image dans la vue en liste vous permettent de visualiser et de localiser d’un coup d’œil les images de votre contenu.

\n\n\n\n
\"Screenshot
\n\n\n\n

Partagez des compositions entre sites

\n\n\n\n

Besoin d’utiliser vos compositions personnalisées sur un autre site ? Rien de plus simple ! Importez et exportez-les sous forme de fichiers JSON à partir de la vue des compositions de l’éditeur de site.

\n\n\n\n
\"Screenshot
\n\n\n\n

Présentation des crochets de bloc

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Les crochets de bloc (documentation technique en anglais) sont une nouvelle fonctionnalité puissante qui permet aux extensions d’insérer automatiquement des blocs dans le contenu d’un autre bloc. Il s’agit de recommandations qui rendent votre travail avec les blocs plus intuitif. Un nouveau panneau « Extensions » vous permet de les adapter à vos besoins  : ajoutez, supprimez et réorganisez les crochets de bloc à votre guise.

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\"Cropped
\n\n\n\n

Performances

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WordPress 6.4 comprend plus de 100 mises à jour de performances pour une expérience plus rapide et plus efficace. Les améliorations se concentrent sur les performances de chargement des modèles pour les thèmes basés sur des blocs et les thèmes classiques, l’utilisation des stratégies de chargement de script « defer » et « async » dans le cœur, les blocs et les thèmes, et l’optimisation des options chargées automatiquement.

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Accessibilité

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Chaque version s’engage à rendre WordPress accessible à toutes et tous. La version 6.4 apporte des améliorations à l’affichage en liste et la prise en charge de l’attribut aria-label pour le bloc Navigation, parmi d’autres points forts. L’interface d’administration inclut des améliorations dans le placement des boutons, le contexte des éléments de menu permettant d’ajouter du contenu, et les messages affichés aux synthèses vocales sur l’écran de Santé du site.

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Autres éléments notables

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En savoir plus sur WordPress 6.4

\n\n\n\n

Learn WordPress est une ressource gratuite pour les personnes qui utilisent WordPress, qu’elles soient débutantes ou expérimentées. Learn contient des vidéos pratiques sur l’utilisation de diverses fonctionnalités de WordPress, des évènements interactifs pour explorer des sujets en profondeur, et des plans de cours pour approfondir des domaines spécifiques de WordPress.

\n\n\n\n

Explorez le Guide des changements techniques de WordPress 6.4. Découvrez les changements de cette version avec les notes détaillées des développeurs et développeuses qui vous aident à construire avec WordPress.

\n\n\n\n

Lisez les notes de version de WordPress 6.4 pour obtenir des informations sur l’installation, les améliorations, les problèmes corrigés, les contributeurs et contributrices de la version, les ressources d’apprentissage et la liste des modifications apportées aux fichiers.

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L’équipe de direction de WordPress 6.4

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​​La version 6.4 de WordPress 6.4 a été dirigée par une équipe entièrement composée de personnes appartenant à des genres sous-représentés dans le milieu « tech », ce qui est une façon pour le projet WordPress de souligner l’importance de donner une voix à la diversité dans l’écosystème open-source.

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Voici l’équipe qui a coordonné le développement et la sortie de cette nouvelle version de WordPress :

\n\n\n\n\n\n\n\n

Merci aux contributeurs et contributrices

\n\n\n\n

WordPress 6.4 n’aurait pas pu sortir sans la contribution passionnée de plus de 600 personnes provenant d’au moins 56 pays différents.

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Un remerciement tout spécial pour les 170 personnes qui ont contribué au cœur de WordPress pour la première fois avec WP 6.4 \"♥\"

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Adam White · KafleG · Kai Hao · Kalmang · Kalpesh · Kamrul Hasan · Karlijn Bok · karmacharya50 · Karol Manijak · Karthik Thayyil · Katie Ayres · kawsaralameven · Keanan Koppenhaver · Kelly Choyce-Dwan · Kevin Fodness · Kevin Miller · khleomix · Khokan Sardar · Kim Coleman · Kishan Jasani · kkmuffme · Koji Kuno · Konstantin Kovshenin · Konstantin Obenland · Kopila Shrestha · krokodok · Krupal Panchal · ktaron · Labun Chemjong · Lance Willett · LarryWEB · lastsplash (a11n) · lau@mindproducts.com.au · launchinteractive · Laura Adamonis · Laura Byrne · laurelfulford · Lauren · Laxmikant Bhumkar · Lee Willis · Lena Morita · Liam Gladdy · Linkon Miyan · Linnea Huxford · Lloyd Budd · Lovekesh Kumar · Luigi · Luis Felipe Zaguini · Luis Herranz · Luke Cavanagh · lunaluna · lyndauwp · Márcio Duarte · maciejmackowiak · madejackson · Madhu Dollu · Madhu Dollu · Maggie Cabrera · Mahbub Hasan Imon · Mahrokh · Mai · Maja Benke · maltfield · Manesh Timilsina · manfcarlo · Manzoor Wani · marcelle42 · Marcelo de Moraes Serpa · Marco Ciampini · Marco Pereirinha · Marcoevich · margolisj · Marin Atanasov · Mario Santos · Marius L. J. · Mark Jaquith · Marko Ivanovic · Marta Torre · Martijn van der Klis · martin.krcho · Mary Baum · Masoud NKH · mathsgrinds · Matias Benedetto · Matias Ventura · Matt Keys · Matt Watson · Matthaus Klute · Matthew Eppelsheimer · Matthew Farlymn · Matthew Haines-Young · maurodf · Maxwell Morgan · maysi · Md HR Shahin · meagan hanes · Mehedi Hassan · Meher Bala · Mel Choyce-Dwan · mer00x · merel1988 · Michael Arestad · Michael Burridge · Michael Showes · Michal Czaplinski · Michalooki · Michelle Blanchette · Michelle Frechette · Michi91 · Miguel Fonseca · Mikael Korpela · Mike Jolley (a11n) · Mike McAlister · Mike Schinkel · Mike Schroder · Mike Straw · Mikin Chauhan · Milen Petrinski – Gonzo · mimi · mitchellaustin · Monir · Mrinal Haque · mrwweb · Muhammad Arslan · Muhibul Haque · mujuonly · Mukesh Panchal · Mumtahina Faguni · Mushrit Shabnam · Myles Taylor · Nalini Thakor · nandhuraj · Nazgul · Nazmul Sabuz · Neil Hainsworth · nendeb · Nick Diego · Nicolas Juen · Nicole Furlan · nicomollet · nidhidhandhukiya · Niels Lange · Nihar Ranjan Das · Nik Tsekouras · Nilambar Sharma · Nilo Velez · niravsherasiya7707 · Nitesh Das · Nithin John · Nithin SreeRaj · Noah Allen · Nyasha · ockham · Ohia · okat · Olga Gleckler · Oliver Campion · OllieJones · Paal Joachim Romdahl · pannelars · Pascal Birchler · Paul Biron · Paul Kevan · pavelevap · Pedro Mendonça · pentatonicfunk · Pete Nelson · Peter Wilson · petitphp · petrosparaskevopoulos · Petter Walbø Johnsgård · Phill · Pieterjan Deneys · piyushdeshmukh · Plugin Devs · Pooja Bhimani · Pooja Derashri · Pooja N Muchandikar · pranavjoshi · Prashant · Presskopp · r-c · Rajin Sharwar · Ramon Ahnert · Ramon Corrales · Ramon James · Rebekah Markowitz · Remy Perona · ren · Renatho (a11n) · Reyes Martínez · Riad Benguella · Rian Rietveld · Rich Tabor · Robert Anderson · Robert O’Rourke · Robin · robpetrin · Rolf Allard van Hagen · Ryan Duff · Ryan McCue · Ryan Neudorf · Ryan Welcher · Sérgio Gomes · Sagar Tamang · Sajjad Hossain Sagor · Sakib Mohammed · Sal Ferrarello · samba45 · Sampat Viral · Sarah Norris · sarahwilliams889 · Sarath AR · Satish Prajapati · saulirajala · saxonfletcher · Scott Kingsley Clark · Scott Taylor · Scout James · scribu · Sergey Biryukov · Sergio Scabuzzo · Seth Rubenstein · Shail Mehta · shawfactor · Shawn Hooper · shilo-ey · Shiva Shanker Bhatta · shresthaaman · Shubham Sedani · Simon Dowdles · Siobhan · Siobhan Bamber · Smit Rathod · sofiashendi · Sonia Gaballa · Soren Wrede · SourceView · Spenser Hale · Stephanie Walters · Stephen Bernhardt · Stephen Edgar · Steve Erdelyi · Steve Jones · Subodh Sunuwar · Subrata Sarkar · Suji K Chandran · Sumi Subedi · Sumit Singh · Sunita Rai · suprsam · syamraj24 · Sybre Waaijer · Synchro · Sé Reed · Tahmid ul Karim · Tahmina Jahan · Takayuki Miyoshi · Tammie Lister · Tanvirul Haque · Teddy Patriarca · tejadev · thinkluke · Thomas Patrick Levy · tibbsa · Tiffany Bridge · Tim Nolte · timdix · Timothy Jacobs · tmatsuur · TobiasBg · tobifjellner (Tor-Bjorn Fjellner) · Tom · Tom Cafferkey · Tom H · Tom J Nowell · tomluckies · Tomoki Shimomura · Tonya Mork · Toro_Unit (Hiroshi Urabe) · Torsten Landsiedel · toscho · Tran Ngoc Tuan Anh · Trinisha · Trisha Salas · tristanleboss · TV productions · Ugyen Dorji · Ulrich · Upadala Vipul · Utsav tilava · valentindu62 · Valerie Blackburn · Vicente Canales · Viktor Szépe · Vipul Ghori · vivekawsm · vortfu · Vraja Das · webashrafians · WebMan Design | Oliver Juhas · Weston Ruter · WHSajid · Will Skora · Willington Vega · Winstina · winterstreet · WraithKenny · wyrfel · Yoseph Tamang · Yui · zieladam · Zunaid Amin · Илья

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Merci aux personnes ayant contribué à traduire WordPress 6.4 en français

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WordPress est un projet international et la version 6.4 est déjà complètement disponible dans plus de 70 langues différentes.

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Nous souhaitons remercier ici les personnes ayant participé à la traduction de WordPress 6.4 en français :

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Didier Demory, FX, Jb Audras, Jenny Dupuy, Xavier Borderie, Antoine Paufichet, Aurélien Denis, Béryl de La Grandière, Bonaldi, Bruno Tritsch, charlie67p, Clément Polito, coralietixeront, dacobah, Emil1, Emilie LEBRUN, Emilien M., este1, Gael Denysiak, Guillaume TURPIN, Jason Rouet, Kantari Samy, Laurent MILLET, Loïc Antignac, Magali, Marianna, Marie Comet, Marine EVAIN, Maxime Pertici, nandow, Nels, Nicolas Richer, Rachel Peter, Simon Janin, srossignol, Timothée Brosille, Virginie Garnier et whaze

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N’hésitez pas à rejoindre les équipes de contribution francophones !

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Ce guide décrit les principaux changements techniques que vous trouverez sur WordPress 6.4, dont la sortie est prévue le 7 novembre 2023.

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\"\"
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L’équipe de direction de WordPress 6.4 et les contributrices et contributeurs du projet qui ont travaillé sur cette version souhaitent mettre en valeur à travers ce guide les avancées majeures proposées, parmi les 284 tickets traités, dont 113 correspondent à des améliorations et nouvelles fonctionnalités, tandis que 134 tickets sont des corrections de bugs, auxquels s’ajoutent 21 tâches diverses.

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Cette version implémente par ailleurs 64 tickets ayant un focus sur les performances et 17 sur l’accessibilité, tandis que 33 tickets sont liés à la modernisation du code du CMS.

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Le projet Gutenberg inclut quant à lui plus de 1400 pull requests, dont 420 correspondent à des améliorations, 445 à des correctifs de bugs et 42 à des améliorations de l’accessibilité.

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Les modifications de WordPress 6.4 se répartissent dans 45 composants Core, et vous trouverez dans ce communiqué les modifications les plus impactantes, composant par composant.

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En route pour un petit tour d’horizon des
nouveautés techniques de WordPress 6.4 \"🚀\"

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Tous les liens de cet article pointent vers des notes de développement rédigées en anglais.

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L’objectif est de fournir un panorama général des changements techniques apportés par cette version, en français, puis de diriger les personnes qui souhaitent en savoir plus vers les notes de développement en anglais.

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À noter : certaines modifications listées ici vont nécessiter des actions de la part des auteurs et autrices de thèmes et d’extensions, qui devront adapter ou modifier leur code. Si cela vous concerne, veuillez lire consciencieusement les notes de développement listées dans cet article afin de vous assurer que votre code fonctionnera avec WordPress 6.4 lorsque cette version sortira le 7 novembre 2023.

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Changements sur l’éditeur de blocs

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WordPress 6.4 implémente 6 versions de l’extension Gutenberg : 16.2, 16.3, 16.4, 16.5, 16.6, et 16.7. Vous trouverez une nouvelle API Block Hooks pour filtrer vos blocs, la possibilité de déclarer vos propres catégories de médias, des modifications sur le paquet @wordpress/components, des mises à jour des composants d’interface et de nombreuses autres modifications.

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L’API Block Hooks (#53987) est un mécanisme d’extensibilité pour les thèmes basés sur des blocs. C’est une première étape pour apporter aux thèmes basés sur des blocs le concept bien connu de crochets (en anglais hooks) qui permet d’étendre les fonctionnalités des thèmes classiques avec des filtres et des actions.

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Introducing Block Hooks for dynamic blocks
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La note de développement suivante présente quant à elle l’API de déclaration de catégories de médias :
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New `registerInserterMediaCategory` API
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Un nombre important de modifications ont été apportées au paquet @wordpress/components :

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Updates to user-interface components in WordPress 6.4
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Il y a également beaucoup d’autres modifications de l’éditeur, comme une nouvelle prise en charge des images d’arrière-plan pour les blocs, la typographie fluide, la possibilité de désactiver globalement ou spécifiquement les options de mise en page des blocs à l’aide du fichier theme.json, une API stabilisée pour les Innerblocks, et bien plus encore :

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Miscellaneous Editor changes in WordPress 6.4
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Notifications sur l’administration

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Deux nouvelles fonctions permettent une abstraction de la génération du balisage HTML afin de simplifier la maintenance, d’encourager une plus grande cohérence et de permettre d’activer le passage de paramètres et le fitrage des messages sur toutes les notifications employées sur l’interface d’administration de WordPress.

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Ces fonctions sont destinées au cœur du CMS lui-même mais leur utilisation est aussi recommandée aux personnes qui développent des extensions :

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Introducing admin notice functions in WordPress 6.4
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Général

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Une note de développement sera bientôt publiée afin de détailler une nouvelle fonction wp_trigger_error() qui vient en complément de la fonction préexistante _doing_it_wrong() (voir le ticket #57686).

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API HTML

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WordPress 6.4 poursuit le développement de l’API HTML en introduisant un premier processeur HTML minimaliste comprenant le concept de fil d’Ariane, et rend par exemple possible de rechercher des images étant enfants directs de élément div donné.

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6.4 ajoute également plusieurs fonctionnalités liées à CSS et aux classes dans le processeur de balises, ce qui rend possible de rechercher une balise contenant plus d’un nom de classe, ou de rechercher une balise ne contenant pas un nom de classe spécifié.

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Updates to the HTML API in 6.4
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Médias

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Les nouvelles installations WordPress n’auront désormais plus de page de fichier attaché par défaut, la fonctionnalité étant maintenant désactivée complètement pour tous les nouveaux sites. Cela bénéficiera au référencement des sites en évitant de faire perdre du temps aux moteurs d’indexations qui doivent indexer ces pages par défaut alors que ces pages ne sont souvent pas pertinentes pour les personnes visitant votre site.

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Cette modification introduit une nouvelle option wp_attachment_pages_enabled permettant de contrôler le comportement des pages de fichiers attachés pour les sites existants :

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Changes to attachment pages
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Améliorations des performances

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Une grande partie des travaux sur WordPress 6.4 a tourné autour des améliorations de performances et d’efficience du CMS, et en particulier sur la gestion du cache objet :

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Improvements to Object Caching in WordPress 6.4
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Les nouvelles fonctions get_options(), wp_prime_option_caches(), et wp_set_option_autoload_values() permettent de mettre en place des solutions plus performantes lorsque l’on récupère des options stockées en base de données :

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New option functions in 6.4
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Le chargement des fichiers modèles a également été amélioré :

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Improvements to Template Loading in WordPress 6.4
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Chargement des images

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Plusieurs améliorations ont été faites sur la fonction wp_get_loading_optimization_attributes(), qui fournit un lieu unique pour gérer l’optimisation des attributs de gestion du chargement, tout spécialement concernant les images et les iframes. 

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Image loading optimization enhancements in 6.4
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Chargement des scripts

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À partir de WordPress 6.4, des stratégies de chargement des scripts seront employées pour les scripts chargés par le cœur du CMS ou par les thèmes natifs de WordPress sur l’interface publique (en anglais front-end) de vos sites. La plupart du temps, la stratégie de chargement defer est utilisée puisqu’elle est la plus cohérente dans son comportement de chargement à partir du moment où l’attribut defer s’exécute toujours une fois que le DOM est chargé. Un script utilisant l’attribut async pourrait de son côté bloquer le rendu du script s’il est déjà mis en cache. Par ailleurs, le chargement à l’aide de defer a été déplacé du pied du document en direction de la partie <head> afin que les ressources concernées soient identifiées le plus tôt possible lors du chargement de la page, et que la stratégie de chargement soit appliquée le plus tôt possible.

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Script loading changes in WordPress 6.4
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Chargement des feuilles de styles

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La note de développement suivante détaille les modifications faites sur le chargement des feuilles de styles. Le focus principal porte sur le remplacement des balises style affichées via l’action wp_head avec des appels à la fonction wp_add_inline_style() :

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Replacing hard-coded style tags with wp_add_inline_style()
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Autres améliorations concernant les performances

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Globalement, WordPress 6.4 présente de meilleures performances et les développeur·euses apprécieront la réduction de la charge pesant sur les processus d’entrée/sortie.

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Autres changements techniques

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Comptes

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WordPress 6.4 apporte plusieurs améliorations importantes au balisage HTML de la page wp-login.php pour rendre sa structure plus optimale et pour faciliter la mise en forme de cette page pour les personnes qui souhaitent la personnaliser (ticket #30685).

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Clarification des liens « Add New » pour une meilleure accessibilité de l’administration

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À partir de WordPress 6.4, les valeurs par défaut du libellé add_new utilisé dans les types de publications personnalisés ont été modifiées afin d’y intégrer le nom du type de publication. Cela apporte une correspondance avec le libellé add_new_item et fournit un meilleur contexte ce qui améliore l’accessibilité des boutons et liens présents dans l’interface d’administration (ticket #47125).

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Si vous utilisiez auparavant la déclaration suivante :
\'add_new\' => _x( \'Add New\', \'Book\', \'my-plugin\' )

alors nous vous encourageons à la remplacer par :
\'add_new\' => __( \'Add New Book\', \'my-plugin\' )

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Modifications des prérequis pour les tests d’intégration

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PHPUnit Polyfills version 1.1.0 est requis pour faire tourner des tests d’intégration sur WordPress 6.4 (ticket #59510).

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API HTTP

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Les classes, méthodes et filtres de WP_Http_Curl et WP_Http_Streams ont été dépréciés car ces classes ne sont plus utilisées dans le cœur de WordPress depuis l’implémentation de la bibliothèque Request (ticket #58705).

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Révisions

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Les révisions sont maintenant utilisables sur les champs personnalisés des publications (ticket #20564) :

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Framework for storing revisions of Post Meta in 6.4
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Que vous développiez des thèmes ou des extensions, pensez à tester et retester votre code pour vous assurer de sa compatibilité avec ces changements. Vous pouvez utiliser l’extension Beta Tester sur un site de test pour vérifier la compatibilité de vos développements avec la version de test WordPress 6.4 Release Candidate 2. Nous comptons sur vous pour vérifier que votre code fonctionne correctement avec le cœur du CMS, pour le bien des millions d’utilisateurs et utilisatrices de WordPress \"♥\"

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Ce guide a été traduit et réadapté à partir du Field Guide de WP 6.4 par Jb Audras.

\n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:36:\"http://wellformedweb.org/CommentAPI/\";a:1:{s:10:\"commentRss\";a:1:{i:0;a:5:{s:4:\"data\";s:91:\"https://fr.wordpress.org/2023/10/30/guide-des-changements-techniques-de-wordpress-6-4/feed/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:38:\"http://purl.org/rss/1.0/modules/slash/\";a:1:{s:8:\"comments\";a:1:{i:0;a:5:{s:4:\"data\";s:1:\"0\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:2;a:6:{s:4:\"data\";s:73:\"\n \n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:5:{s:0:\"\";a:7:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:55:\"Questionnaire annuel sur votre utilisation de WordPress\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:97:\"https://fr.wordpress.org/2023/10/10/questionnaire-annuel-sur-votre-utilisation-de-wordpress-2023/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"comments\";a:1:{i:0;a:5:{s:4:\"data\";s:105:\"https://fr.wordpress.org/2023/10/10/questionnaire-annuel-sur-votre-utilisation-de-wordpress-2023/#respond\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 10 Oct 2023 13:03:00 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"category\";a:1:{i:0;a:5:{s:4:\"data\";s:23:\"Questionnaires/sondages\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:32:\"https://fr.wordpress.org/?p=2852\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:11:\"isPermaLink\";s:5:\"false\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:392:\"Comme chaque année, l’équipe « Community » soumet un petit questionnaire à l’ensemble de la communauté WordPress. En effet, votre voix compte ! Si vous êtes un utilisateur ou une utilisatrice de WordPress, si vous concevez des sites avec ce CMS, si vous développez des thèmes ou des extensions, si vous contribuez à la traduction, si vous participez […]\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:11:\"Jenny Dupuy\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:40:\"http://purl.org/rss/1.0/modules/content/\";a:1:{s:7:\"encoded\";a:1:{i:0;a:5:{s:4:\"data\";s:6355:\"\n

Comme chaque année, l’équipe « Community » soumet un petit questionnaire à l’ensemble de la communauté WordPress.

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En effet, votre voix compte ! Si vous êtes un utilisateur ou une utilisatrice de WordPress, si vous concevez des sites avec ce CMS, si vous développez des thèmes ou des extensions, si vous contribuez à la traduction, si vous participez au développement du cœur de WordPress ou à sa communauté, alors vous êtes concerné·e·s par ce questionnaire.

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Les principales conclusions et tendances qui émergent de ce questionnaire sont communiquées dans la conférence annuelle State of the Word, puis partagées dans les blogs publics du projet et auront une influence sur la direction stratégique du projet dans les années à venir.

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En d‘autres termes, cette enquête aidera celles et ceux qui construisent WordPress à mieux comprendre comment le logiciel est utilisé et par qui. L‘enquête permet également aux responsables du projet open source WordPress d‘en savoir plus sur les expériences des personnes qui contribuent au projet.

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C’est parti ! Je remplis le questionnaire 2023
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Le questionnaire est disponible en différentes langues, dont le français, merci aux contributeurs polyglotes pour leurs traductions.

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L’enquête est ouverte pour cinq semaines et les résultats seront publiés début décembre sur le blog News.

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Cette année, comme l’année dernière, l’enquête a fait l’objet de quelques améliorations au niveau du déroulement et de l’ensemble des questions. Une nouvelle plateforme est également à l’essai, offrant une interface actualisée, un support multilingue amélioré, des outils d’analyse et de visualisation des résultats élargis, et bien plus encore. La nouvelle plateforme intègre également des contrôles d’accessibilité et de confidentialité, ce qui garantit que l’enquête répond aux divers besoins de la communauté WordPress.

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Passez le mot

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Aidez-nous à faire connaître l’enquête en la partageant avec votre réseau, via Slack, ou sur vos comptes de médias sociaux. Plus il y aura de personnes qui répondront à l’enquête et qui partageront leur expérience avec WordPress, plus le projet en bénéficiera.

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Sécurité et vie privée

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La sécurité et la confidentialité des données sont primordiales pour le projet et la communauté WordPress. Dans cette optique, toutes les données seront anonymisées : aucune adresse e-mail ou adresse IP ne sera associée aux résultats publiés. Pour en savoir plus sur les pratiques de WordPress.org en matière de confidentialité, consultez la politique de confidentialité (en anglais).

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Merci

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Nous remercions les contributeurs WordPress suivants pour leur aide dans le projet d’enquête annuelle, y compris la création des questions, la stratégie, l’élaboration de l’enquête et la traduction :

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adamsilverstein, audrasjb, alvarogóis, atachibana, bjmcsherry, chanthaboune, dansoschi, eidolonnight, fierevere, fxbénard, hassantafreshi, juliagasparyan, kittmedia, manudavidos,nao, nilovelez, rmartinezduque et tobifjellner.

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Merci à Hostinger, Jetpack, and WordPress.com, pour avoir contribué à la promotion de l’enquête auprès de leurs clients respectifs.

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\n
C’est parti ! Je remplis le questionnaire 2023
\n
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L’enquête sera close le .

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Merci à JB Audras et FX Bénard pour leur relecture de cet article.

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\"\"
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Nous vous présentons WordPress 6.3 « Lionel », nommé après la jazzman américain Lionel Hampton. Il fut un vibraphoniste, pianiste et percussionniste de jazz prolifique et obtint sa notoriété en jouant avec des grands du jazz comme Charles Mingus ou Quincy Jones, et en tant que leader du Lionel Hampton Orchestra. Ses travaux ont été récompensés par un Grammy, une étoile sur le Hollywood Walk of Fame, et la National Medal of Arts américaine.

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Avec WordPress 6.3, vous pourrez créer de beaux sites web plus efficacement que jamais. Que vous souhaitiez créer un site complet sans coder ou que vous cherchiez à personnaliser chaque détail avec votre propre code, WordPress 6.3 a quelque chose à vous offrir.

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\n

« Lionel » marque un chapitre majeur dans l’évolution de WordPress. C’est le point culminant d’années de travail par des centaines de contributeurs et contributrices pour faire évoluer l’expérience d’édition de votre site WordPress vers davantage de cohérence, à l’aide des blocs. Mais notre quête de vouloir démocratiser la publication sur le web n’est pas finie pour autant !

\nMatías Ventura, Directeur de la version 6.3
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Télécharger WordPress 6.3 « Lionel »
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Bienvenue sur WordPress 6.3

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Tout faire dans l’Éditeur de site

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WordPress 6.3 rassemble pour la première fois votre contenu, vos modèles et vos compositions dans l’éditeur de site. Ajoutez des pages, parcourez les variations de styles, créez des compositions synchronisées et bénéficiez d’un contrôle précis sur vos menus de navigation. Vous ne perdrez plus de temps à passer d’une zone de site à l’autre, et vous pourrez vous concentrer sur ce qui compte le plus. De la création à la publication, en un seul endroit.

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Prévisualiser les thèmes basés sur des blocs

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\"\"
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Expérimentez les thèmes basés sur des blocs avant de les choisir et prévisualisez l’éditeur de site, avec des options à personnaliser directement avant d’activer un nouveau thème.

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Créez et synchronisez vos compositions

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\"\"
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Disposez les blocs avec un nombre infini de variantes et enregistrez-les en tant que compositions pour les utiliser sur l’ensemble de votre site. Vous pouvez même indiquer si vous souhaitez synchroniser vos compositions (précédemment appelés « blocs réutilisables ») afin qu’une modification s’applique à toutes les parties de votre site. Vous pouvez également garder la possibilité de personnaliser chaque instance.

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Travaillez plus rapidement avec la palette de commandes

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\"\"
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Basculez sur un modèle spécifique ou ouvrez les préférences de votre éditeur à l’aide d’un nouvel outil qui vous aide à naviguer rapidement dans les fonctionnalités étendues. Grâce à de simples raccourcis clavier (⌘+k sur Mac ou CTRL+k sur Windows), en cliquant sur l’icône de recherche de la colonne latérale de l’éditeur de site, ou en cliquant sur la barre de titre, vous pouvez vous rendre où vous voulez et faire ce que vous voulez en quelques secondes.

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Affinez vos designs avec de nouveaux outils

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\"\"
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Les nouveaux réglages de design offrent une plus grande polyvalence pour affiner vos mises en pages, à commencer par la possibilité de personnaliser les styles de vos légendes à partir de l’interface des styles, sans codage. Vous pouvez gérer vos filtres duotone dans les réglages de style et choisir parmi les options fournies par votre thème, mais aussi les désactiver complètement. Le bloc Bannière bénéficie de réglages supplémentaires pour la couleur du texte, les réglages de mise en page et de bordure, ce qui rend ce bloc puissant encore plus pratique.

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Suivez vos modifications de design avec les révisions de styles

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\"\"
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Vous pouvez désormais voir à quoi ressemblait votre site à un moment précis. Visualisez ces révisions sur une chronologie et accédez à une option de restauration des styles antérieurs en un seul clic.

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Annotez vos publications avec le bloc « Notes de bas de page »

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\"\"
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Les notes de bas de page ajoutent des annotations pratiques à votre contenu. Vous pouvez désormais ajouter et lier des notes de bas de page à n’importe quel mot d’un paragraphe.

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Affichez ou masquez du contenu avec le bloc Détails

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Utilisez ce bloc pour éviter de divulgâcher une surprise, pour créer une section de foire aux questions interactive, ou pour masquer un long paragraphe derrière un titre.

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Amélioration des performances

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WordPress 6.3 contient plus de 170 mises à jour de performances (en anglais), comprenant la prise en charge des attributs defer et async pour l’API Scripts et fetchpriority pour les images. Avec les évolutions concernant la résolution des modèles de blocs, le chargement différé des images et le chargement des emojis, ces améliorations peuvent diminuer le temps de chargement de votre site web tel qu’il est perçu par les visiteurs.

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L‘accessibilité reste une priorité

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Avec plus de 50 améliorations de l’accessibilité sur l’ensemble de la plateforme, WordPress 6.3 est plus accessible que jamais. L’amélioration des libellés, l’optimisation de la navigation par onglets et par touches fléchées, la révision de la hiérarchie des titres et les nouveaux contrôles dans l’éditeur d’images de l’administrateur permettent aux personnes qui utilisent des technologies d’assistance d’administrer plus facilement leur site.

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Autres améliorations

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Définir les proportions de taille des images

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Spécifiez vos proportions et assurez l’intégrité de la conception, en particulier lorsque vous utilisez des images dans des compositions.

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Construire son site sans distraction

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La conception sans distraction est désormais disponible dans l’Éditeur de site.

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Redécouvrez la barre d’outils supérieure

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La barre d’outils supérieure remaniée propose des sélecteurs de parents pour les blocs imbriqués, des options pour la sélection de plusieurs blocs, ainsi qu’une nouvelle interface intégrée à la barre de titre avec de nouvelles fonctionnalités à l’esprit.

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Améliorations de la vue de la liste

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Faites un glisser-déposer vers un autre emplacement et supprimez les blocs de votre choix dans la vue en liste mise à jour en temps réel.

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Construire des modèles grâce aux compositions

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Créez des compositions uniques pour accélérer la création de modèles grâce à une nouvelle fenêtre modale permettant d’accéder à la sélection des compositions.

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En savoir plus sur WordPress 6.3

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Learn WordPress (en anglais) est une ressource gratuite pour les utilisateurs/utilisatrices de WordPress, qu’ils/elles soient débutant·e·s ou expérimenté·e·s. Learn contient des vidéos pratiques sur l’utilisation de diverses fonctionnalités de WordPress, des évènements interactifs (en anglais) pour explorer des sujets en profondeur, et des plans de cours pour approfondir des domaines spécifiques de WordPress.

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Consultez notre guide des changements techniques introduits par WordPress 6.3. Il contient toutes les notes techniques que vous devez connaître si vous développez sur WordPress.

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Consultez les notes de version de WordPress 6.3 (en anglais) pour obtenir plus d’informations sur les améliorations proposées et les anomalies corrigées, les informations d’installation, les notes et ressources à destination des développeuses et des développeurs, connaître les personnes ayant contribué à cette version et pour obtenir la liste des fichiers modifiés.

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L’équipe de direction de WordPress 6.3

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Voici l’équipe qui a coordonné le développement et la sortie cette nouvelle version de WordPress :

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Merci aux contributeurs et contributrices

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WordPress 6.3 n’aurait pas pu sortir sans la contribution passionnée de plus de 650 personnes provenant d’au moins 52 pays différents. Un remerciement tout spécial pour les 207 personnes qui ont contribué au cœur de WordPress pour la première fois avec WP 6.3 \"♥\"

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254volkan · @mercime · Aaron D. Campbell · Aaron Graham · Aaron Jorbin · Aaron Robertshaw · Abha Thakor · Abid Hasan · abitofmind · ABTOP · ace100 · Adam Bosco · Adam Silverstein · Adam Wiltgen · Adel Tahri · Adhun Anand · adityaarora010196 · aduth · Afshana Diya · Ahmed Kabir Chaion · Ajay Maurya · ajayver · Akash Mia · Aki Hamano · Alain Schlesser · Alan Jacob Mathew · albarin · Alberuni Azad. · alecgeatches · Aleks Ganev · Alex Concha · Alex Lende · Alex Stine · alvastar · Alvi Tazwar · amin · amirrezatm · Amit Barai Alit · Amit Paul · Anantajit JG · Andrea Fercia · andreaboe · Andrei Draganescu · Andrew Matthews · Andrew Nacin · Andrew Ozz · Andrew Serong · Andrey “Rarst” Savchenko · André · Andy Fragen · Andy Peatling · Aniket Patel · Ankit K Gupta · Ankit Panchal · Anne McCarthy · Anthony Burchell · Anthony Hortin · Anton Vlasenko · Antony Agrios · Aparna Adhun · AR Rasel · Arafat Jamil · Aravind Ajith · Ari Stathopoulos · arnolp · Artemio Morales · Arthur Chu · ArtZ91 · Arun · Ashar Irfan · Ashraful Sarkar Naiem · Autumn · Ayesh Karunaratne · azurseisme · Barry Ceelen · Bart · Beatriz Fialho · Beda · Ben Dwyer · benish74 · Benjamin Grolleau · Benoit Chantre · Bernhard Kau · Bernie Reiter · Bethany Chobanian Lang · bgin · Bhavik Kalpesh · Birgir Erlendsson (birgire) · Birgit Pauli-Haack · Bjorn Holine · BogdanUngureanu · bonjour52 · bookwyrm · Boone Gorges · Brad Jorsch · Brady Vercher · Brandon Kraft · Brennan Goewert · Brian Gardner · Bronson Quick · Brooke Kaminski · Brooke. · buutqn · Cameron Jones · Carlos Bravo · Carlos G. 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Dodd · Jeremy Felt · Jeremy Herve · Jeremy Lind · jeryj · Jessica Lyschik · jhned · jigar bhanushali · Jip Moors · Joe Dolson · Joe McGill · joelmadigan · Joen Asmussen · John Blackbourn · John James Jacoby · John Watkins · Jokerrs · Jon Brown · Jonathan Bossenger · Jonathan Desrosiers · Jonathan Pantani · Jong · Jonny Harris · Jorge Costa · jornp · Joseph G. · Josepha Haden · joshuatf · Joy · jsh4 · Juan Aldasoro · JuanMa Garrido · Juhi Saxena · Juliette Reinders Folmer · Julio Potier · Justin Ahinon · Justin Tadlock · Justin Welenofsky · K. Adam White · kacper3355 · KafleG · Kai Hao · Kailey (trepmal) · Kajal Gohel · kaneva · Kapil Paul · Kathryn P. · Keanan Koppenhaver · Kelly Choyce-Dwan · Kelly Hoffman · Kevin Batdorf · Kjell Reigstad · Konstantin Obenland · konyoldeath · Kowsar Hossain · Krunal Bhimajiyani · Krupal Panchal · Kunal Madhak · Lana Codes · larsmqller · laurelfulford · Lauren Stein · Lena Morita · Lena Stergatou · Leonidas Milosis · lifeboat · Linkon Miyan · lkraav · Loïc Antignac · Lovekesh Kumar · Lox · lozula · lucius0101 · Lucy Tomas · Luigi · luisherranz · Lukman Nakib · Márcio Duarte · Madhu Dollu · Madhu Dollu · Maggie Cabrera · Mahbub Shovan · Mahek Kalola · manfcarlo · Manoj Patil · Marc · Marcelo de Moraes Serpa · Marco Ciampini · Marek Dědič · Marie Comet · Marin Atanasov · Marine EVAIN · Mario Santos · Marissa Matthews · Marius L. J. · Mark Jaquith · Marko Ivanovic · marksabbath · Markus · Markus Kosmal · Martijn van der Klis · martin.krcho · Mary Baum · matclayton · Mateus Machado Luna · Mathieu Paapst · Matias Benedetto · Matias Ventura · Matt Keys · Matt Mullenweg · Matt Wiebe · Matthias Reinholz · Mauricio · Max · Max Lyuchin · Maxime J. · MD Jamil Uddin · Md Kawser Ahmed Khan Jami · Md Rakib Hossain · Md. Abir Hasan Dipu · Md. Reduan Masud · mdviralsampat · Mehul Kaklotar · mensmaximus · meyerdev.ch · mgol · Michael Burridge · Michael Kelly · Michal Czaplinski · Michel Many · Miguel Axcar · Miguel Fonseca · Miguel Torres · Mike Schroder · Mike Straw · Milan Dinić · Milana Cap · Minal Diwan · mitchellaustin · miya · Monzur Alam · mreishus · mrwweb · mtias · mujuonly · Mukesh Panchal · Mumtahina Faguni · Musarrat Anjum Chowdhury · Mustaque Ahmed · mw108 · Naeem Haque · Nalini Thakor · Namith Jawahar · Nathan Johnson · Nazmul Hasan · nendeb · Neycho Kalaydzhiev · Nicholas Garofalo · nicholaswilson · Nick Diego · Nick the Geek · nickpap · nidhidhandhukiya · Niels Lange · Nik Tsekouras · NikhilPatel · Niluthpal Purkayastha · Nitesh Das · Nithin John · Nithin SreeRaj · Nitin Rathod · nitman43 · Noah Allen · nuvoPoint · oakesjosh · Obayed Mamur · ockham · oguzkocer · oh_hello · Okamoto Hidetaka · Olga Gleckler · OllieJones · Omar Alshaker · Paal Joachim Romdahl · PabloHoney · Pascal Birchler · Paul Bearne · Paul Biron · Paul Kevan · Paul Schreiber · Pavan Patil · pavelevap · Pedro Mendonça · pepe · Petar Ratković · Peter Wilson · petitphp · Petter Walbø Johnsgård · Phil Webster · Phill · Pial · Pieterjan Deneys · Piotrek Boniu · PJ Brunet · pkolenbr · Pooja N Muchandikar · pouicpouic · Pravin Parmar · Presskopp · Ptah Dunbar · raduiason · Rafael Agostini · Rafin · Rajan Panchal · Rajesh Raval · Ramon Ahnert · ramon fincken · Ramon James · Razthee Md. Yakini · Renato Augusto Gama dos Santos · Reza Khan · Riad Benguella · Riccardo Di Curti · Rich Tabor · Rinky Chowdhury · Ritesh Patel · rjasdfiii · Robert Anderson · Robin · Robin Labadie · rodage · rodricus · Rolf Allard van Hagen · Ross Gile · Roy Tanck · Ruchir Goswami · Rupok · Ryan · Ryan Kienstra · Ryan McCue · Ryan Welcher · Ryo · Sé Reed · Sérgio Gomes · Sahil B. · Sajib Talukder · Sakib Mohammed · Sam Fullalove · sam1el · samiamnot · Sampat Viral · samruddhikhandale · Samuel Wood (Otto) · sanjucta · Sanket Chodavadiya · Sanne van der Meulen · sapayth · Sarah Norris · Sarath AR · Saumil Nerpagar · saxonfletcher · Sazia Faizunnessa Ira · Scott Kingsley Clark · Scott Reilly · Scott Winterroth · Scout James · Sean Hayes · Sergey Biryukov · seriouslysenpai · Seth Miller · Shahidul Islam · Shamayel · Shamim Mia · Sharif Mohammad Eunus · Shraboni · shubham1gupta · Silicium · Simon Dowdles · Simon Gomes · Simon Lieschke · Siobhan · snicco.io · Soren Wrede · sruthi90 · SteelWagstaff · Stefano Minoia · stentibbing · Stephanie Walters · Stephen Bernhardt · Stephen Edgar · Stephy Miehle · stephymiehle · Steven Word · Subrata Sarkar · Sumit Singh · sun · sunyatasattva (a11n) · Suvro · syamraj24 · Sybre Waaijer · Syeda Sanjida Afrin · syhc · Synchro · syntaxart · szaqal21 · Tahmid ul Karim · Tahmina Rahman · Takashi Kitajima · Tanaz Masaba · Tanbir Ahmod · Tanner Moushey · Tasnia Rahman Raima · teebee · tekapo · thedaysse · thejaydip · theode · Thomas Griffin · Thomas Patrick Levy · thomask · timbroddin · Timi Wahalahti · Timothée Brosille · Timothy Jacobs · tmatsuur · TobiasBg · tobifjellner (Tor-Bjorn Fjellner) · Tom J Nowell · Tomasz Dziuda · Toni Viemerö · Tony G · Tonya Mork · Torsten Landsiedel · Toru Miki · Towhidul I Chowdhury · travisaxton · triumvirate · Tung Du · Ugyen Dorji · Umesh Gupta · Upadala Vipul · Vagelis · Vicente Canales · Viktor Szépe · Virginie Garnier · Vishal Kumar · Vlad T · vtad · vykesmac · WebMan Design | Oliver Juhas · Webrocker · websitegenii · Weston Ruter · whaze · winterpsv · wojsmol · Wojtek Naruniec · Wojtek Szkutnik · Yui · Yuliyan Slavchev · Zeba Afia Shama · Zenaul Islam · zevilz · zieladam · Česlav Przywara

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Merci aux personnes ayant contribué à traduire WordPress 6.3 en français

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WordPress est un projet international et la version 6.3 est déjà complètement disponible dans plus de 70 langues différentes.

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Nous souhaitons remercier ici les personnes ayant participé à la traduction de WordPress 6.3 en français :

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Antoine Paufichet, beryldlg, Clément Polito, Bruno Tritsch, coralietixeront, dacobah, Didier Demory, Eddy, Emilie LEBRUN, este1, FX, Guillaume TURPIN, Jason Rouet, Jb Audras, Jenny Dupuy, Kantari Samy, Magali, Marianna, Marie Comet, Marine EVAIN, Maxime Pertici, nandow, pasglop, petitphp, Rachel Peter, Rolf Allard van Hagen, Sébastien SERRE, Simon Janin, Timothée Brosille, Virginie Garnier, whaze, et wplmillet.

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N’hésitez pas à rejoindre les équipes de contribution francophones !

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Et pour la suite ?

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Il y a 20 ans, WordPress sortait sa première version, la version 0.7. Ce qui a commencé par un article de blog de Matt Mullenweg et un commentaire enthousiaste du co-fondateur Mike Little a évolué pour devenir la plateforme de publication web la plus populaire du monde !

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WordPress continue d’évoluer et d’itérer pour devenir toujours plus robuste et pour répondre aux attentes de sa communauté. Cette version clôture la Phase 2 (en anglais) de notre feuille de route (en anglais). Tous les efforts vont maintenant se tourner vers la Phase 3, qui vise a apporter une gestion collaborative au sein de votre CMS favori.

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Pour finir l’année 2023 en beauté, l’équipe de direction de WordPress 6.4 sera entièrement composée de femmes et de personnes non-binaires, tout comme l’avait été la version 5.6 en 2020.

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Article rédigé/traduit par Jb Audras, avec la relecture de Jenny Dupuy et Sébastien Serre.

\n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:36:\"http://wellformedweb.org/CommentAPI/\";a:1:{s:10:\"commentRss\";a:1:{i:0;a:5:{s:4:\"data\";s:62:\"https://fr.wordpress.org/2023/08/08/wordpress-6-3-lionel/feed/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:38:\"http://purl.org/rss/1.0/modules/slash/\";a:1:{s:8:\"comments\";a:1:{i:0;a:5:{s:4:\"data\";s:1:\"0\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:4;a:6:{s:4:\"data\";s:76:\"\n \n \n \n \n \n \n \n \n \n\n \n \n \n \n \n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:5:{s:0:\"\";a:7:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:50:\"Guide des changements techniques de WordPress 6.3\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:86:\"https://fr.wordpress.org/2023/07/18/guide-des-changements-techniques-de-wordpress-6-3/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"comments\";a:1:{i:0;a:5:{s:4:\"data\";s:94:\"https://fr.wordpress.org/2023/07/18/guide-des-changements-techniques-de-wordpress-6-3/#respond\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 18 Jul 2023 18:07:59 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"category\";a:2:{i:0;a:5:{s:4:\"data\";s:5:\"Guide\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}i:1;a:5:{s:4:\"data\";s:31:\"Nouvelles versions de WordPress\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:32:\"https://fr.wordpress.org/?p=2742\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:11:\"isPermaLink\";s:5:\"false\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:417:\"Ce guide décrit les principaux changements techniques que vous trouverez sur WordPress 6.3, dont la sortie est prévue le 8 août 2023. Cette version implémente 345 tickets : 126 tickets correspondent à des améliorations et nouvelles fonctionnalités, tandis que 198 tickets sont des corrections de bugs, auxquels s’ajoutent 21 tâches diverses. Cette version implémente par ailleurs 68 […]\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:9:\"Jb Audras\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:40:\"http://purl.org/rss/1.0/modules/content/\";a:1:{s:7:\"encoded\";a:1:{i:0;a:5:{s:4:\"data\";s:39646:\"\n

Ce guide décrit les principaux changements techniques que vous trouverez sur WordPress 6.3, dont la sortie est prévue le 8 août 2023.

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\"WordPress
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Cette version implémente 345 tickets : 126 tickets correspondent à des améliorations et nouvelles fonctionnalités, tandis que 198 tickets sont des corrections de bugs, auxquels s’ajoutent 21 tâches diverses.

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Cette version implémente par ailleurs 68 tickets ayant un focus sur les performances et 23 sur l’accessibilité, tandis que 33 tickets sont liés à la modernisation du code du CMS.

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Le projet Gutenberg inclut quant à lui 1737 pull requests, dont 307 correspondent à des améliorations, 481 à des correctifs de bugs et 55 à des améliorations d’accessibilité.

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Les modifications de WordPress 6.3 se répartissent dans 43 composants Core, et vous trouverez dans ce communiqué les modifications les plus impactantes, composant par composant.

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En route pour un petit tour d’horizon des
nouveautés techniques de WordPress 6.3 \"🚀\"

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Tous les liens de cet article pointent vers des notes de développement rédigées en anglais.

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L’objectif est de fournir un panorama général des changements techniques apportés par cette version, en français, puis de diriger les personnes qui souhaitent en savoir plus vers les notes de développement en anglais.

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À noter : certaines modifications listées ici vont nécessiter des actions de la part des auteurs et autrices de thèmes et d’extensions, qui devront adapter ou modifier leur code. Si vous êtes concerné·e, veuillez lire les notes de développement listées dans cet article consciencieusement afin de vous assurer que votre code fonctionnera avec WordPress 6.3 lorsque cette version sortira le 8 août 2023.

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L’éditeur de blocs

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WordPress 6.3 n’implémente pas moins de 10 versions de l’extension Gutenberg : 15.2, 15.3, 15.4, 15.5, 15.6, 15.7, 15.8, 15.9, 16.0 et 16.1. Vous trouverez de nouvelles API, de nouvelles propriétés de blocs, un mode d’édition de blocs, des classes de couleurs et de nombreuses autres modifications.

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À noter : les blocs réutilisables ont été renommés en « compositions synchronisées ».

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Pour en savoir plus, consultez les notes de développement suivantes :

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Introducing the Block Selectors API
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Introducing the WordPress Command Palette API
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Layout updates in the editor for WordPress 6.3
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Social Icons block: Applied colors now dynamically update based on theme.json and Global Styles
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Miscellaneous Editor changes in WordPress 6.3
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Thèmes natifs

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Les thèmes natifs ont abandonné le support du navigateur Internet Explorer et n’incluent donc plus aucun script ou feuille de styles destinée à ce navigateur. Les scripts HTML5 Shiv ne sont d’ailleurs plus chargés non plus dans les thèmes Twenty Thirteen, Twenty Fifteen et Twenty Seventeen (ticket #56699).

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Les personnes qui souhaitent continuer à supporter IE peuvent cependant utiliser un bout de code pour restaurer ces fonctionnalités.

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Bundled themes dropping Internet Explorer scripts and styles
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API de gestion du cache

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L’API de gestion du cache a reçu de nombreuses améliorations, notamment l’introduction de nouveaux groupes de cache spécifiques aux requêtes afin d’offrir un meilleur contrôle aux développeur·euses.

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Vous pouvez maintenant définir le moment d’expiration du cache d’un groupe, vider le cache de groupes spécifiques, modifier la dernière valeur d’un groupe ou encore déclarer certains groupes d’objets mis en cache comme n’étant pas persistants. Avec ces changements, vous pouvez implémenter votre propre stratégie personnalisée d’invalidation du cache.

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Improvements to the Cache API in WordPress 6.3
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API de gestion du système de fichiers

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Les fichiers masqués (préfixés par .) peuvent maintenant être inclus dans la fonction list_files() avec un nouveau paramètre optionnel $include_hidden. Sa valeur par défaut est false pour cause de rétrocompatibilité (ticket #53659).

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Mode développement

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Une nouvelle constante WP_DEVELOPMENT_MODE a été introduite afin de déterminer un contexte de développement spécifique. Les valeurs reconnues pour cette constante sont core, plugin, theme, all, ou une chaîne vide, valeur par défaut indiquant que le site n’est pas dans un contexte de développement.

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Deux nouvelles fonctions ont été ajoutées pour interagir avec le mode développement : wp_in_development_mode( $mode ) et wp_get_development_mode().

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Les différents contextes de développement affectent des fonctionnalités de mise en cache spécifiques. Par exemple, le cache est surchargé lorsque le site se situe en mode développement de thème, mais pas si l’on est en mode développement core (ticket #57487).

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La valeur actuelle de la constante WP_DEVELOPMENT_MODE est aussi accessible sur l’écran Outils > Santé du site > Informations, dans la section listant les constantes WordPress (#58646).

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Configuring development mode in 6.3
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Prise en charge de PHP

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La prise en charge de PHP 5 a été abandonnée dans WordPress 6.3.

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La nouvelle version minimale prise en charge est PHP 7.0.

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La version recommandée de PHP demeure toujours 7.4 ou plus (ticket #57345).

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Dropping support for PHP 5
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Internationalisation

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Plusieurs améliorations, dont la possibilité de court-circuiter le filtre load_textdomain et de réduire le temps de chargement des traductions en temps réel.

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I18N Improvements in 6.3
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Médias

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Le composant Médias a reçu plusieurs améliorations destinées à diminuer le temps de chargement des contenus comprenant des images. WordPress ajoute maintenant automatiquement l’attribut fetchpriority avec la valeur high à l’image qui est la plus susceptible d’être considérée comme l’image « LCP » (Largest Contentful Paint).

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D’autres améliorations ont été faites sur la gestion automatique du chargement différé des images afin de mieux détecter les moments où l’attribut doit être omis, sur certaines images.

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Image performance enhancements in WordPress 6.3
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API de gestion des métadonnées

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Les performances de la gestion des métadonnées ont été grandement améliorées en développant la capacité de WordPress a charger de façon conditionnelle certaines métadonnées des termes de taxonomies, des commentaires ou encore des sites d’un multisite. Ce chargement conditionnel permet d’éviter de demander la récupération de données alors qu’elles ne sont pas utilisées dans l’écran. Cela réduit les requêtes inutiles en base de données et améliore les performances d’ensemble de votre site.

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Improvements to the metadata API in WordPress 6.3
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Gestion des publications

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La fonction get_pages() a été refactorisée afin d’utiliser WP_Query. Cette amélioration réduit significativement la complexité de la fonction historique get_pages() en déchargeant la responsabilité des performances et de la gestion du cache sur la classe WP_Query (tickets #55806 et #12821).

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WP_Query used internally in get_pages()
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Chargement des scripts

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La prise en charge des attributs HTML5 async et defer a été ajoutée, ce qui permet aux développeur·euses de définir une stratégie de chargement de leurs scripts. La stratégie de chargement peut être activée en modifiant le paramètre $in_footer pour lui fournir un tableau contenant une stratégie de chargement pour les fonctions wp_register_script() et wp_enqueue_script(). Si elle est présente, la stratégie de chargement sera ajoutée à la balise script associée.

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Registering scripts with `async` and `defer` attributes in WordPress 6.3
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Gestion des mises à jour des extensions et des thèmes

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WordPress 6.3 propose une nouvelle fonctionnalité de restauration. Cela permettra à WordPress de restaurer automatiquement la version précédente d’un thème ou d’une extension si la mise à jour automatique associée a fait planter le site.

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Deux nouveaux tests sont également ajoutés à l’écran de Santé du site :

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Veuillez noter que cette fonctionnalité de restauration ne peut pas être utilisée pour remettre en place la version précédente d’un thème ou d’une extension après une mise à jour réussie. Cela ne fonctionne que si le site a rencontré une erreur fatale et que le site est donc considéré comme étant non fonctionnel.

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New in 6.3: Rollback for failed manual plugin and theme updates
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Gestion des comptes

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La classe WP_User_Query était la dernière classe de ce type qui ne permettait pas encore la mise en cache des résultats, c’est maintenant chose faite. Chaque appels à la classe WP_User_Query sera maintenant automatiquement mis en cache par défaut, à moins qu’un paramètre n’indique de ne pas le faire. Il est aussi possible de désactiver la mise en cache globalement en utilisant un filtre.

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Les résultats des requêtes sont placés dans le groupe de cache user-queries. La mise en cache est désactivée pour les requêtes utilisant le paramètre field et pour les requêtes comprenant plus de 3 champs.

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Improved Caching for Database Queries in WP_User_Query
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Autres changements techniques

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Miscellaneous developer changes in WordPress 6.3
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API CRON

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La limite de la mémoire CRON a été agrandie sur la constante WP_MAX_MEMORY_LIMIT (par défaut de 256 Mo). Un nouveau filtre cron_memory_limit a été ajouté pour ajuster cette valeur si nécessaire (ticket #56628).

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Éditeur

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Un nouvel attribut source a été ajouté sur les compositions de blocs afin de permettre de les filtrer à partir de cette source (ticket #58622).

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Contenus embarqués

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Formatage

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Divers

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API REST

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Thèmes

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La nouvelle fonction publique wp_get_remote_theme_patterns() a été ajoutée afin d’effectuer des requêtes sur les patterns provenant du theme.json et se substitue aux précédents usages d’API privées (#58460).

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Nouveaux crochets d’actions

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Nouveaux filtres

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Crochets d’actions et filtres modifiés

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Fichiers dépréciés

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Mise à jour de bibliothèques externes

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Les bibliothèques externes suivantes ont été mises à jour :

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Que vous développiez des thèmes ou des extensions, pensez à tester et retester votre code pour vous assurer de sa compatibilité avec ces changements. Vous pouvez utiliser l’extension Beta Tester sur un site de test pour vérifier la compatibilité de vos développements avec WordPress 6.3 Release Candidate 1. Nous comptons sur vous pour vérifier que votre code fonctionne correctement avec le cœur du CMS, pour le bien des millions d’utilisateurs et utilisatrices de WordPress \"♥\"

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Ce guide a été traduit puis adapté à partir du Field Guide de WP 6.3 par Jb Audras.
Merci à Jenny Dupuy pour sa relecture attentive.

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\"\"
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Surnommée « Dolphy » en l’honneur du jazzman américain Eric Allan Dolphy Jr, WordPress 6.2 est la première version majeure de 2023, et contient plus de 900 améliorations et corrections de bugs. Cette version marque une transition dans la feuille de route générale du projet open-source WordPress, car la focalisation va désormais passer de l’éditeur et de la personnalisation de sites à l’exploration des flux de travail et de la collaboration.

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Explorez et modifiez tout votre site à partir de l’éditeur

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L’interface de l’édition de site a été revue afin de vous donner plus de contrôle sur l’expérience d’édition de votre site. Vous trouverez une prévisualisation complète de vos modèles et éléments de modèles, et pourrez passer à l’éditeur de site depuis n’importe quel écran.

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Améliorations du bloc de navigation

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La nouvelle colonne latérale de réglages facilite la modification de la navigation de votre site. Ajoutez, supprimez et réordonnez vos éléments de menus plus rapidement, peu importe la complexité de vos menus.

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Une expérience plus fluide pour l’outil d’insertion de blocs

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L’onglet « média » permet de glisser et déposer du contenu depuis votre médiathèque rapidement. La vue partagée facilite la navigation parmi les catégories et la prévisualisation des compositions.

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Une meilleure interface pour les réglages des blocs

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La colonne latérale de réglages de vos blocs est mieux organisée, avec des onglets pour les réglages et pour les styles. Les outils dont vous avez besoin sont identifiables et facile d’accès.

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Des en-têtes et des pieds de page prêts à l’emploi

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Découvrez une nouvelle collection de compositions d’en-têtes et de pieds de page. Utilisez-les avec n’importe quel thème basé sur des blocs pour en faire un point de départ rapide et de qualité pour les modèles de pages de votre site.

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Explorez les médias Openverse directement depuis l’éditeur

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La bibliothèque d’Openverse répertorie plus de 600 millions d’images et de fichiers audio gratuits sous licence ouverte, et elle est désormais directement intégrée à l’éditeur.

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Un nouveau mode sans distraction

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De temps en temps, il est bon de pouvoir se concentrer sur son travail. Vous pouvez maintenant masquer tous les panneaux et réglages pour vous concentrer sur l’écriture de votre contenu.

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L’éditeur de site n’est officiellement plus en version bêta !

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La version 6.2 est une invitation à découvrir le potentiel de la prochaine génération de thèmes WordPress.

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Un nouveau guide de styles à votre disposition

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Utilisez le guide de style pour obtenir une vue d’ensemble de l’apparence de chaque bloc de votre site. Tout vos blocs sont affichés en un seul endroit, accessible en un clin d’œil.

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Copier / coller les styles en un clin d’œil

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Travaillez votre design sur un type de bloc, puis copiez et collez ces styles sur d’autres blocs pour obtenir exactement l’aspect que vous souhaitez.

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CSS personnalisé

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Améliorez votre site à votre guise en ajoutant votre propre CSS sur votre site ou sur vos blocs, pour un niveau de contrôle encore plus important sur l’apparence de votre site.

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Positionnement épinglé

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Maintenez certains blocs important en haut de page lorsque les internautes la font défiler.

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Importation des widgets

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Options pour importer vos widgets préférés depuis les thèmes classiques vers les thèmes basés sur des blocs.

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Polices embarquées depuis les thèmes

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Les thèmes par défaut proposés par WordPress offrent un meilleur respect des données personnelles en embarquant les polices Google en local.

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En savoir plus sur WordPress 6.2

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Visitez learn.wordpress.org pour des tutoriels vidéos, des ateliers en ligne, des cours et des plans de cours pour les personnes organisant des évènements, et pour des contenus présentant les nouvelles fonctionnalités de WordPress.

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Consultez notre guide des changements techniques introduits par WordPress 6.2. Il contient toutes les notes techniques que vous devez connaître si vous développez sur WordPress.

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Lire les notes de développement de WordPress 6.2 (en anglais) pour obtenir plus d’informations sur les améliorations proposées et les anomalies corrigées, les informations d’installation, les notes et ressources à destination des développeuses et des développeurs, connaître les personnes ayant contribué à cette version et pour obtenir la liste des fichiers modifiés.

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L’équipe de direction de WP 6.2

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Voici l’équipe qui a coordonné le développement et la sortie cette nouvelle version de WordPress :

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Merci aux contributeurs et contributrices

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WordPress 6.2 n’aurait pas pu sortir sans la contribution passionnée de plus de 600 personnes provenant d’au moins 50 pays différents. Un remerciement tout spécial pour les 178 personnes qui ont contribué au cœur de WordPress pour la première fois avec WP 6.2 \"♥\"

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Les personnes listées ci-dessous démontrent la vitalité et le dynamisme de notre belle communauté open-source, merci à elles !

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10upsimon · 254volkan · @mercime · Aaron D. Campbell · Aaron Graham · Aaron Jorbin · Aaron Robertshaw · Abha Thakor · Abid Hasan · abitofmind · ABTOP · ace100 · Adam Bosco · Adam Silverstein · Adam Wiltgen · Adel Tahri · Adhun Anand · adityaarora010196 · aduth · Afshana Diya · Ahmed Chaion · Ajay Maurya · ajayver · Akash Mia · Aki Hamano · Alain Schlesser · Alan Jacob Mathew · albarin · Alberuni Azad. · alecgeatches · Aleks Ganev · Alex Concha · Alex Lende · Alex Stine · alvastar · Alvi Tazwar · amin · amirrezatm · Amit Barai Alit · Amit Paul · Anantajit JG · Andrea Fercia · andreaboe · Andrei Draganescu · Andrew Matthews · Andrew Nacin · Andrew Ozz · Andrew Serong · Andrey “Rarst” Savchenko · André · Andy Fragen · Andy Peatling · Aniket Patel · Ankit K Gupta · Ankit Panchal · Anne McCarthy · Anthony Burchell · Anthony Hortin · Anton Vlasenko · Antony Agrios · Aparna Adhun · AR Rasel · Arafat Jamil · Aravind Ajith · Ari Stathopoulos · arnolp · Artemio Morales · Arthur Chu · ArtZ91 · Arun · Ashar Irfan · Ashraful Sarkar Naiem · Autumn · Ayesh Karunaratne · azurseisme · Barry Ceelen · Bart · Beatriz Fialho · Beda · Ben Dwyer · benish74 · Benjamin Grolleau · Benoit Chantre · Bernhard Kau · Bernie Reiter · Bethany Chobanian Lang · bgin · Bhavik Kalpesh · Birgir Erlendsson (birgire) · Birgit Pauli-Haack · bjorn2404 · BogdanUngureanu · bonjour52 · bookwyrm · Boone Gorges · Brad Jorsch · Brady Vercher · Brandon Kraft · Brennan Goewert · Brian Gardner · bronsonquick · Brooke Kaminski · Brooke. · buutqn · Cameron Jones · Carlos Bravo · Carlos Garcia Prim · Carolina Nymark · Chad Chadbourne · Channing Ritter · Chauncey McAskill · Chintan hingrajiya · Chirag Rathod · Chloe Bringmann · chocofc1 · Chouby · chrisbaltazar · Christoph Daum · Chrystl · ckanderson22 · Clayton Collie · cnspecialcolor · codesdnc · Coding Chicken · Colin Stewart · conner_bw · Copons · corentingautier · Corey Worrell · Cory Birdsong · Craig Francis · craiglpeters · Creative Andrew · Crisoforo Gaspar · Cupid Chakma · D.PERONNE · Daisy Olsen · dali-rajab · Damien Alleyne · Damon Cook · Daniel Bachhuber · Daniel Johnson · Daniel Richards · Daniele Scasciafratte · darerodz · datagutten · David Aguilera · David Baumwald · David Biňovec · David Calhoun · David Gwyer · David Herrera · David Marín Carreño · David Shanske · David Smith · David Vongries · Dean Sas · Dennis Claassen · Dennis Snell · derekblank · devanshijoshi · dhusakovic · Dilip Bheda · Dion Hulse · doctorlai · Dominik Schilling · Donncha · drzraf · DSIGNED · dustinrue · Edwin Cromley · Ella van Durpe · emanuelx · Emmanuel Hesry · Enej Bajgorić · Enrico Battocchi · Eric Andrew Lewis · Erick Danzer · Erik Betshammar · Esrat Sultana Popy · Eugene M · Evan Herman · Fabian Kägy · Faisal Ahmed · Faisal Alvi · fasuto · Felipe Elia · Felipe Lavín · Felix Arntz · Femy Praseeth · Florian TIAR · fpodhorsky · Francesca Marano · Francisco · Frank Bueltge · franzaurus · Fuad Ragib · Gal Baras · gamecreature · Garrett Hyder · Gary Pendergast · Gennady Kovshenin · George Hotelling · George Mamadashvili · Gerardo Pacheco · gisgeo · Glen Davies · Greg Ziółkowski · grl570810 · gvgvgvijayan · H-var · hakre · hanshenrik · Hareesh S · Harit Panchal · Hasan Misbah · Hasanuzzaman · Haz · Helen Hou-Sandi · HelgaTheViking · Helmut Wandl · Hendrik Luehrsen · Hilay Trivedi · hiren sanja · Hitesh Patel · hughie.molloy · hugodevos · hztyfoon · Héctor Prieto · Iain Poulson · Ian Belanger · Ian Dunn · Iazel · Ignat Georgiev · imanish003 · ingeniumed · Innovext · inwerpsel · iqbalrony · ironprogrammer · Isabel Brison · IT Path Solutions · ivanjeronimo · j.hoffmann · Jack Reichert · Jaed Mosharraf · Jakaria Istauk · James · James Koster · James Roberts · Jan Thiel · janusdev · Jarda Snajdr · Jarko Piironen · Javier Arce · Javier Carazo · Javier Casares · jchambo · Jean-Baptiste Audras · Jean-Philippe Green · jeawhanlee · Jeff Matson · Jeff Ong · Jeffrey Paul · Jennifer M. Dodd · Jeremy Felt · Jeremy Herve · Jeremy Lind · jeryj · Jessica Lyschik · jhned · jigar bhanushali · Jip Moors · Joe Dolson · Joe McGill · joelmadigan · Joen Asmussen · John Blackbourn · John James Jacoby · John Watkins · Jokerrs · Jon Brown · Jonathan Bossenger · Jonathan Desrosiers · Jonathan Pantani · Jong · Jonny Harris · Jorge Costa · jornp · Joseph G. · Josepha Haden · joshuatf · Joy · jsh4 · Juan Aldasoro · JuanMa Garrido · Juhi Saxena · Juliette Reinders Folmer · Julio Potier · Justin Ahinon · Justin Tadlock · Justin Welenofsky · justlevine · K. Adam White · kacper3355 · KafleG · Kai Hao · Kajal Gohel · kaneva · Kapil Paul · Kathryn P. · Keanan Koppenhaver · Kelly Choyce-Dwan · Kelly Hoffman · Kevin Batdorf · Kjell Reigstad · Konstantin Obenland · konyoldeath · Kowsar Hossain · Krunal Bhimajiyani · Krupal Panchal · Kunal Madhak · Lana Codes · larsmqller · laurelfulford · Lauren Stein · Lena Morita · Lena Stergatou · Leo Milo · lifeboat · Linkon Miyan · lkraav · Loïc Antignac · Lovekesh Kumar · Lox · lozula · lucius0101 · Lucy Tomas · Luigi · luisherranz · Lukman Nakib · Márcio Duarte · Madhu Dollu · Madhu Dollu · Maggie Cabrera · Mahbub Shovan · Mahek Kalola · manfcarlo · Manoj Patil · Marcelo de Moraes Serpa · Marco Ciampini · Marek Dědič · Marie Comet · Marin Atanasov · Mario Santos · Marissa Matthews · Marius L. J. · Mark Jaquith · Marko Ivanovic · marksabbath · Markus · Markus Kosmal · Martijn van der Klis · Mary Baum · matclayton · Mateus Machado Luna · Mathieu Paapst · Matias Ventura · matiasbenedetto · Matt Keys · Matt Mullenweg · Matthias Reinholz · Mauricio · Max · Max Lyuchin · Maxime J. · MD Jamil Uddin · Md Kawser Ahmed Khan Jami · Md Rakib Hossain · Md. Abir Hasan Dipu · Md. Reduan Masud · mdviralsampat · Mehul Kaklotar · mensmaximus · meyerdev.ch · mgol · Michael Burridge · Michael Kelly · Michal Czaplinski · Michel Many · Miguel Axcar · Miguel Fonseca · Miguel Torres · Mike Schroder · Mike Straw · Milan Dinić · Milana Cap · Minal Diwan · mitchellaustin · miya · Monzur Alam · mreishus · mrwweb · mtias · mujuonly · Mukesh Panchal · Mumtahina Faguni · Musarrat Anjum Chowdhury · Mustaque Ahmed · mw108 · Naeem Haque · Namith Jawahar · Nathan Johnson · Nazmul Hasan · nendeb · Neycho Kalaydzhiev · Nicholas Garofalo · nicholaswilson · Nick Diego · Nick the Geek · nidhidhandhukiya · Niels Lange · Nik Tsekouras · NikhilPatel · Niluthpal Purkayastha · Nitesh Das · Nithin John · Nithin SreeRaj · Nitin Rathod · nitman43 · Noah Allen · nuvoPoint · oakesjosh · Obayed Mamur · ockham · oguzkocer · oh_hello · Okamoto Hidetaka · Olga Gleckler · OllieJones · Omar Alshaker · Paal Joachim Romdahl · PabloHoney · Pascal Birchler · Paul Bearne · Paul Biron · Paul Kevan · Paul Schreiber · pavelevap · pbking · Pedro Mendonça · pepe · Petar Ratković · Peter Wilson · petitphp · Petter Walbø Johnsgård · Phil Webster · Phill · Pial · Pieterjan Deneys · Piotrek Boniu · PJ Brunet · pkolenbr · Pooja N Muchandikar · Pravin Parmar · Presskopp · Ptah Dunbar · pypwalters · raduiason · Rafael Agostini · Rafin · Rajan Panchal · Rajesh Raval · Ramon Ahnert · ramon fincken · Ramon James · Razthee Md. Yakini · Renato Augusto Gama dos Santos · Reza Khan · Riad Benguella · Riccardo Di Curti · Rich Tabor · Rinky Chowdhury · Ritesh Patel · rjasdfiii · Robert Anderson · Robin · Robin Labadie · rodage · rodricus · Rolf Allard van Hagen · Ross Gile · Roy Tanck · Ruchir Goswami · Rupok · Ryan · Ryan Kienstra · Ryan Welcher · Ryo · Sé Reed · Sérgio Gomes · Sören Wrede · Sahil B. · Sajib Talukder · Sakib Mohammed · Sam Fullalove · sam1el · samiamnot · Sampat Viral · samruddhikhandale · Samuel Wood (Otto) · sanjucta · Sanket Chodavadiya · Sanne van der Meulen · sapayth · Sarah Norris · Sarath AR · Saumil Nerpagar · Sazia Faizunnessa Ira · Scott Kingsley Clark · Scott Winterroth · Scout James · Sean Hayes · Sergey Biryukov · seriouslysenpai · Seth Miller · Shahidul Islam · Shamayel · Shamim Mia · Sharif Mohammad Eunus · Shraboni · shubham1gupta · Silicium · Simon Gomes · Simon Lieschke · Siobhan · snicco.io · sruthi90 · SteelWagstaff · Stefano Minoia · stentibbing · Stephen Bernhardt · Stephen Edgar · Stephy Miehle · stephymiehle · Steven Word · Subrata Sarkar · Sumit Singh · sun · sunyatasattva (a11n) · Suvro · syamraj24 · Sybre Waaijer · Syeda Sanjida Afrin · syhc · Synchro · syntaxart · szaqal21 · Tahmid ul Karim · tahminar27 · Takashi Kitajima · Tanaz Masaba · Tanbir Ahmod · Tanner Moushey · Tasnia Rahman Raima · teebee · tekapo · thedaysse · thejaydip · theode · Thomas Griffin · Thomas Patrick Levy · thomask · timbroddin · Timi Wahalahti · Timothée Brosille · Timothy Jacobs · TobiasBg · tobifjellner (Tor-Bjorn Fjellner) · Tom J Nowell · Tomasz Dziuda · Toni Viemerö · Tony G · Tonya Mork · Torsten Landsiedel · Toru Miki · Towhidul I Chowdhury · travisaxton · triumvirate · Tung Du · Umesh Gupta · upadalavipul · Vagelis · Vicente Canales · Viktor Szépe · Virginie Garnier · Vishal Kumar · Vlad T · vtad · vykesmac · WebMan Design | Oliver Juhas · Webrocker · websitegenii · Weston Ruter · whaze · winterpsv · wojsmol · Wojtek Naruniec · Wojtek Szkutnik · Yui · Yuliyan Slavchev · Zeba Afia Shama · Zenaul Islam · zevilz · zieladam · Česlav Przywara

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Merci aux personnes ayant contribué à traduire WordPress 6.2 en français

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WordPress est un projet international et la version 6.2 est déjà complètement disponible dans plus de 70 langues différentes.

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Nous souhaitons remercier ici les personnes ayant participé à la traduction de WordPress 6.2 en français :

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Bruno Tritsch, Clément Polito, FX Bénard, Eddy, Emilie LEBRUN, gaellebesson, Jb Audras, Jenny Dupuy, Loïc Antignac, lulucmy, Magali, Marianna, Marine EVAIN, Maxime Pertici, nandow, petitphp, Rachel Peter, Sébastien SERRE, Stéphane POISSON, Timothée Brosille, Virginie Garnier, whaze, WordPress Express, et wplmillet.

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Ce guide décrit les principaux changements techniques que vous trouverez sur WordPress 6.2, dont la sortie est prévue le 28 mars 2023.

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\"\"
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WordPress 6.2 corrige quelque 300 tickets Trac : 110 sont des améliorations et nouvelles fonctionnalités, 166 sont des corrections de bogues et 20 sont d’autres tâches courantes.

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On retrouvera 28 améliorations de performances, 15 améliorations d’accessibilité et 18 améliorations de code notamment dédiées à la prise en charge des versions les plus récentes de PHP.

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Du côté du projet Gutenberg, 1645 pull requests ont été fusionnées au cœur de WordPress : 292 améliorations, 354 corrections de bogues et 30 améliorations concernant l’accessibilité de l’éditeur.

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Les modifications apportées par WP 6.2 concernent 44 composants du cœur WordPress. Vous trouverez dans cet article des précisions concernant les modifications les plus impactantes.

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En route pour un petit tour d’horizon des
nouveautés techniques de WordPress 6.2 \"🚀\"

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Tous les liens de cet article pointent vers des notes de développement rédigées en anglais.

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L’objectif est de fournir un panorama général des changements techniques apportés par cette version, en français, puis de diriger les personnes qui souhaitent en savoir plus vers les notes de développement en anglais.

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À noter : certaines modifications listées ici vont nécessiter des actions de la part des auteurs et autrices de thèmes et d’extensions, qui devront adapter ou modifier leur code. Si vous êtes concerné·e, veuillez lire les notes de développement listées dans cet article consciencieusement afin de vous assurer que votre code fonctionnera avec WordPress 6.2 lorsque cette version sortira le 28 mars 2023.

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Les polices Google Font sont maintenant incluses localement dans les thèmes natifs

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Suite aux incertitudes juridiques liées à l’utilisation des polices Google Fonts directement chargées depuis les serveurs de Google, les thèmes natifs qui embarquaient auparavant directement des polices provenant des serveurs de Google ne le feront plus à partir de WordPress 6.2.

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Cela concerne les thèmes suivants :

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Les autres thèmes natifs n’utilisent pas directement de polices Google et ne sont donc pas concernés par cette modification.

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À partir de maintenant, chaque thème concerné va servir une nouvelle feuille de styles depuis son propre répertoire, au sein du domaine de votre site. Si le thème embarque plusieurs polices différentes, votre thème les embarquera en les plaçant dans une seule feuille de styles pour de meilleures performances.

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Voici par exemple la déclaration de feuille de styles de Twenty Thirteen :

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\n<link\n	rel="stylesheet"\n	id="twentythirteen-fonts-css"\n	href="https://example.com/wp-content/themes/twentythirteen/fonts/source-sans-pro-plus-bitter.css?ver=20230328"\n	media="all"\n/>\n
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Comme vous pouvez le voir, les polices sont maintenant directement embarquées depuis les thèmes natifs, afin d’éviter toute dépendance tierce.

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Attention : si vous avez déjà modifié ou retiré l’appel Google Fonts via un thème enfant ou via une extension, il est recommandé de vérifier que ce changement n’affecte pas votre site.

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Pour en savoir plus, consultez la note de développement suivante :

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Google Fonts are included locally in bundled themes
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L’éditeur de blocs

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WordPress 6.2 comprend 10 versions du projet Gutenberg – 14.2, 14.3, 14.4, 14.5, 14.6, 14.7, 14.8, 14.9, 15.0 et 15.1. Vous y trouverez de nouvelles API, des mises à niveau de bibliothèques, des améliorations très utiles des Styles globaux, encore plus de fonctionnalités prises en charge nativement par les blocs, de nouveaux crochets d’action et filtres, ainsi que bien d’autres modifications ayant été développées sur ces 10 versions de l’extension Gutenberg.

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Pour en savoir plus, consultez les notes de développement suivantes :

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Introducing the HTML API in WordPress 6.2
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Upgrading to React 18 and common pitfalls of concurrent mode
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Custom CSS for global styles and per block
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Style Book preview of blocks in global styles
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Shadows in Global Styles with WordPress 6.2
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Sticky position block support
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Minimum height dimensions block support
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Customize settings for any block in WordPress 6.2
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Introduction of Block Inspector Tabs
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Update to content only editing filter namespace
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Add new prop to ServerSideRender component
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Editor Components updates in WordPress 6.2
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Patterns API expanded to include template_types property
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Miscellaneous Editor changes in WordPress 6.2
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Internationalisation

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Dans WordPress 6.2, le composant internationalisation (abrégé « i18n ») propose une nouvelle fonction conteneur et propose de faciliter le changement des traductions de l’administration du site pour chaque compte. Voici la note de développement dédiée aux modifications ayant eu lieu sur ce composant :

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I18N Improvements in 6.2
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API de gestion des fichiers système

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Si vous utilisiez la fonction copy_dir() pour déplacer des répertoires, vous serez probablement heureux de découvrir la nouvelle fonction move_dir(), qui arrive avec WordPress 6.2.

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Introducing move_dir() in WordPress 6.2
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Notons également l’apparition de la fonction wp_opcache_invalidate() qui sert à vider OPcache pour des fichiers PHP individuels après les avoir surchargés. La fonction  wp_opcache_invalidate_directory() a été ajoutée dans le cadre du ticket #57375 afin de vider le cache OPcache de façon récursive pour les fichiers PHP après les avoir surchargés. Cette fonction accepte un paramètre unique $dir, pointant vers le répertoire contenant les fichiers PHP pour lesquels OPcache doit être vidé.

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Dans le ticket #57375, la méthode WP_Filesystem_Direct::move() a reçu la possibilité de gérer des répertoires afin de la rendre cohérente par rapport aux méthodes ::move() présentes dans WP_Filesystem_FTPext, WP_Filesystem_ftpsockets et WP_Filesystem_SSH2.

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Base de données

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La possibilité de nettoyer les noms de tables et de champs a été ajoutée dans la méthode wpdb::prepare(). Plus d’infos dans la note de développement dédiée :

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Escaping Table and Field names with wpdb::prepare() in WordPress
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Gestion des publications

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La fonction get_page_by_title() est maintenant dépréciée en faveur de l’utilisation de WP_Query.

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get_page_by_title() deprecated
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Performances

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WordPress 6.2 apporte plusieurs gains de temps de chargement importants au cœur du CMS. Cela est clairement visualisable dans les tests que nous avons conduits avec des mesures de signaux web essentiels (Web Vitals en anglais) et de chargement côté serveur (Server Timing en anglais).

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Les performances des thèmes basés sur des blocs ont également été améliorées, avec un TTFB (en anglais Time to First Byte, ou temps de chargement du premier octet) qui est environ 20 % plus rapide, et aussi 14 % d’amélioration sur le LCP (Largest Contenful Paint, représentant le temps avant que la page complète soit lisible). Sur des pages où vous utilisez de grandes bannières d’images, vous devriez même observer une amélioration du critère LCP d’environ 19 %.

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Autres améliorations de performances :

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Thèmes

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Les développeuses et développeurs de thèmes WordPress pourront apprécier l’arrivée de nouvelles fonctionnalités, et devront aussi prendre en compte la suppression de certains fonctionnalités obsolètes :

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Bibliothèques externes

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La bibliothèque jQuery a été mise à jour, elle est passée de la version 3.6.3 à 3.6.4.

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En outre, la bibliothèque Requests a aussi été mise à jour. Une note de développement détaille d’ailleurs les changements apportés :

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Requests library upgraded to 2.0.5 in WordPress 6.2
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Autres mises à jour

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Plusieurs crochets d’action et filtres ont été mis à jour, vous les trouverez dans la note de développement suivante :

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\n
Miscellaneous developer changes in WordPress 6.2
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Mais ce n’est pas tout !

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Voici d’autres composants qui ont reçu des mises à jour notables.

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Processus de chargement de WP

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Ajout d’une vérification que les fonctions mysqli_connect() ou mysql_connect() sont bien disponibles. Cela résout une erreur fatale potentiellement provoquée par l’absence de l’extension PHP mysqli sur le serveur, et affiche un message d’erreur clair le cas échéant. Voir le ticket #51988.

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Commentaires

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Ajout de la possibilité de passer le paramètre $comment_ID aux fonctions get_comment_time() et comment_time(). Cela apporte une meilleure cohérence vis-à-vis des fonctions similaires get_comment_date() et comment_date(). Voir le ticket #52322.

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Mots de passe d’applications

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Les URL en HTTP sont désormais autorisées pour la création de mots de passe d’applications dans le cadre d’un environnement local. Voir le ticket #52617.

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Bibliothèques externes

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Les bibliothèques suivantes ont été mises à jour :

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Formattage

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Optimisation de la fonction de bas niveau wp_kses_bad_protocol() afin d’améliorer les performances de la fonction d’échappement esc_url(). Voir le ticket #22951.

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Modernisation du code

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Un énorme travail a été fait pour améliorer encore la conformité de la structure du code de WordPress vis-à-vis des versions de PHP supérieures à 8.0. Voir le ticket #56788.

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E-mails

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L’ajout de pièce jointes avec noms de fichiers personnalisés dans la fonction wp_mail() est maintenant possible en passant un tableau associatif $attachments, où les chaînes utilisées en tant que clés seront employées pour déterminer les noms de fichiers. Voir le ticket #28407.

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Médias

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Il est maintenant possible de fournir explicitement une valeur booléenne false au paramètre $attr de la fonction wp_get_attachment_image() afin de s’assurer que l’attribut decoding n’est pas ajouté au média. Voir le ticket #57086.

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La logique permettant de déterminer les images participant au LCP (Largest Contenful Paint, représentant le temps avant que la page complète soit lisible) au sein des thèmes basés sur des blocs a été grandement améliorée, afin de s’assurer que ces images ne soient pas chargées en différé. Cela permet d’améliorer la conformité LCP des thèmes basés sur des blocs. Cette modification tire par ailleurs profit du principe des éléments de modèles de l’éditeur de site pour éviter de charger en différé les médias situés dans l’entête du site. Un test conduit sur une page créée via un thème basé sur des blocs a permis de souligner une amélioration de 19 % du critère LCP sur WordPress 6.2. Voir les tickets #56930 et #57490 pour plus de détails.

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API REST

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Ajout de la prise en charge de caractères non latins dans la Regex utilisée pour le point de terminaison template. Ces caractères sont encodés afin de pouvoir être utilisés dans une URL (exemple : %cf%84%ce%b5%cf%83%cf%84). Voir le ticket #57329.

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Gestion des comptes

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Ajout du nouveau crochet d’action wp_set_password, déclenché après la création d’un mot de passe pour un compte déterminé. Cela aidera les auteur·ices d’extensions à intercepter toutes les utilisations de wp_set_password(), qu’elles proviennent du cœur de WordPress ou d’autres extensions. Voir le ticket #57436.

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Que vous développiez des thèmes ou des extensions, pensez à tester et retester votre code pour vous assurer de sa compatibilité avec ces changements. Vous pouvez utiliser l’extension Beta Tester sur un site de test pour vérifier la compatibilité de vos développements avec WordPress 6.2 Release Candidate 1. Nous comptons sur vous pour vous assurer que votre code fonctionne correctement avec le cœur du CMS, pour le bien des millions d’utilisateurs et utilisatrices de WordPress \"♥\"

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Ce guide a été traduit de l’anglais puis adapté à partir du Field Guide de WP 6.2 par Jb Audras. Merci à Jenny Dupuy, FX Bénard et Bruno Tritsch pour leur relecture attentive.

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Chaque année, les membres de la communauté WordPress sont invités à donner leurs retours sur WordPress. Chaque personne gravitant autour de notre CMS est concernée, qu’elle en soit simple utilisatrice, ou qu’elle participe à la conception ou à la production de sites, d’extensions, de thèmes, ou même au développement de WordPress ou de sa communauté.

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Les retours obtenus par ce questionnaire sont utilisés pour la conférence annuelle du co-fondateur de WordPress, le State of the Word et auront une influence sur la direction stratégique du projet dans les années à venir.

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Pour le dire plus simplement, ce questionnaire aide les personnes qui construisent WordPress à en savoir plus sur la façon dont ce logiciel est utilisé.

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Je participe au questionnaire annuel !
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Cette année encore, le questionnaire est disponible en plusieurs langues – dont le français – grâce à l’aide des différentes équipes de traduction du CMS, merci à elles !

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Ce questionnaire sera accessible jusqu’à la fin de l’année 2022, et la publication des résultats est prévue courant 2023. Cette année, les questions ont été revues afin de faciliter le déroulement, la réalisation et l’analyse de l’enquête. Certaines questions ont été supprimées, tandis que quelques nouvelles sont désormais présentes, reflétant le présent et l’avenir de WordPress. Si vous cherchez l’analyse des résultats de l’enquête de 2021, elle sera également partagée début 2023.

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Faites passer le message

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Aidez à faire connaître le questionnaire en le partageant avec votre réseau, via Slack, ou sur vos comptes de réseaux sociaux. Plus il y aura de personnes qui répondront au questionnaire et partageront leur expérience avec WordPress, plus l’ensemble du projet en bénéficiera.

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Sécurité et confidentialité

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La sécurité et la confidentialité des données sont primordiales pour le projet et la communauté WordPress. Dans cet esprit, toutes les données personnelles sont rendues anonymes : aucune adresse e-mail ou adresse IP ne sera associée aux résultats publiés. Pour en savoir plus sur les pratiques de WordPress.org en matière de confidentialité, consultez la politique de confidentialité.

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Merci

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Nous remercions les contributeurs et contributrices WordPress suivants pour leur aide à la mise en œuvre de ce questionnaire annuel, comprenant la création des questions, la réflexion stratégique, l’élaboration de l’enquête et sa traduction :

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dansoschin, _dorsvenabili, angelasjin, arkangel, audrasjb, atachibana, bjmcsherry, chanthaboune, eidolonnight, fernandot, fierevere, fxbenard, jdy68, jpantani, laurlittle, nao, nielslange, peiraisotta, piermario, rmartinezduque, santanainniss.

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Traduction du communiqué par Jenny Dupuy et Jb Audras.

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\"\"
\n\n\n\n

La troisième version majeure de WordPress pour l’année 2022 est disponible. Elle a été baptisée « Misha » en l’honneur du pianiste de jazz Michail Jefimowitsch Alperin.

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Nous vous invitons à effectuer cette mise à jour afin de bénéficier des améliorations de stabilité, de performances, et d’utilisabilité que propose cette nouvelle version majeure.

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Quoi de neuf dans WordPress 6.1 ?

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Twenty Twenty-Three : un nouveau thème natif proposant 10 variations de styles distinctes

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S’appuyant sur les principes fondamentaux des versions 5.9 et 6.0 pour les thèmes de blocs et les variations de style, le nouveau thème par défaut, nommé Twenty Twenty-Three, comprend 10 variations de styles différentes et est accessible.

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Une meilleure expérience de création avec de nouveaux modèles entièrement revus

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Les nouveaux modèles (note de développement, en anglais) comprennent un modèle personnalisé pour les publications dans l’éditeur de site. Les outils de recherche/remplacement accélèrent la conception des éléments de modèles (en anglais).

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Plus de cohérence et de contrôle sur les outils de conception

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L’amélioration des commandes pour les éléments de conception et les blocs rendent le processus de mise en page et de création de site plus cohérent, complet et intuitif.

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Les menus peuvent être créés et modifiés plus facilement

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Les nouvelles options de récupération du bloc Navigation (en anglais) vous permettent de modifier le menu que vous avez ouvert sans avoir besoin d’effectuer de recherche. De plus, les commandes pour choisir et travailler sur les menus sont dorénavant placées dans les réglages du bloc. Le système de menu mobile bénéficie également d’une mise à jour avec de nouvelles fonctionnalités comprenant plusieurs options d’icônes pour personnaliser le menu.

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Amélioration de la mise en page et de la visualisation des réglages des publications

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Un affichage plus propre et mieux organisé vous permet de visualiser et de gérer facilement les réglages importants des publications, en particulier au niveau du sélecteur de modèles et de l’outil de planification.

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Réglage de verrouillage en un clic pour tous les blocs internes

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Lorsque vous verrouillez des blocs, une nouvelle option vous permet d’appliquer vos réglages de verrouillage à tous les blocs d’un bloc conteneur tel que le bloc Groupe, Couverture ou encore Colonnes.

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Amélioration des textes indicatifs des blocs

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Les textes indicatifs de plusieurs blocs ont été améliorés, afin de mieux refléter les options de personnalisation qui vous permettent de concevoir votre site et son contenu. Par exemple, le texte d’aide du bloc Image affiche les réglages personnalisés des bordures et des filtres duotones avant même de sélectionner l’image à afficher.

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Composez des listes et des citations enrichies en y plaçant des blocs internes

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Les blocs Liste et Citation prennent désormais en charge les blocs internes, ce qui permet des compositions plus flexibles et plus riches, par exemple en vous permettant d’ajouter des titres à l’intérieur de vos blocs de citations.

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Du texte plus responsive avec une typographie fluide

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La typographie fluide (en anglais) vous permet de définir des tailles de police qui s’adaptent pour faciliter la lecture sur n’importe quelle taille d’écran.

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Ajoutez des suggestions de compositions pour vos types de publications

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Dans WordPress 6.0, lorsque vous ajoutiez une nouvelle page, vous pouviez voir des suggestions de compositions afin d’éviter de partir d’une page vide. Avec WordPress 6.1 vous verrez cette fenêtre modale lors de la création de n’importe quel type de publication.

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Facilitation de la recherche de thèmes basés sur des blocs

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Le répertoire des thèmes contient un filtre pour les thèmes basés sur des blocs, et l’aperçu des compositions donne une meilleure idée de ce à quoi le thème pourrait ressembler lorsque vous explorez les thèmes et les compositions.

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Conservez les réglages de l’éditeur de site pour plus tard

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Les réglages de l’éditeur de site sont désormais persistants pour chaque compte. Cela signifie que vos réglages seront désormais cohérents sur tous les navigateurs et appareils.

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Un système de gestion des styles simplifié

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Les règles CSS pour les marges internes et externes, la typographie, les couleurs et les bordures du moteur de styles sont désormais regroupées au même endroit, ce qui diminue le temps consacré aux tâches de mise en page et aide à générer des noms de classes sémantiques.

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Amélioration de l’accessibilité de l’administration et de l’éditeur

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Plus de 40 améliorations de l’accessibilité ont été réalisées, comprenant la résolution des problèmes de perte de focus dans l’éditeur, l’amélioration des libellés de formulaires et de la restitution vocale des messages, l’amélioration de l’interface de modifications des textes alternatifs, la correction du débordement du menu d’administration sur les petits écrans ou en zoom navigateur. En savoir plus sur les améliorations d’accessibilité apportées par WP 6.1.

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Autres changements importants

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Éléments de modèles de blocs dans les thèmes classiques

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Les éléments de modèles de blocs peuvent désormais être définis dans les thèmes classiques (en anglais) en ajoutant les fichiers HTML appropriés au répertoire parts à la racine du thème.

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Évolution des blocs de boucle de requête

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Les nouveaux filtres permettent aux variantes du bloc de requête de prendre en charge des requêtes personnalisées afin de créer des variantes plus spécifiques et des options avancées de filtrage des types de publication hiérarchiques.

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Des filtres pour tous vos styles

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Exploitez les filtres dans la barre latérale « Styles » pour contrôler les réglages sur quatre niveaux de votre site, du moins spécifique au plus spécifique : principal, thème, compte, bloc.

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Préréglages d’espacement pour une conception plus rapide et cohérente

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Gagnez du temps et évitez de coder en dur des déclarations dans un thème grâce aux valeurs de marge internes et externes prédéfinies pour de multiples blocs.

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Modification limitée au contenu sur les blocs conteneurs

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Grâce au réglage de modification limitée au contenu, les mises en page peuvent être verrouillées au sein des blocs conteneurs. Dans un bloc de contenu seul, ses blocs enfants sont invisibles dans la vue en liste et ne sont pas modifiables. Vous contrôlez donc la mise en page tandis que vos rédactrices et rédacteurs peuvent se concentrer sur le contenu.

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Combinez-la avec les options de verrouillage des blocs pour un contrôle encore plus poussé de vos blocs.

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De meilleures performances

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WordPress 6.1 résout 25 tickets dédiés à l’amélioration des performances. De l’API REST au multisite, en passant par WP_Query l’enregistrement des blocs du cœur WordPress et par de nouvelles vérifications sur l’outil Santé du site, ou par l’ajout des attributs async aux images, il y a des améliorations bénéfiques pour tous les types de sites. Un récapitulatif complet est disponible dans le guide dédié aux performance de WP 6.1.

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Guide des changements techniques de WordPress 6.1

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WordPress 6.1 comprend encore bien plus de nouvelles fonctionnalités et d’améliorations. Pour en savoir plus, et notamment si vous développez des sites WordPress, consultez le guide des changements techniques de cette version.

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Plus d’informations sur WordPress 6.1

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Découvrez WordPress 6.1 en fonctionnement ! Notre vidéo de présentation propose une vue d’ensemble des principales fonctionnalités qui sont sorties avec WordPress 6.1.

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Visitez learn.wordpress.org pour des tutoriels vidéos, des ateliers en ligne, des cours et des plans de cours pour les personnes organisant des évènements, et pour des contenus présentant les nouvelles fonctionnalités de WordPress.

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Consultez notre guide des changements techniques introduits par WordPress 6.0. Il contient toutes les notes techniques que vous devez connaître si vous développez sur WordPress.

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L’équipe de direction de WordPress 6.1

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Les personnes mentionnées ci-dessous ont participé à la direction de cette version majeure du CMS :

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Il n’aurait pas été possible de sortir WordPress 6.1 sans le travail acharné de plus de 800 personnes situées dans au moins 60 pays différents. Merci à toutes celles et ceux qui ont travaillé sur cette nouvelle version de WordPress !

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1naveengiri · Aaron D. Campbell · Aaron Jorbin · Aaron Robertshaw · Abha Thakor · Abu Hurayra · Adam Bosco · Adam Pickering · Adam Silverstein · Adam Wiltgen · Adam Zielinski · Addie · Adil Öztaşer · aduth · Aezaz Shekh · afrid1719 · Ahmed Chaion · Ahmed Saeed · Aki Hamano · Akram Ul Haq · Akshit Sethi · Alain Schlesser · alamgircsebd · AlanP57 · alansyue · albatross10 · Albert Juhé Lluveras · Alberuni Azad. · Alejandro J. Sanchez P. · Aleksej · Alex Concha · Alex Lende · Alex Mills · Alexis Coulombe · alexstine · allancole · allisonplus · Alvaro Gómez · amirkamizi · Amjad Ali · Anantajit JG · Anariel Design · Andrea Fercia · Andreas · Andrei Draganescu · Andrei Surdu · Andrew Nacin · Andrew Ozz · Andrew Serong · Andrew Wilder · AndrewNZ · Andrey « Rarst » Savchenko · Andrija Naglic · André · Andy Fragen · Andy Keith · Aniket Patel · anitanenova · Ankit K Gupta · Anna Bansaghi · Anne McCarthy · Ante Laca · Anthony Burchell · Anton Vlasenko · apedog · apokalyptik · AR Rasel · arcangelini · archon810 · Ari Stathopoulos · Ariel Chinn · Arjun Singh · Arnab Mondal · Arslan Kalwar · Artur Grabowski · Arunas Liuiza · Aspexi · Aurooba Ahmed · Austin Matzko · Ayesh Karunaratne · BaneD · barneydavey · Bartosz Bobnis · Beatriz Fialho · Ben Dwyer · Ben Greeley · Benachi · Benjamin Grolleau · Benoit Chantre · Bernhard Reiter · Bernie Reiter · Bhrugesh Bavishi · Bing · Birgir Erlendsson (birgire) · Birgit Pauli-Haack · Blockify · Bob · bobbingwide · bonger · Boone Gorges · Brad Jorsch · Brandon Kraft · Brian Alexander · Brian Gardner · Bruno Cantuaria · Bruno Ribaric · burgiuk · Burhan Nasir · bwbama · cadlec · cagsmith · Carlos Bravo · Carlos Garcia Prim · Carolina Nymark · cavalierlife · cdbessig · Chad Chadbourne · Chandra M · Channing Ritter · Chetan Prajapati · Chintan hingrajiya · Chloe Bringmann · Chouby · Chris Budd · Chris Hardie · Chris Zarate · chriscct7 · chrisguitarguy · Christian-W. 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Merci également à toutes celles et ceux qui ont traduit cette version en français :

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Bonaldi, Bruno Tritsch, Chouby, Didier Demory, Eddy, Emilie LEBRUN, FX Bénard, florianv, Frederic Nuyts, Gilbert GAYRAUD, Guillaume TURPIN, Ioana M., Jason Rouet, Jenny Dupuy, Jb Audras, Loulou51, lulucmy, maecatnou, Magali, Marianna, Marie Comet, Marine EVAIN, Maxime Pertici, nandow, pasglop, Rachel Peter, Sébastien SERRE, solaack, Stéphane POISSON, Timothée Brosille, Translations by Automattic, Virginie Garnier, virginienacci, whaze, Whodunit, WP-Translations, et wplmillet.

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La version Release Candidate de WordPress 6.1 est sortie mardi 11 octobre. Il est donc temps de parcourir les différents changements techniques qu’apportera cette prochaine version majeure de notre CMS.

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La sortie finale de cette nouvelle version est planifiée pour le 1er novembre 2022.

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\"WordPress
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L’équipe de direction de WP 6.1 et plusieurs centaines de contributeurs et contributrices ont travaillé sur plus de 120 améliorations et nouvelles fonctionnalités, 241 correctifs et 42 autres tâches variées, ce qui représente plus de 400 tickets sur Trac.

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À cela, il faut ajouter plus de 50 pull requests ayant permis de fusionner les différentes versions de Gutenberg dans le cœur du CMS. Du côté du projet Gutenberg il y a eu en tout 1684 pull requests apportant 425 nouvelles fonctionnalités et améliorations et 428 correctifs de bugs, le reste concernant des tâches courantes de revue de qualité du code, de documentation ou d’amélioration des outils de déploiement.

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En route pour un petit tour d’horizon des
nouveautés techniques de WordPress 6.1 \"🚀\"

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Tous les liens de cet article pointent vers des notes de développement rédigées en anglais.

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L’objectif est de fournir un panorama général des changements techniques apportés par cette version, en français, puis de diriger les personnes qui souhaitent en savoir plus vers les notes de développement en anglais.

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À noter : certaines modifications listées ici vont nécessiter des actions de la part des auteurs et autrices de thèmes et d’extensions, qui devront adapter ou modifier leur code. Si vous êtes concerné·e, veuillez lire les notes de développement listées dans cet article consciencieusement afin de vous assurer que votre code fonctionnera avec WordPress 6.1 lorsque cette version sortira le 1er novembre 2022.

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Performances

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Avec 45 tickets sur Trac pour WP 6.1, l’amélioration des performances et des temps de chargement de WordPress a été l’un des enjeux principaux de cette version. Les changements les plus significatifs portent sur les requêtes WP_Query et sur l’API REST, deux points qui impactent grandement les temps de chargement de votre site. L’un des changements les plus attendus concernait notamment la mise en cache des requêtes WP_Query, et c’est maintenant une réalité avec WP 6.1.

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De nouveaux points de contrôle ont aussi été ajoutés dans l’écran de Santé du site, qui vous indiquera maintenant si la mise en cache des pages et le cache persistant fonctionnent correctement sur votre site.

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Plusieurs améliorations conséquentes sur l’API de mise en cache de WordPress ont également été mises en œuvre, et l’ordre d’exécution général des crochets d’action a été optimisé pour retarder le moins possible l’affichage des pages.

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L’enregistrement de blocs personnalisés pour l’éditeur à l’aide de fichiers block.json a aussi été rendu bien plus performant.

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Et ce n’est qu’une petite partie des améliorations de performances de WP 6.1. Pour en découvrir plus, voici un guide spécifique sur les performances dans cette nouvelle version de WP :

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Performance Field Guide for WordPress 6.1
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Accessibilité

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Il s’agit du second focus principal de WordPress 6.1, avec 28 tickets sur Trac, concernant 13 des principaux composants du CMS. De nombreuses améliorations ont été faites sur l’éditeur de blocs et sur la fonctionnalité d’édition complète du site, quelques éléments encore non conformes sur les différents écrans d’administration ont été corrigés, et beaucoup d’autres améliorations ont été faites pour faciliter l’utilisation de WordPress par toutes et tous.

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Une attention particulière a également été portée sur la gestion des champs requis sur les différents formulaires de l’interface d’administration : pour faciliter leur maintenance, une petite API a été créée afin de gérer de façon centralisée leur affichage. Celle-ci est publique et peut donc être utilisée par les personnes réalisant des développements sur mesure.

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Notons également qu’avec WordPress 6.1, les deux thèmes natifs Twenty Twenty-Three (nous reparlerons de celui-là dans un article dédié !) et Twenty Twenty-Two font leur entrée parmi les premiers Block Themes (ces thèmes entièrement modifiables avec l’éditeur de blocs) ayant obtenu le libellé accessibility-ready sur le répertoire de thèmes WordPress.org.

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Pour en savoir plus sur toutes ces améliorations concernant l’accessibilité de WordPress, consultez le guide spécifique proposé par l’équipe Accessibility :

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WordPress 6.1 Accessibility Improvements
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L’éditeur de blocs

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C’est évidemment encore et toujours un des axes concentrant le plus d’évolutions d’une version à une autre \"😊\"

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WordPress 6.1 embarque les versions 13.1, 13.2, 13.3, 13.4, 13.5, 13.6, 13.7, 13.8, 13.9, 14.0, et 14.1 du projet Gutenberg.

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Parmi les nombreux changements de ces 10 versions de l’extension Gutenberg, un gros effort a été fait pour rendre les blocs et autres fonctionnalités de l’éditeur de plus en plus disponibles pour les thèmes « classiques », c’est à dire les thèmes qui ne prennent pas encore en charge l’édition complète du site à l’aide de blocs, une fonctionnalité introduite dans le CMS en 2022 avec WordPress 5.9.

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L’objectif est de faciliter le travail des développeuses et des développeurs pour effectuer une transition de leurs thèmes « classiques » vers le principe du thème basé sur des blocs, que celui-ci soit entièrement ou partiellement modifiable dans l’éditeur. Nous espérons que cela poussera encore plus les personnes développant des thèmes WordPress à exploiter au maximum les fonctionnalités de l’éditeur.

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Par ailleurs, de nombreuses fonctionnalités utiles au quotidien ont été ajoutées dans cette version : filtrage des données du theme.json, nouveau système de gestion des préférences dans l’éditeur, possibilité de modifier et étendre le bloc « Boucle de requête », et bien plus encore.

\n\n\n\n

Vous trouverez ci-dessous les différentes notes de développement concernant l’éditeur de WordPress :

\n\n\n\n
\n
Block API changes in WordPress 6.1
\n
\n\n\n\n
\n
Create-block scaffolding tool updates
\n
\n\n\n\n
\n
Extending the Query Loop block
\n
\n\n\n\n
\n
Block-based “template parts” in traditional themes
\n
\n\n\n\n
\n
Block styles generation (Style Engine)
\n
\n\n\n\n
\n
Changes to block editor preferences in WordPress 6.1
\n
\n\n\n\n
\n
Editor Components updates in WordPress 6.1
\n
\n\n\n\n
\n
Simplified data access with new React hooks in WordPress 6.1
\n
\n\n\n\n
\n
Miscellaneous editor changes for WordPress 6.1
\n
\n\n\n\n

Par ailleurs, la note de développement suivante fournit un état des lieux très pratique des blocs natifs et de leurs différentes possibilités de formatage :

\n\n\n\n
\n
Roster of design tools per block
\n
\n\n\n\n

Développement de thèmes WordPress

\n\n\n\n

Les notes de développement suivantes présentent des changements qui concernent tout particulièrement les développeuses et développeurs de thèmes.

\n\n\n\n

Tout d’abord, l’entête Update URI qui doit être utilisé si vous développez des thèmes sur mesure n’ayant pas vocation à être déployés sur le répertoire WordPress.org. Cela évitera que votre site propose une mise à jour et écrase votre thème dans le cas où un thème du répertoire officiel porterait le même identifiant (slug) que le vôtre !

\n\n\n\n

Ensuite nous avons plusieurs notes de développement concernant les interactions entre les thèmes et l’éditeur de site. Et notamment la possibilité de créer des éléments de modèles basés sur des blocs au sein d’un thème classique, c’est à dire d’un thème ne proposant au départ pas de compatibilité avec l’édition complète de site (full site editing).

\n\n\n\n

Enfin, on notera l’arrivée de la gestion fluide des polices typographiques, qui permettent de définir la taille de typo de façon à ce qu’elle s’adapte dynamiquement à la largeur de l’écran.

\n\n\n\n
\n
Introducing “Update URI” theme header in WordPress 6.1
\n
\n\n\n\n
\n
Block-based “template parts” in traditional themes
\n
\n\n\n\n
\n
Fluid font sizes in WordPress 6.1
\n
\n\n\n\n
\n
Navigation Block Fallback Behavior in WP 6.1
\n
\n\n\n\n
\n
Styling elements in block themes
\n
\n\n\n\n
\n
Updated editor layout support in 6.1 after refactor
\n
\n\n\n\n
\n
Filters for theme.json data
\n
\n\n\n\n
\n
Introduction of presets across padding, margin and block gap
\n
\n\n\n\n

Twenty Twenty-Three, le nouveau thème natif

\n\n\n\n

Twenty Twenty-Three est le nouveau thème par défaut de WordPress.

\n\n\n\n

Comme son prédécesseur, il exploite à 100 % les fonctionnalités de l’éditeur de site. Il va même beaucoup plus loin en intégrant nativement 10 variations de styles permettant de modifier complètement l’interface depuis l’administration.

\n\n\n\n

Ces 10 variations de styles ont été sélectionnées à l’aide d’un appel à contribution. L’objectif est de montrer par l’exemple comment se comportent les nouvelles fonctionnalités de l’éditeur de site, et notamment comment exploiter le fichier theme.json.

\n\n\n\n

Vous trouverez ci-dessous une vidéo balayant les 10 variations de styles de ce thème.

\n\n\n\n
\n\n\n\n

Comme d’habitude, ce thème natif a été développé sur GitHub (où vous retrouverez l’historique du projet) puis intégré au cœur de WordPress pendant la phase de développement de la version 6.1.

\n\n\n\n

Autres améliorations

\n\n\n\n

API REST

\n\n\n\n

L’API REST a vu l’arrivée d’améliorations concernant le point de terminaison /search ainsi que de l’affichage des réponses JSON pouvant être controlées via le filtre rest_json_encode_options. Toutes les améliorations de l’API sont décrites dans la note de développement suivante :

\n\n\n\n
\n
Miscellaneous REST API improvements in WordPress 6.1
\n
\n\n\n\n

Page de connexion

\n\n\n\n

Une nouvelle fonction attendue depuis plus de 10 ans a fait son entrée dans la boîte à outils des développeuses et développeurs : is_login() permet de déterminer si l’on se trouve sur la page de connexion ou non.

\n\n\n\n
\n
New is_login() function for determining if a page is the login screen
\n
\n\n\n\n

Tableaux de listes de l’admin

\n\n\n\n

Une nouvelle méthode fait son apparition, afin de pouvoir interagir et filtrer plus facilement les liens de visualisation présents dans ces tableaux.

\n\n\n\n
\n
Introducing WP_List_Table::get_views_links() in WordPress 6.1
\n
\n\n\n\n

Médias

\n\n\n\n

Avec la version 5.8, nous avons accueilli la prise en charge du format WebP et nous prévoyions initialement d’intégrer la génération automatique et par défaut d’images dans ce format dans WordPress 6.1, mais le commit associé a finalement été annulé avec la recommandation de plutôt intégrer cette fonctionnalité dans une extension canonique.

\n\n\n\n

En revanche, la propriété muted est maintenant disponible pour les vidéos insérées dans l’éditeur, ce qui permet de rendre silencieuse les vidéos ayant vocation à être lancées automatiquement (propriété autoplay). Ceci est obligatoire pour les vidéos automatiques.

\n\n\n\n

Autres changements techniques

\n\n\n\n

WordPress 6.1 introduit de nombreuses nouvelles fonctions et crochets d’action ou filtres. Ces changements sont détaillés dans la note de développement suivante :

\n\n\n\n
\n
Miscellaneous Core changes for WordPress 6.1
\n
\n\n\n\n

En plus de tous ces changements, on notera les évolutions suivantes, triées par composant du cœur WP :

\n\n\n\n\n\n\n\n
\n\n\n\n

Que vous développiez des thèmes ou des extensions, pensez à tester et retester votre code pour vous assurer de sa compatibilité avec ces changements. Vous pouvez utiliser l’extension Beta Tester sur un site de test pour vérifier la compatibilité de vos développements avec WordPress 6.1 RC 1. Nous comptons sur vous pour vous assurer que votre code fonctionne correctement avec le cœur du CMS, pour le bien des millions d’utilisateurs et utilisatrices de WordPress \"♥\"

\n\n\n\n
\n\n\n\n

Ce guide en français a été rédigé par Jb Audras avec l’aide de FX Bénard et Jenny Dupuy.

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Dirigée par une équipe composée de personnes de genres sous-représentés dans la tech et disponible depuis le 7 novembre, cette nouvelle version, nommée Shirley en hommage à la célèbre chanteuse et pianiste de jazz Shirley Horn, se concentre sur l’amélioration de l’expérience utilisateur. Différentes facettes de la plateforme, depuis la rédaction de nouveaux articles jusqu’à la gestion des modèles sur votre site, ont été revues. Côté technique, là aussi de nombreuses améliorations répertoriées ici par notre CEO Jean-Baptiste Audras.

\n\n\n\n

A noter que cette version se distingue également par une statistique particulièrement révélatrice : 28,06 % des personnes ayant contribué ont apporté leur aide pour la première fois, témoignant ainsi de l’ouverture de l’écosystème WordPress. Et Whodunit figure toujours parmi le top 10 des agences contributrices 😇

\n\n\n\n

Suivez le guide…

\n\n\n\n

1 – Aperçu des fonctionnalités clés et des améliorations

\n\n\n\n

Nouveau thème par défaut : Twenty Twenty-Four

\n\n\n\n

Le thème par défaut de cette année, Twenty Twenty-Four (TT4), est conçu pour être polyvalent, adapté à une variété de sites et d’utilisations. Que vous soyez entrepreneur, photographe, artiste, écrivain ou blogueur, TT4 offre une collection de modèles et de motifs qui peuvent être personnalisés pour répondre à vos besoins spécifiques. Avec des modèles de page d’accueil variés et des options comme des pages “À propos”, des aperçus de projets, des RSVP et des pages d’atterrissage, TT4 est un thème qui promet flexibilité et facilité d’adoption.

\n\n\n\n
\n\n\n\n

Fonctionnalité Lightbox pour les images

\n\n\n\n

WordPress 6.4 introduit une fonctionnalité lightbox pour les images, permettant aux utilisateurs de cliquer sur une image et de l’afficher en plein écran. Cette fonctionnalité peut être activée globalement pour toutes les images ou individuellement, offrant ainsi une expérience de visualisation plus immersive et engageante pour les visiteurs du site.

\n\n\n\n

Améliorations des flux de travail

\n\n\n\n

Possibilité de renommer les blocs Groupe

\n\n\n\n

Dans le but de simplifier l’organisation et d’améliorer le flux de travail, WordPress 6.4 permettra de renommer les blocs Groupe. Cette fonctionnalité est particulièrement utile dans l’éditeur de site où les blocs Groupe sont fréquemment utilisés. En renommant ces blocs, les utilisateurs pourront mieux s’orienter dans la vue en Liste, facilitant ainsi la distinction entre les différentes parties du contenu.

\n\n\n\n

Améliorations de la gestion des images et des galeries

\n\n\n\n

WordPress 6.4 facilite grandement le travail avec les images et les galeries. Dans la vue Liste, les utilisateurs peuvent désormais voir des aperçus des images et des galeries, ce qui permet de repérer rapidement et efficacement où chaque élément se trouve dans le contenu. Cette fonctionnalité, qui sera étendue à d’autres blocs liés aux images dans les futures versions, est un pas de plus vers une interface plus intuitive et visuelle pour les utilisateurs.

\n\n\n\n

Évolution de la Palette de commandes

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La Palette de commandes, introduite dans WordPress 6.3, a été améliorée avec un nouveau design et de nouvelles commandes, notamment des actions spécifiques aux blocs. Ces améliorations rendent l’utilisation de la palette plus contextuelle et intuitive, permettant aux utilisateurs d’effectuer des actions comme grouper et dégrouper les blocs, avec une correspondance précise entre les options visibles et les actions disponibles.

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Catégorisation et gestion améliorée des compositions

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Les compositions peuvent maintenant être organisés par catégories dès leur création, rendant leur tri et ajout beaucoup plus simples. Que ce soit dans la section globale des compositions ou lors de l’insertion, les catégories facilitent la recherche. De plus, une option de filtrage avancée est disponible pour une expérience de recherche plus ciblée.

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Import/export des compositions en tant que fichiers JSON

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Pour une meilleure compatibilité et facilité de transfert, les compositions peuvent désormais être importées et exportées en tant que fichiers JSON. Cela offre un moyen simple de déplacer des compositions personnalisées entre différents sites.

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Introduction des Block Hooks pour les développeurs de plugins

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Les Block Hooks sont une API qui permet à un bloc dynamique de se greffer au rendu d’un autre bloc, offrant ainsi la possibilité d’insérer du contenu avant ou après un bloc spécifique. Cette fonctionnalité est conçue pour améliorer l’expérience utilisateur finale en permettant une insertion automatique de blocs à l’emplacement choisi par le développeur, tout en respectant les modifications apportées par l’utilisateur.

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Améliorations du flux d’écriture

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L’acte d’écrire dans WordPress doit être fluide et agréable. Des raccourcis clavier supplémentaires, une fiabilité améliorée du collage, une fusion plus douce des listes et d’autres améliorations ont été apportées pour soutenir la créativité des utilisateurs. Par exemple, l’utilisation de la touche Échap permet de désélectionner les blocs dans la vue Liste, et des raccourcis clavier pour dupliquer les blocs ont été ajoutés.

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Outils de design

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Ajout du contrôle de proportions dans le placeholder du bloc Image

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Après l’introduction des contrôles de proportion pour le bloc d’image à la une dans WordPress 6.3, ces mêmes contrôles sont maintenant disponibles pour le placeholder du bloc Image. Cela offre plus de contrôle pour les motifs de type wireframe, permettant de définir des mises en page que les utilisateurs peuvent ensuite personnaliser.

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Ajout d’images de fond aux blocs Groupe

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Les images de fond sont désormais prises en charge par les blocs Groupe, ce qui enrichit considérablement les possibilités de design.

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Conservation des réglages d’alignement dans les compositions synchronisées

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Un bug important a été corrigé : les réglages d’alignement sont désormais conservés lors de la création d’une composition synchronisée.

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Support de l’orientation verticale du texte

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Les thèmes peuvent désormais opter pour une fonctionnalité d’orientation du texte (disponible via le panneau de réglages de typographie d’un bloc) qui permet d’écrire le texte verticalement.

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Ajout de boutons au bloc Navigation

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Il est maintenant possible d’ajouter des boutons directement dans le bloc Navigation sans CSS personnalisé ou autres solutions de contournement.

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Désactiver les contrôles de mise en page par bloc via le fichier theme.json

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Il est maintenant possible de désactiver les contrôles de mise en page pour des blocs spécifiques via le fichier theme.json.

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Bloc Query Loop : pagination améliorée avec contrôles supplémentaires

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Une nouvelle option de pagination améliorée est disponible pour le bloc de Boucle de Requête, permettant de naviguer entre les pages sans rafraîchir la page.

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Configurer votre propre typographie fluide

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Après l’introduction de la typographie fluide dans WordPress 6.1, il est maintenant possible de définir ses propres valeurs de largeur de viewport pour le schéma theme.json de la typographie fluide.

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Autres améliorations

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Nouveau composant ProgressBar (barre de progression)

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Un nouveau composant ProgressBar horizontal est disponible et visible lors du chargement de l’Éditeur de site.

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Empêcher l’édition de blocs avec useBlockEditingMode()

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Une API précédemment privée est maintenant publique, permettant de restreindre l’interface d’édition d’un bloc et de ses enfants.

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Utiliser le paramètre ‘nofollow’ lors de l’ajout de liens

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La possibilité de définir un lien comme nofollow a été ajoutée aux options de contrôle de lien. Cela permet d’indiquer aux moteurs d’indexation comme Google de ne pas suivre le lien concerné.

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2- Quelques nouveautés techniques notables

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Gutenberg et l’Éditeur de Blocs

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WordPress 6.4 introduit six nouvelles versions de l’extension Gutenberg, allant de la 16.2 à la 16.7. Une attention particulière a été portée sur l’API Block Hooks, offrant une extensibilité accrue pour les thèmes basés sur des blocs. Cette innovation permet aux développeurs de filtrer et d’étendre les fonctionnalités des blocs avec une plus grande facilité.

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Améliorations de l’Interface et des Composants

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Des changements substantiels ont été apportés au paquet @wordpress/components, améliorant l’interface utilisateur et l’expérience de l’éditeur. Les développeurs bénéficieront de nouvelles API pour les Innerblocks, la typographie fluide, et la gestion des images d’arrière-plan, ainsi que d’une meilleure gestion des options de mise en page via le fichier theme.json.

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Administration et Notifications

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Deux nouvelles fonctions d’administration simplifient la génération de balisage HTML, favorisant une maintenance aisée et une cohérence accrue. Ces fonctions sont également recommandées pour les développeurs d’extensions, assurant une intégration harmonieuse avec le cœur de WordPress.

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Performance et Optimisation

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WordPress 6.4 met l’accent sur les performances, notamment à travers une gestion améliorée du cache objet. De nouvelles fonctions telles que get_options(), wp_prime_option_caches(), et wp_set_option_autoload_values() optimisent la récupération des options stockées en base de données. L’efficacité du chargement des fichiers modèles et des images a également été significativement améliorée.

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Stratégies de Chargement des Ressources

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Des stratégies de chargement avancées sont désormais en place pour les scripts et les feuilles de style, utilisant principalement l’attribut defer pour un chargement non bloquant et une meilleure performance de rendu.

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Médias et SEO

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Les nouvelles installations de WordPress n’auront plus de page de fichier attaché par défaut, une modification qui vise à améliorer le référencement en évitant l’indexation de pages souvent non pertinentes.

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Accessibilité et Personnalisation

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Des améliorations significatives ont été apportées à la page wp-login.php, et les libellés “Add New” ont été clarifiés pour une meilleure accessibilité et contexte dans l’interface d’administration.

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Développement et Tests

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Les développeurs doivent prendre note des modifications des prérequis pour les tests d’intégration, avec PHPUnit Polyfills version 1.1.0 désormais nécessaire. De plus, certaines classes et méthodes de l’API HTTP ont été dépréciées.

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Révisions et Compatibilité

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Les révisions sont maintenant applicables aux champs personnalisés des publications, et il est crucial que les développeurs testent leur code avec l’extension Beta Tester pour assurer la compatibilité avec la nouvelle version.

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WordPress 6.4 est une étape importante dans l’évolution du CMS, apportant des améliorations qui seront appréciées tant par les développeurs que par les utilisateurs finaux. Avec une meilleure performance, une accessibilité accrue, et des outils de développement plus robustes, cette mise à jour est un pas de géant vers un avenir plus performant et accessible pour le web.

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Conclusion

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Cette version 6.4 est un témoignage de l’engagement de WordPress envers l’innovation et l’amélioration continue, affirmant une fois de plus pourquoi WordPress reste le CMS de choix pour des millions de personnes à travers le monde.

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L’article WORDPRESS 6.4 : Un pas de géant vers un avenir plus performant et accessible pour le web est apparu en premier sur Agence WordPress Whodunit.

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Les sites statiques sont de plus en plus populaires en raison de leur rapidité, de leur sécurité et de leur simplicité. Lorsqu’il s’agit de construire des ...

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The post Comment construire un site statique avec SvelteKit appeared first on Kinsta®.

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\"Le

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Un bloc dans l’en-tête de votre page. Et hop, un autre dans votre pied de page. Et puisque c’est aussi possible, voilà un joli menu de navigation conçu entièrement avec des blocs.  Oui, créer toutes les parties d’un site WordPress...

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Neve FSE : test de ce thème WordPress basé sur des blocs est un article de WPMarmite, le blog qui vous aide à tirer le meilleur de WordPress.

\n\n \";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:4:\"type\";s:4:\"html\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:6:\"author\";a:1:{i:0;a:6:{s:4:\"data\";s:46:\"\n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:1:{s:27:\"http://www.w3.org/2005/Atom\";a:1:{s:4:\"name\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"Thibaut &#124; WPMarmite\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}}s:6:\"source\";a:1:{i:0;a:6:{s:4:\"data\";s:67:\"\n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:1:{s:27:\"http://www.w3.org/2005/Atom\";a:2:{s:2:\"id\";a:1:{i:0;a:5:{s:4:\"data\";s:29:\"http://feedpress.me/WPMarmite\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:10:\"WP Marmite\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}}}}}i:3;a:6:{s:4:\"data\";s:70:\"\n \n \n \n \n \n \n \n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:1:{s:27:\"http://www.w3.org/2005/Atom\";a:9:{s:2:\"id\";a:1:{i:0;a:5:{s:4:\"data\";s:72:\"https://www.gregoirenoyelle.com/premier-live-youtube-wordpress-100-bloc/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:72:\"Maîtrisez l’éditeur de site (FSE) de WordPress avec mon Live YouTube\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:4:\"type\";s:4:\"html\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:2:{s:4:\"href\";s:72:\"https://www.gregoirenoyelle.com/premier-live-youtube-wordpress-100-bloc/\";s:3:\"rel\";s:9:\"alternate\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"updated\";a:1:{i:0;a:5:{s:4:\"data\";s:29:\"2023-10-31T05:30:00.000+01:00\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:9:\"published\";a:1:{i:0;a:5:{s:4:\"data\";s:29:\"2023-10-31T05:30:00.000+01:00\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"summary\";a:1:{i:0;a:5:{s:4:\"data\";s:523:\"Depuis le mois de janvier 2023, j’expérimente beaucoup de choses autour de l’éditeur de site WordPress (ou FSE). Et comme j’adore, je partage: un compte Instagram pendant 90 jours @gregoirewp, les ateliers que j’anime au sein des meetups de WordPress Paris (avec WP Paris), ces Lives que je lance sur YouTube et enfin avec la […]Cet article a été publié le 31 octobre 2023 par Grégoire Noyelle. Pour le lire en ligne, suivre le lien: Maîtrisez l’éditeur de site (FSE) de WordPress avec mon Live YouTube.\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"content\";a:1:{i:0;a:5:{s:4:\"data\";s:701:\"\n Depuis le mois de janvier 2023, j’expérimente beaucoup de choses autour de l’éditeur de site WordPress (ou FSE). Et comme j’adore, je partage: un compte Instagram pendant 90 jours @gregoirewp, les ateliers que j’anime au sein des meetups de WordPress Paris (avec WP Paris), ces Lives que je lance sur YouTube et enfin avec la […]

Cet article a été publié le 31 octobre 2023 par Grégoire Noyelle. Pour le lire en ligne, suivre le lien: Maîtrisez l’éditeur de site (FSE) de WordPress avec mon Live YouTube.

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Préparez-vous à plonger dans l’univers captivant de WordPress, de la traduction et de l’intelligence artificielle au cours d’une discussion fascinante. Je suis heureux d’accueillir François Xavier Benard, ou FX, pour une conversation enrichissante qui vous apportera des connaissances précieuses.

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Nous commencerons par explorer les récents problèmes rencontrés avec le bouton ‘Live Preview’ dans le répertoire d’extensions WordPress. Découvrez comment une nouvelle application de prise de notes, BlockNotes, révolutionne la manière de prendre des notes en utilisant les blocs Gutenberg via WordPress Playground sur votre téléphone portable.

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Ensuite, nous vous dévoilerons les coulisses du développement de WP Translations, une société de traduction que j’ai eu le privilège de créer. FX et moi partagerons les défis auxquels nous sommes confrontés lors de la traduction d’extensions en anglais pour des utilisateurs finaux non anglophones. Vous comprendrez comment des traductions de qualité peuvent rehausser l’expérience de l’utilisateur et stimuler l’activité des auteurs. Nous aborderons également l’importance cruciale de faire appel à des traducteurs professionnels pour garantir la qualité des traductions.

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Enfin, nous explorerons le rôle essentiel de la traduction dans le marketing à l’échelle mondiale. Nous discuterons de l’impact significatif des traductions payantes et des avantages des outils tels que OpenAI et Deep Level. Vous saisirez l’influence majeure de la traduction sur les activités commerciales. En conclusion, nous évoquerons le projet WorldCorp, son achèvement et les implications futures de l’intelligence artificielle. Préparez-vous à une émission chargée d’informations précieuses et de discussions stimulantes. Attachez vos ceintures, le voyage commence ici.

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Pour tester Blocknotes :

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  1. Installez l’application testflight : https://apps.apple.com/fr/app/testflight/id899247664
    2. \n\n\n\n
  2. Cliquez sur cette invitation : testflight.apple.com/join/1LHlA8uA 
    3. \n\n\n\n
  3. Créez des notes 🙂
    4. \n
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Ecoutez le podcast sur

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Sommaire de l’épisode :

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Mon invité

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François-Xavier Bénard

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Également connu sous les pseudonymes “fxbenard” ou “FXB” sur le web, est un individu très actif et engagé dans la communauté WordPress, notamment dans le domaine de la traduction et de la localisation. Voici quelques éléments marquants de sa vie et de son travail :

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Pour aller plus loin

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  1. WordPress Playground: Ce terme fait référence à la possibilité de charger un environnement WordPress sur un serveur local ou distant pour expérimenter ou tester des configurations sans affecter un site Web en direct.
    Plus d’informations sur WordPress Playground
    2. \n\n\n\n
  2. BlockNotes: Il s’agit d’une application de prise de notes basée sur WordPress et Playground. Elle permet aux utilisateurs de créer des notes en utilisant des blocs Gutenberg.
    BlockNotes sur l’App Store US
    3. \n\n\n\n
  3. Extensions WordPress: Les extensions, aussi appelées plugins, sont des logiciels qui ajoutent des fonctionnalités supplémentaires à un site WordPress.
    En savoir plus sur les extensions WordPress
    4. \n\n\n\n
  4. WordPress Core: Le “Core” de WordPress est le cœur du logiciel WordPress, il inclut le code principal et les fonctionnalités essentielles du système de gestion de contenu (CMS) WordPress.
    WordPress Core sur Github
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  5. GTE (General Translation Editor): GTE est un acronyme pour “General Translation Editor”. Il s’agit de personnes qui ont des droits spéciaux pour gérer et superviser les traductions de WordPress pour une langue spécifique.
    Plus d’informations sur le rôle de GTE
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  6. Translate WordPress: Translate WordPress est la plateforme officielle utilisée pour la traduction de WordPress et de ses extensions dans différentes langues.
    Accédez à Translate WordPress
    7. \n\n\n\n
  7. Language Pack: Les Language Packs sont des ensembles de fichiers de traduction générés automatiquement pour WordPress et ses extensions. Ils permettent aux utilisateurs de WordPress de voir leur site dans leur langue préférée.
    En savoir plus sur les Language Packs
    8. \n\n\n\n
  8. Slug: Dans le contexte de WordPress, un slug est un texte convivial pour les moteurs de recherche qui est utilisé dans l’URL d’une publication, d’une page ou d’une taxonomie. Il s’agit généralement d’une version simplifiée et lisible par l’humain du titre de la publication ou de la page.
    9. \n\n\n\n
  9. Yost SEO: Une référence à l’extension Yoast SEO, qui est une extension populaire pour optimiser le référencement de sites WordPress.
    Plus d’informations sur Yoast SEO
    10. \n
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J’attends vos retours avec impatience !

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Je vous invite à écouter, partager et surtout à laisser vos commentaires et évaluations. Votre feedback est non seulement précieux pour moi, mais il aide aussi le podcast à toucher un public plus large. ????

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Vous souhaitez intervenir ? Envoyez un mail à eddy@whodunit.fr ou rejoignez-moi sur LinkedIn https://www.linkedin.com/in/eddy-boels/ pour en discuter.

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L’article WOA ! #29 Traduire WordPress et ses dépendances est apparu en premier sur Agence WordPress Whodunit.

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\"astuces
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Lors du dernier WordCamp Europe, nous avons plongé dans les coulisses de l’éditeur de blocs WordPress pour explorer une nouveauté en cours de développement : l’API d’interactivité. Cette nouvelle brique vise à améliorer un aspect encore trop peu considéré des blocs : leur comportement côté front, c’est-à-dire la façon dont ils se manifestent visuellement pour l’utilisateur final.

\n\n\n\n

L’interactivité, dans ce contexte, désigne la capacité d’un bloc à répondre immédiatement à une action utilisateur. Pensez à un bloc accordéon qui s’ouvre, un sous-menu qui s’affiche ou encore à une modification des quantités d’un panier sur un site e-commerce.

\n\n\n\n

Ces interactions étaient jusqu’alors laissées à l’appréciation de chaque développeur, entrainant plusieurs challenges techniques sur lesquelles nous reviendrons plus tard dans cet article. Mais avant cela, commençons par rappeler l’intérêt pour le CMS open source WordPress de s’orienter vers la création de nouvelles API.

\n\n\n\n

Le rôle essentiel des API dans WordPress

\n\n\n\n

WordPress propose une vaste gamme d’Interfaces de Programmation Applicative, plus connues sous l’acronyme anglais API.

\n\n\n\n

Leur intérêt ? Standardiser de nombreux aspects du code que les développeurs d’extensions et de thèmes WordPress pourraient avoir à écrire. Au lieu de repartir de zéro à chaque fois, ils bénéficient d’une palette de ressources prédéfinies, comme des fonctions ou des classes.

\n\n\n\n

Voici les avantages clés :

\n\n\n\n\n\n\n\n

Les API WordPress ne sont pas seulement des outils pour faciliter la vie des développeurs. Elles incarnent la vision de WordPress pour un développement web plus efficace, sécurisé et évolutif.

\n\n\n\n

\n\n\n\n

Renforcer l’interactivité

\n\n\n\n

L’éditeur de blocs WordPress offre déjà une large gamme d’outils permettant une édition riche des contenus en backoffice. Mais jusqu’à récemment, les développeurs désireux de proposer des rendus complexes et/ou interactif sur la partie front devaient concevoir leur propre solution, souvent sans lignes directrices claires ni bonnes pratiques établies. Cette hétérogénéité de solutions pouvait altérer la performance, l’accessibilité et la sécurité des pages.

\n\n\n\n

L’introduction de l’éditeur de site, ou « Full Site Editing » (FSE), a mis ce problème en lumière, avec sa construction à partir de blocs. En réponse à cela, un groupe de développeurs a entrepris de concevoir une solution : leur réflexion a donné lieu à un article détaillé, présentant cette nouvelle API, ainsi qu’un site de démonstration. Son déploiement comporte des défis, puisqu’elle doit être fonctionnelle côté serveur lors du rendu de la page et côté navigateur où l’utilisateur va interagir avec les blocs.

\n\n\n\n

Pour cette API, les développeurs ont établi des critères essentiels, tels que :

\n\n\n\n\n\n\n\n

D’autres conditions ciblent spécifiquement les développeurs d’extensions.

\n\n\n\n

Cette nouvelle API présente le potentiel de transformer la dynamique des blocs face aux interactions des utilisateurs. Elle permet aux développeurs de se focaliser sur leurs objectifs métiers, tout en simplifiant la mise en place des fondements techniques nécessaires à ces ambitions.

\n\n\n\n

Pour les utilisateurs finaux

\n\n\n\n

Bien que conçue initialement pour optimiser le quotidien des développeurs, cette nouvelle API présente des bénéfices tangibles pour tous, avec en tête de liste une amélioration significative des performances et une consolidation de la sécurité.

\n\n\n\n

Comme mentionné précédemment, les avantages offerts par les APIs sont vastes.

\n\n\n\n

Concernant l’API d’interactivité, ses principaux atouts pour les utilisateurs finaux se distinguent par :

\n\n\n\n\n\n\n\n

Pour les développeurs

\n\n\n\n

Cette nouvelle API n’est pas encore stabilisée, les exemples de codes sont donnés à titre d’exemple et vont très probablement être modifiés dans le futur.

\n\n\n\n

L’un des points forts de cette nouvelle API en termes de développement est d’être réactive. On y retrouve les éléments qui font la force de la philosophie de React: des “interfaces“ dérivées d’un état précis. Le développeur décrit la façon dont l’interface doit s’afficher et comment son état doit être modifié et la librairie sous-jacente s’occupe de détecter les événements, mettre à jour l’état et muter l’interface en conséquence. C’est là toute la philosophie de l’éditeur de blocs.

\n\n\n\n

À l’inverse, pour ajouter de l’interactivité sur des éléments d’un site, il était souvent question de passer par jQuery (ou du JavaScript natif). Avec cette approche, le développeur est chargé de la gestion du rendu de l’interface, de la détection des événements, de la mise à jour de l’état et de la modification de l’interface. Plus les éléments à mettre à jour sont nombreux, plus cette méthode révèle ses faiblesses.

\n\n\n\n

Un autre impératif crucial pour cette API était sa compatibilité avec le rendu côté serveur. Le HTML produit par le serveur doit constituer le fondement du côté client, sur lequel une dimension interactive est superposée. Ce HTML ne doit pas être intégralement remplacé. D’un point de vue performance et SEO, cela garantit l’affichage instantané d’un contenu tangible, évitant un effet « page vierge » pendant le téléchargement et l’exécution du JavaScript nécessaire au rendu. Cela assure également que toute modification apportée au HTML côté serveur est conservée, comme l’ajout éventuel de classes CSS.

\n\n\n\n

Pour la composante « réactive », l’équipe a opté pour la bibliothèque Preact, qui, tout en étant plus compacte, emprunte largement aux concepts de React. C’est cette couche qui orchestre la mise à jour des interfaces en fonction des interactions des utilisateurs.

\n\n\n\n

La véritable innovation réside dans la méthode d’intégration des éléments interactifs, réalisée par le biais de directives HTML. Ce principe s’inspire de ce qui est fait par la librairie AlpineJs.

\n\n\n\n

Via ce système, on peut facilement enrichir un code HTML pour lui permettre de déclencher des actions ou de réagir à des changements (des « effets »).

\n\n\n
\n 
<div
  data-wp-context='{ "isOpen": false }'
  data-wp-effect="effects.logIsOpen"
>
  <button
    data-wp-on--click="actions.toggle"
    data-wp-bind--aria-expanded="context.isOpen"
    aria-controls="p-1"
  >
    Toggle
  </button>
 
  <p id="p-1" data-wp-show="context.isOpen">
    This element is now visible!
  </p>
</div>
\n\n\n\n

Ces directives vont permettre de lier les éléments HTML avec la partie réactive en JavaScript

\n\n\n
\n 
import { store } from "@wordpress/interactivity";
 
store({
  actions: {
    toggle: ({ context }) => {
      context.isOpen = !context.isOpen;
    },
  },
  effects: {
    logIsOpen: ({ context }) => {
      // Log the value of `isOpen` each time it changes.
      console.log(`Is open: ${context.isOpen}`);
    },
  },
});
\n\n\n\n

Dans l’exemple ci-dessus (issu de l’article de présentation de l’API interactivé publié sur le bloc Make Core), on a un « bloc » fictif qui fonctionne comme un accordéon.

\n\n\n\n

Pour résumer le fonctionnement, lorsque l’utilisateur clique sur l’élément bouton, celui-ci vient changer la valeur de l’état isOpen. Au moment où cette valeur change, cela va avoir pour effet (d’où le nom « effect » utilisé en anglais) d’afficher ou de masquer l’élément paragraphe.

\n\n\n\n

Tout ce fonctionnement est porté par les directives visibles dans le HTML comme data-wp-on--click, data-wp-show et qui font le pont avec le code JavaScript.

\n\n\n\n

L’article sur le Core est très bien fait et présente plus complète du mécanisme et des directives en faisant le parallèle avec React.

\n\n\n\n

Conclusion

\n\n\n\n

Ainsi, l’éditeur Gutenberg continue d’évoluer et de s’améliorer. Cette nouvelle API est une proposition très intéressante pour faciliter le développement d’expériences interactives via les blocs. Les développeurs qui ont contribué à sa création ont poussé la réflexion pour proposer une solution s’intégrant parfaitement dans l’écosystème WordPress existant, en restant le plus léger possible.

\n\n\n\n

Des développeurs travaillant sur le projet Gutenberg ou WooCommerce ont déjà commencé à faire évoluer leurs blocs pour profiter des nouvelles possibilités qu’offre cette API. Il a y fort à parier qu’elle va continuer d’évoluer – mais il est intéressant de voir qu’elle est déjà exploitée.

\n\n\n\n

Si vous souhaitez suivre les développements, un changelog est disponible pour suivre les évolutions de l’API et elle a sa propre catégorie dans la partie Discussions du projet Gutenberg.

\n

The post L’interactivité sur WordPress: une nouvelle API pour l’éditeur de blocs appeared first on Agence WordPress Be API.

\n\n \";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:4:\"type\";s:4:\"html\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:6:\"author\";a:1:{i:0;a:6:{s:4:\"data\";s:46:\"\n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:1:{s:27:\"http://www.w3.org/2005/Atom\";a:1:{s:4:\"name\";a:1:{i:0;a:5:{s:4:\"data\";s:15:\"Clément Boirie\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}}s:6:\"source\";a:1:{i:0;a:6:{s:4:\"data\";s:67:\"\n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:1:{s:27:\"http://www.w3.org/2005/Atom\";a:2:{s:2:\"id\";a:1:{i:0;a:5:{s:4:\"data\";s:48:\"https://beapi.fr/blog/categories/wordpress/feed/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:5:\"BeAPI\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}}}}}i:7;a:6:{s:4:\"data\";s:70:\"\n \n \n \n \n \n \n \n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:1:{s:27:\"http://www.w3.org/2005/Atom\";a:9:{s:2:\"id\";a:1:{i:0;a:5:{s:4:\"data\";s:60:\"https://wp-rocket.me/fr/blog/wp-rocket-3-15/#comment-4387875\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:116:\"Commentaires sur 3.15 – Le LazyLoad désormais disponible pour les images de backgrounds CSS par Valentina Orlandi\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:4:\"type\";s:4:\"html\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:2:{s:4:\"href\";s:60:\"https://wp-rocket.me/fr/blog/wp-rocket-3-15/#comment-4387875\";s:3:\"rel\";s:9:\"alternate\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"updated\";a:1:{i:0;a:5:{s:4:\"data\";s:29:\"2023-09-21T11:19:37.000+02:00\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:9:\"published\";a:1:{i:0;a:5:{s:4:\"data\";s:29:\"2023-09-21T11:19:37.000+02:00\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"summary\";a:1:{i:0;a:5:{s:4:\"data\";s:564:\"En réponse à Gérard.\n\nBonjour Gérard, Pouvez-vous ouvrir un ticket de support et nous fournir les informations suivantes?\n- Liens vers les pages où vous avez remarqué le changement de score uniquement à cause de l'activation de la fonctionnalité.\n- La version de la page affectée par le changement de score (Desktop ou Mobile, ou les deux ?)\nLe support aura besoin d'un accès administrateur à votre site pour effectuer des tests avec et sans la nouvelle fonctionnalité. Ils vous en demanderont un lorsqu'ils répondront à votre demande.\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"content\";a:1:{i:0;a:5:{s:4:\"data\";s:703:\"\n

En réponse à Gérard.

\n

Bonjour Gérard, Pouvez-vous ouvrir un ticket de support et nous fournir les informations suivantes?
\n– Liens vers les pages où vous avez remarqué le changement de score uniquement à cause de l’activation de la fonctionnalité.
\n– La version de la page affectée par le changement de score (Desktop ou Mobile, ou les deux ?)
\nLe support aura besoin d’un accès administrateur à votre site pour effectuer des tests avec et sans la nouvelle fonctionnalité. Ils vous en demanderont un lorsqu’ils répondront à votre demande.

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\n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:1:{s:27:\"http://www.w3.org/2005/Atom\";a:9:{s:2:\"id\";a:1:{i:0;a:5:{s:4:\"data\";s:83:\"https://jeanbaptisteaudras.com/2023/08/contribution-stats-for-wordpress-6-3-lionel/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:52:\"Contribution Stats for WordPress 6.3 « Lionel »\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:4:\"type\";s:4:\"html\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:2:{s:4:\"href\";s:83:\"https://jeanbaptisteaudras.com/2023/08/contribution-stats-for-wordpress-6-3-lionel/\";s:3:\"rel\";s:9:\"alternate\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"updated\";a:1:{i:0;a:5:{s:4:\"data\";s:29:\"2023-08-14T15:58:52.000+02:00\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:9:\"published\";a:1:{i:0;a:5:{s:4:\"data\";s:29:\"2023-08-14T15:58:52.000+02:00\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"summary\";a:1:{i:0;a:5:{s:4:\"data\";s:558:\"L’article Contribution Stats for WordPress 6.3 « Lionel » provient de Jean-Baptiste Audras - CTO @ Whodunit & WordPress Core Developer\nWordPress 6.3 « Lionel » was released on August 8, 2023. This version is named « Lionel », after the American jazzer Lionel Hampton. I was involved in this release as Triage Lead and as a core committer. It was a pleasure to work with the release squad. A […]\nL’article Contribution Stats for WordPress 6.3 « Lionel » provient de Jean-Baptiste Audras - CTO @ Whodunit & WordPress Core Developer\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"content\";a:1:{i:0;a:5:{s:4:\"data\";s:16410:\"\n

L’article Contribution Stats for WordPress 6.3 « Lionel » provient de Jean-Baptiste Audras - CTO @ Whodunit & WordPress Core Developer

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WordPress 6.3 « Lionel » was released on August 8, 2023. This version is named « Lionel », after the American jazzer Lionel Hampton.

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I was involved in this release as Triage Lead and as a core committer. It was a pleasure to work with the release squad. A big thank you to all the talented people who worked hard to put together WP 6.3 \"❤\"

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As for previous releases, let’s have a look on a few stats about this release.

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In the past, I already published some contributions stats for versions 5.3, 5.4, 5.5, 5.6, 5.7, 5.9, 6.0, 6.1 and 6.2. I did it again for WP 6.3, so we can have an eye on the relative « influence » of countries and companies on WordPress Core.

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Before diving into WordPress 6.3 Core contributions stats, I wanted to share a few disclaimers, for better context:

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WordPress 6.3 overall stats

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About 640 people from at least 52 countries and 186 identified companies contributed to WordPress 6.3.

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Worth noting that 207 people contributed to WordPress Core for the very first time! That’s about 32% of the total number of contributors!

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The ratio of new contributors is still quite good for an open-source project!

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Country ranking by number of contributions

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It’s interesting to see how much WordPress is a worldwide project. Contributions come from all over the planet \"♥\"

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USA is still number one by far with 863 contributions, United Kingdom comes 2nd with 360 contributions. Russia and France follows with 346 and 320 contributions each, and India and Australia with 291 and 266 props.

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Country ranking by number of contributors

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Still, contributions are not everything. Let’s talk about contributors. Instead of counting contributions, we can count the individuals who worked on this release (= number of people credited in Trac tickets or GitHub PRs)… and we have the following results :

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USA is still on the top of the game with 102 people. India has 68 and Bangladesh has 48.

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These countries are followed by France and United Kingdom with 19 contributors each.

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In conclusion, USA still completely dominates the stats by number of independent contributors, and by number of contributions (props count). Bangladesh and India have a great number of people involved, but not so much contribution.

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Company ranking by contributions

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Automattic is still the most prolific company with employees credited in no less than 1718 contributions (by 83 contributors), and is followed by plugin editor Yoast with 499 contributions (by 6 contributors) and Whodunit French agency (298 contributions by 6 people). Next, we have the international WP agencies 10up (290 contributions by 16 people), XWP (180 contributions), hosting companies like GoDaddy (173 contributions) and Google with 161 contributions.

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Worth noting that major stakeholders can still be categorized in three sorts of companies: agencies, plugins/themes editors and hosting companies. And of course, well… Automattic \"😜\"

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In the graphic below, you’ll see all the company credited in WordPress 6.3 and the number of contributions of their employees.

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Company ranking by contributors

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Of the 186 identified companies that contributed to WordPress 6.3, Automattic had by far the largest number of contributors, with 83 people involved. 10up is the second biggest company in terms of contributors, with 16 people. WPDeveloper comes third with 11 people. AuthLab and rtCamp come fourth with 10 people.

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Individuals ranking – WordPress 6.3

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Here is the top 30 of WordPress 6.3 contributors. You can also checkout the full table on this spreadsheet.

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#UsernameContributionsCountryCompany
1sergeybiryukov296RussiaYoast
2audrasjb293FranceWhodunit
3spacedmonkey175United KingdomXWP
4mamaduka143GeorgiaGoDaddy
5costdev142NCNC
6mukesh27119India10up
7isabel_brison110NCAutomattic
8ramonopoly110NCNC
9andrewserong97AustraliaAutomattic
10wildworks88JapanNC
11youknowriad87AlgeriaAutomattic
12scruffian87NCAutomattic
13ntsekouras84GreeceAutomattic
14flixos9081United StatesGoogle
15peterwilsoncc80Australia10up
16poena78SwedenYoast
17get_dave75United KingdomAutomattic
18sabernhardt74United StatesNC
19afercia71ItalyYoast
20tyxla70BulgariaAutomattic
21joedolson69United StatesAccessible WD
22aaronrobertshaw67NCAutomattic
23richtabor66United StatesAutomattic
24jameskoster56United KingdomAutomattic
25hellofromtonya56United StatesAutomattic
26aristath51GreeceYoast
27joemcgill49United States10up
28mciampini48NCAutomattic
29talldanwp47AustraliaAutomattic
30ellatrix47NCNC
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Thank you to everyone who helped
to release WordPress 6.3.
Big or small, each of the above company contributes
to the Five for the future initiative \"💙\"

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\"Mon
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I hope you liked that post! Comments & shares are welcome \"😍\"

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You can also buy me a beer or a coffee if you want \"🍻\"\"☕\"

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Feel free to reuse any graphic or data used in this post, without any limitation. The raw data are available on this spreadsheet.

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Contact me if you have any question.

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\n

L’article Contribution Stats for WordPress 6.3 « Lionel » provient de Jean-Baptiste Audras - CTO @ Whodunit & WordPress Core Developer

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Ceci est une page d’exemple. C’est différent d’un article de blog parce qu’elle restera au même endroit et apparaîtra dans la navigation de votre site (dans la plupart des thèmes). La plupart des gens commencent par une page « À propos » qui les présente aux personnes visitant le site. Cela pourrait ressembler à quelque chose comme cela :

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Bonjour ! Je suis un mécanicien qui aspire à devenir acteur, et voici mon site. J’habite à Bordeaux, j’ai un super chien baptisé Russell, et j’aime la vodka (ainsi qu’être surpris par la pluie soudaine lors de longues balades sur la plage au coucher du soleil).

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…ou quelque chose comme cela :

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La société 123 Machin Truc a été créée en 1971, et n’a cessé de proposer au public des machins-trucs de qualité depuis lors. Située à Saint-Remy-en-Bouzemont-Saint-Genest-et-Isson, 123 Machin Truc emploie 2 000 personnes, et fabrique toutes sortes de bidules supers pour la communauté bouzemontoise.

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En tant que nouvel utilisateur ou utilisatrice de WordPress, vous devriez vous rendre sur votre tableau de bord pour supprimer cette page et créer de nouvelles pages pour votre contenu. Amusez-vous bien !

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Qui sommes-nous ?

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Texte suggéré : L’adresse de notre site est : https://localhost.

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Commentaires

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Texte suggéré : Quand vous laissez un commentaire sur notre site, les données inscrites dans le formulaire de commentaire, ainsi que votre adresse IP et l’agent utilisateur de votre navigateur sont collectés pour nous aider à la détection des commentaires indésirables.

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Une chaîne anonymisée créée à partir de votre adresse e-mail (également appelée hash) peut être envoyée au service Gravatar pour vérifier si vous utilisez ce dernier. Les clauses de confidentialité du service Gravatar sont disponibles ici : https://automattic.com/privacy/. Après validation de votre commentaire, votre photo de profil sera visible publiquement à coté de votre commentaire.

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Médias

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Texte suggéré : Si vous téléversez des images sur le site, nous vous conseillons d’éviter de téléverser des images contenant des données EXIF de coordonnées GPS. Les personnes visitant votre site peuvent télécharger et extraire des données de localisation depuis ces images.

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Cookies

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Texte suggéré : Si vous déposez un commentaire sur notre site, il vous sera proposé d’enregistrer votre nom, adresse e-mail et site dans des cookies. C’est uniquement pour votre confort afin de ne pas avoir à saisir ces informations si vous déposez un autre commentaire plus tard. Ces cookies expirent au bout d’un an.

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Si vous vous rendez sur la page de connexion, un cookie temporaire sera créé afin de déterminer si votre navigateur accepte les cookies. Il ne contient pas de données personnelles et sera supprimé automatiquement à la fermeture de votre navigateur.

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Lorsque vous vous connecterez, nous mettrons en place un certain nombre de cookies pour enregistrer vos informations de connexion et vos préférences d’écran. La durée de vie d’un cookie de connexion est de deux jours, celle d’un cookie d’option d’écran est d’un an. Si vous cochez « Se souvenir de moi », votre cookie de connexion sera conservé pendant deux semaines. Si vous vous déconnectez de votre compte, le cookie de connexion sera effacé.

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En modifiant ou en publiant une publication, un cookie supplémentaire sera enregistré dans votre navigateur. Ce cookie ne comprend aucune donnée personnelle. Il indique simplement l’ID de la publication que vous venez de modifier. Il expire au bout d’un jour.

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Contenu embarqué depuis d’autres sites

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Texte suggéré : Les articles de ce site peuvent inclure des contenus intégrés (par exemple des vidéos, images, articles…). Le contenu intégré depuis d’autres sites se comporte de la même manière que si le visiteur se rendait sur cet autre site.

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Ces sites web pourraient collecter des données sur vous, utiliser des cookies, embarquer des outils de suivis tiers, suivre vos interactions avec ces contenus embarqués si vous disposez d’un compte connecté sur leur site web.

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Utilisation et transmission de vos données personnelles

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Texte suggéré : Si vous demandez une réinitialisation de votre mot de passe, votre adresse IP sera incluse dans l’e-mail de réinitialisation.

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Durées de stockage de vos données

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Texte suggéré : Si vous laissez un commentaire, le commentaire et ses métadonnées sont conservés indéfiniment. Cela permet de reconnaître et approuver automatiquement les commentaires suivants au lieu de les laisser dans la file de modération.

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Pour les comptes qui s’inscrivent sur notre site (le cas échéant), nous stockons également les données personnelles indiquées dans leur profil. Tous les comptes peuvent voir, modifier ou supprimer leurs informations personnelles à tout moment (à l’exception de leur identifiant). Les gestionnaires du site peuvent aussi voir et modifier ces informations.

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Les droits que vous avez sur vos données

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Texte suggéré : Si vous avez un compte ou si vous avez laissé des commentaires sur le site, vous pouvez demander à recevoir un fichier contenant toutes les données personnelles que nous possédons à votre sujet, incluant celles que vous nous avez fournies. Vous pouvez également demander la suppression des données personnelles vous concernant. Cela ne prend pas en compte les données stockées à des fins administratives, légales ou pour des raisons de sécurité.

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Où vos données sont envoyées

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Texte suggéré : Les commentaires des visiteurs peuvent être vérifiés à l’aide d’un service automatisé de détection des commentaires indésirables.

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Ceci est une page d’exemple. C’est différent d’un article de blog parce qu’elle restera au même endroit et apparaîtra dans la navigation de votre site (dans la plupart des thèmes). La plupart des gens commencent par une page « À propos » qui les présente aux personnes visitant le site. Cela pourrait ressembler à quelque chose comme cela :

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Bonjour ! Je suis un mécanicien qui aspire à devenir acteur, et voici mon site. J’habite à Bordeaux, j’ai un super chien baptisé Russell, et j’aime la vodka (ainsi qu’être surpris par la pluie soudaine lors de longues balades sur la plage au coucher du soleil).

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…ou quelque chose comme cela :

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La société 123 Machin Truc a été créée en 1971, et n’a cessé de proposer au public des machins-trucs de qualité depuis lors. Située à Saint-Remy-en-Bouzemont-Saint-Genest-et-Isson, 123 Machin Truc emploie 2 000 personnes, et fabrique toutes sortes de bidules supers pour la communauté bouzemontoise.

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En tant que nouvel utilisateur ou utilisatrice de WordPress, vous devriez vous rendre sur votre tableau de bord pour supprimer cette page et créer de nouvelles pages pour votre contenu. Amusez-vous bien !

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Dans le cadre de ses recherches, Letizia Lusuardi, doctorante à l’ED 267 Arts&Médias (UMR THALIM) de l’Université Sorbonne-Nouvelle à Paris et à l’Université IULM à Milan, a réalisé en 2023 un travail d’identification et de partition de Le Livre d’Image (2018), dernier film de Jean-Luc Godard, composé de citations d’archives (found-footage) provenant de films, de peintures, de programmes télévisés, de photographies, de livres ou de compositions musicales.

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La partition, découpant le film en séquences temporelles, prend la forme d’un tableau où chaque moment du film est décrit selon quatre catégories: les images, les écrits, les pistes musicales et enfin les voix off. Ce modèle est repris du travail sur Histoire(s) du cinéma (1989-99) réalisé et publié sur un site internet en 2006 en open access par Céline Scemama, en collaboration avec l\'Université Panthéon Sorbonne.

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Outre l’accès libre à la partition du film, cette publication sur site internet permet aux utilisateurs référencés de compléter le travail d\'identification, ou de suggérer des modifications (environ 80% des œuvres citées sont pour l’instant identifiées). Ceci répond à une volonté d\'encourager les pratiques d\'interaction et de science participative.

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Ce site, développé selon les principes F.A.I.R., est hébergé par la TGIR huma-Num, dans un but de partage et de pérennisation des données de la recherche. Il a été développé en collaboration avec Amal Guha, ingénieur de recherches CNRS, Philippe Agbati, étudiant en informatique à l’IUT Paris Rives de Seine de l’Université Paris-Descartes et stagiaire auprès du laboratoire THALIM, et Valentin Le Moign, pour le collectif Figures Libres, en charge de la conception graphique et du suivi de développement.

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Ce projet a pu être réalisé grâce au financement reçu en 2023 à la suite d\'un appel à projets en Humanités Numériques - Science & Société de la Direction de la Recherche, de la Valorisation, et des Etudes Doctorales (DiRVED) de l’Université Sorbonne-Nouvelle, et grâce au soutien de l’unité mixte de recherche 7172 THALIM (Théorie et histoire des arts et des littératures de la modernité).

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1513), Léonard de Vinci.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','0’23','','publish','open','open','','023','','','2023-11-09 08:53:14','2023-11-09 07:53:14','',0,'https://localhost/?p=13197',0,'post','',0), (13198,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nLes maîtres du m\nDevraient se méf\nPrécisément parc\n','0’26','','publish','open','open','','026','','','2023-09-26 09:18:55','2023-09-26 07:18:55','',0,'https://localhost/?p=13198',0,'post','',0), (13199,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\ns du monde\nSe méfier de Bécassine,\nParce qu’elle se tait.\nLes enfants humiliés, Georges Bernanos (1949).\n','0’30','','publish','open','open','','030','','','2023-11-09 08:53:14','2023-11-09 07:53:14','',0,'https://localhost/?p=13199',0,'post','',0), (13200,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','0’35','','publish','open','open','','035','','','2023-11-09 08:53:14','2023-11-09 07:53:14','',0,'https://localhost/?p=13200',0,'post','',0), (13201,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nMains de Jean-Luc Godard, au travail à la table de montage, avec une pellicule.\nKing Lear (1987), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIl y a les 5 doigts, les 5 sens, les 5 parties du monde, oui les 5 doigts de la fée. Mais tous ensemble ils composent la main.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','0’41','','publish','open','open','','041','','','2023-11-09 08:53:14','2023-11-09 07:53:14','',0,'https://localhost/?p=13201',0,'post','',0), (13202,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nMain écrivant au tableau « Un ruisseau d’ombres / A brook of shadows ».\nClosed Vision (1953), Marc\'O.\n\n\nVoix Off et In\n---\n\nEt la vraie condition de l’homme c’est de penser avec ses mains. (Jean-Luc Godard).\nPenser avec les mains (1936), Denis de Rougemont.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','01’04','','publish','open','open','','0104','','','2023-09-26 09:18:55','2023-09-26 07:18:55','',0,'https://localhost/?p=13202',0,'post','',0), (13203,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nDétail de La Main, Alberto Giacometti (1947) allant vers le haut.\nHistoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et début du Quintette avec piano, Op. 18 - I. (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\nL’image\n','01’17','','publish','open','open','','0117','','','2023-11-09 08:53:14','2023-11-09 07:53:14','',0,'https://localhost/?p=13203',0,'post','',0), (13204,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nMains de personne enchaînée allant vers le bas et touchant le sol.\nLe Procès de Jeanne d’Arc (1961), Robert Bresson. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nviendra\n','01’23','','publish','open','open','','0123','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13204',0,'post','',0), (13205,1,'2023-11-09 09:40:52','2023-11-09 08:40:52','Images\n---\n\nMain levée vers le haut.\nGare Centrale (1958), Youssef Chahine.\n\nVoix Off et In\n---\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\nOh ! Temps','01’29','','publish','open','open','','0129','','','2023-11-09 09:41:54','2023-11-09 08:41:54','',0,'https://localhost/?p=13205',0,'post','',0), (13206,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nPersonne coupant en deux les yeux d’une dame avec un rasoir.\nUn chien andalou (1929), Luis Bunuel.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','01’40','','publish','open','open','','0140','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13206',0,'post','',0), (13207,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nArchive s et morale.\nPhrase citée dans Histoire (s) du cinéma (1988 - 98), Jean-Luc Godard.\n','01’43','','publish','open','open','','0143','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13207',0,'post','',0), (13208,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nSaturé : maisons avec des arbres. Détail d’un tableau d’André Derain.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nQuintette avec piano, Op. 18 - I (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\nCasa Azul Films\n','01’48','','publish','open','open','','0148','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13208',0,'post','',0), (13209,1,'2023-09-26 09:18:55','2023-09-26 07:18:55','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nEcran noir production \n \n En surimpression, écrit à la main : \n Mitra Farahani (présidente de la société). \n\n','01’53','','publish','open','open','','0153','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13209',0,'post','',0), (13210,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nSaturé et surexposé : fragments de pellicule sur fond blanc.\nHistoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','01’55','','publish','open','open','','0155','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13210',0,'post','',0), (13211,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nTableau avec femmes dans la rue entre des maisons. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','01’58','','publish','open','open','','0158','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13211',0,'post','',0), (13212,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\n« Le Livre d’ » écrit à la main à la peinture à l’huile rouge, et « image » écrit en blanc sur fond noir et bleu foncé, toujours coloré à la peinture à l’huile, avec une applique de couleur épaisse et très visible.\n\n\nVoix Off et In\n---\n\nBon, va me chercher les livres. On va jeter un coup d\'œil.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\nC\'est que pour ne pas faire caca, il aurait fallu. Extrait de Pour en finir avec le jugement de Dieu (1948), Antonin Artaud.\n','02’00','','publish','open','open','','0200','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13212',0,'post','',0), (13213,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','02’06','','publish','open','open','','0206','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13213',0,'post','',0), (13214,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nImage et Parole \n\n','02’08','','publish','open','open','','0208','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13214',0,'post','',0), (13215,1,'2023-10-26 10:19:57','2023-10-26 08:19:57','Images\n---\n\nSurexposé et saturé : pellicule entraînée par une bobine en rotation.\nNotre caméra analytique (2015), Yervant Gianikian et Angela Ricci Lucchi.\n\nVoix Off et In\n---\n\nScott Walker in 2006, Orpheus has returned from the underworld. What happened on his long long journey ? Who is this man ?\nScott Walker : 30th Century Man (2007), Stephen Kijak.\n\nBande Son\n---\n\nCossacks Are (2006), Scott Walker.\n\nÉcrits\n---','02’11','','publish','open','open','','0211','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13215',0,'post','',0), (13216,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nC’est que pour ne pas faire caca \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','02’31','','publish','open','open','','0231','','','2023-09-26 09:18:56','2023-09-26 07:18:56','',0,'https://localhost/?p=13216',0,'post','',0), (13217,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nHomme (avec une casquette de marin) visant dans une caméra (probablement photographie de Friedrich Wilhelm Murnau).\nHistoire (s) du cinéma, 1b (1988 - 98) Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nil aurait fallu qu\'on.\nPour en finir avec le jugement de Dieu (1948), Antonin Artaud.\n\n\nBande Son\n---\n\nCossacks Are (2006), Scott Walker.\n\n\nÉcrits\n---\n\nTabou\n','02’34','','publish','open','open','','0234','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13217',0,'post','',0), (13218,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nCouverture du livre de C. F. Ramuz, Les signes parmi nous.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','02’38','','publish','open','open','','0238','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13218',0,'post','',0), (13219,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCue, Scott Walker (2006).\n\n\nÉcrits\n---\n\nLes prophètes\n','02’42','','publish','open','open','','0242','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13219',0,'post','',0), (13220,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nHomme sautant une épée à la main sur un autre homme.\nHamlet (1964), Grigori Kozintsev.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','02’46','','publish','open','open','','0246','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13220',0,'post','',0), (13221,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','02’47','','publish','open','open','','0247','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13221',0,'post','',0), (13222,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nHomme en assassinant un autre à coups d’épée, puis sautant d’un mur, imitant un oiseau.\nHamlet (1948), Laurence Olivier.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCri du coq. (Logo de Pathé).\n\n\nÉcrits\n---\n\n','02’48','','publish','open','open','','0248','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13222',0,'post','',0), (13223,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nPetite enfant à la tête levée et aux mains ouvertes.\nMiracle en Alabama (1962), Arthur Penn. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','02’51','','publish','open','open','','0251','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13223',0,'post','',0), (13224,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - IV. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n1\nREMAKES\n','02’55','','publish','open','open','','0255','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13224',0,'post','',0), (13225,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nExplosion d’une bombe atomique. \n\n\nVoix Off et In\n---\n\nécrit dans une nuit d’orage \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','03’00','','publish','open','open','','0300','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13225',0,'post','',0), (13226,1,'2023-09-26 09:18:56','2023-09-26 07:18:56','Images\n---\n\nFemme aidant un homme à s’éloigner d’une maison.\nEn quatrième vitesse [Kiss Me Deadly] (1955), Robert Aldrich.\n\n\nVoix Off et In\n---\n\nles affaires spéciales de police marchent de front avec\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','03’04','','publish','open','open','','0304','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13226',0,'post','',0), (13227,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nLogo représentant un atome. \n\n\nVoix Off et In\n---\n\nles mesures les plus générales de la politique. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','03’08','','publish','open','open','','0308','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13227',0,'post','',0), (13228,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nFemme aidant un homme à s’éloigner d’une maison sur une plage.\nEn quatrième vitesse [Kiss Me Deadly] (1955), Robert Aldrich.\n\n\nVoix Off et In\n---\n\nLes fautes morales s’y confondent avec les crimes d’État.\nHistoire de la Révolution française (1893 - 98), Jules Michelet.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','03’12','','publish','open','open','','0312','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13228',0,'post','',0), (13229,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nVassili Semionovitch Grossman écrivant au tableau. \n\n\nVoix Off et In\n---\n\nC’est évidemment là, et évidemment le coloris aussi que les peintres en tiraient. La forme, le dessin, les gros axes, les cadrages, les directions, le mouvement (Pierre Guyotat). \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','03’17','','publish','open','open','','0317','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13229',0,'post','',0), (13230,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nOn accomplirait l’acte rédempteur, si l’on pourrait conduire la critique jusqu’à la mort volontaire, sagement désespérée, de notre penser / parler.\nLe langage (1906), Fritz Mauthner.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','03’24','','publish','open','open','','0324','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13230',0,'post','',0), (13231,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n1 Remakes\n','03’37','','publish','open','open','','0337','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13231',0,'post','',0), (13232,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nFemmes sortant d’un taxi ouvert par un concierge, homme lisant un papier.\nAllemagne neuf zéro (1997), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\ngarder l’apparence de la vie\n(Jean-Luc Godard).\n\nComme le cinéma aussi, il faut que tout soit,\n\n\nBande Son\n---\n\nId. e Cue (2006), Scott Walker.\n\n\nÉcrits\n---\n\n','03’42','','publish','open','open','','0342','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13232',0,'post','',0), (13233,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nAu ralenti, et plus tard accéléré : deux dames accompagnées à une voiture par un concierge sous un parapluie.\nLe dernier des hommes (1924), Friedrich Wilhelm Murnau.\n\n\nVoix Off et In\n---\n\nil faut que tout parle. (Pierre Guyotat).\n\n\nBande Son\n---\n\nSilence, puis moteur de voiture, et pas sur le sol accompagnés de rires de femmes.\nMon histoire n’est pas encore écrite (2017), Jacqueline Gozland.\n\n\nÉcrits\n---\n\n','04’04','','publish','open','open','','0404','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13233',0,'post','',0), (13234,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','04’27','','publish','open','open','','0427','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13234',0,'post','',0), (13235,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nHomme parlant avec une femme.\nJohnny Guitar (1954), Nicholas Ray.\n\n\nVoix Off et In\n---\n\nJohnny : Don’t go away.\nVienna : I haven’t moved.\n\n\nBande Son\n---\n\nBande son de Johnny Guitar (1954), Nicholas Ray.\n\n\nÉcrits\n---\n\n','04’29','','publish','open','open','','0429','','','2023-11-09 08:53:16','2023-11-09 07:53:16','',0,'https://localhost/?p=13235',0,'post','',0), (13236,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nJohnny : Tell me something nice. \n Vienna : Sure, what do you want to hear ? \n Johnny : Lie to me. Tell me all these years you’ve waited \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','04’36','','publish','open','open','','0436','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13236',0,'post','',0), (13237,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nHomme parlant avec une femme.\nJohnny Guitar (1954), Nicholas Ray.\n\n\nVoix Off et In\n---\n\nVienna : All those years I’ve waited …\nJohnny : Tell me you would have died if I hadn’t come back.\nVienna : I would\'ve died if you hadn’t come back.\nJohnny : Tell me you still love me like I love you.\nVienna : I still …\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','04’48','','publish','open','open','','0448','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13237',0,'post','',0), (13238,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n- Dites des mensonges. \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','05’05','','publish','open','open','','0505','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13238',0,'post','',0), (13239,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nHomme parlant avec une femme.\nLe petit soldat (1947), Jean-Luc Godard.\n\nVoix Off et In\n---\n\nque vous n’êtes pas triste que je parte.\n- Je ne suis pas triste que vous partiez. Je ne suis pas amoureuse de vous. Je ne vous rejoindrai pas au Brésil, je ne vous embrasse pas tendrement.\n\n\nBande Son\n---\n\nId. et piano.\n\n\nÉcrits\n---\n\n','05’10','','publish','open','open','','0510','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13239',0,'post','',0), (13240,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nJe ne vous embrasse pas tendrement.\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','05’38','','publish','open','open','','0538','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13240',0,'post','',0), (13241,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nHomme parlant avec une femme.\nLe petit soldat (1947), Jean-Luc Godard.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','05’45','','publish','open','open','','0545','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13241',0,'post','',0), (13242,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','05’50','','publish','open','open','','0550','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13242',0,'post','',0), (13243,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nAdolescents faisant des exercices militaires sous la supervision de soldats.\nLiban, guerres et hommes (1975), Frédéric Laffont.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','05’55','','publish','open','open','','0555','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13243',0,'post','',0), (13244,1,'2023-09-26 09:18:57','2023-09-26 07:18:57','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','05’59','','publish','open','open','','0559','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13244',0,'post','',0), (13245,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nAdolescents faisant des exercices militaires sous la supervision de soldats.\nLiban, guerres et hommes (1975), Frédéric Laffont.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','06’00','','publish','open','open','','0600','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13245',0,'post','',0), (13246,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nMilitaires en rang observés par un commandant.\nLiban, guerres et hommes (1975), Frédéric Laffont.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','06’03','','publish','open','open','','0603','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13246',0,'post','',0), (13247,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nJeunes gens marchant à la manière de chiens, entourés de soldats les nourrissant.\nSalò o le centoventi giornate di Sodoma (1976), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nAboiements et halètements de chiens.\n\n\nÉcrits\n---\n\n','06’07','','publish','open','open','','0607','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13247',0,'post','',0), (13248,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n- Mangia, sù ! \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','06’17','','publish','open','open','','0617','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13248',0,'post','',0), (13249,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n1 Remakes \n\n','06’28','','publish','open','open','','0628','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13249',0,'post','',0), (13250,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nSoldats djihadistes tirant à la mitraillette.\nTimbuktu (2014), Abderrahmane Sissako.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nMitraillette.\n\n\nÉcrits\n---\n\n','06’31','','publish','open','open','','0631','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13250',0,'post','',0), (13251,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nBlanc \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','06’33','','publish','open','open','','0633','','','2023-11-09 08:53:17','2023-11-09 07:53:17','',0,'https://localhost/?p=13251',0,'post','',0), (13252,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nSoldats djihadistes tirant à la mitraillette.\nTimbuktu (2014), Abderrahmane Sissako.\n\nVoix Off et In\n---\n\nBruit de manipulation d\'une arme.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','06’37','','publish','open','open','','0637','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13252',0,'post','',0), (13253,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nSoldats déplaçant des cadavres et soignant des femmes torturées.\nVrai faux passeport (2006), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nLes américains s’efforcent de réanimer cette combattante\n\n\nBande Son\n---\n\nBande son de Vrai faux passeport (2006), Jean-Luc Godard.\n\n\nÉcrits\n---\n\n','06’44','','publish','open','open','','0644','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13253',0,'post','',0), (13254,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','07’05','','publish','open','open','','0705','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13254',0,'post','',0), (13255,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nHélicoptère.\nLa Chute du faucon noir (2001), Ridley Scott.\n\n\nVoix Off et In\n---\n\npour sans doute l’interroger. Qu’en tireront-ils ? (fois 2)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','07’08','','publish','open','open','','0708','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13255',0,'post','',0), (13256,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nSoldats déplaçant des cadavres et soignant des femmes torturées. Vrai faux passeport (2006), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nDes insultes, des chants communistes ou simplement des cris de douleur.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nPatrie\n','07’13','','publish','open','open','','0713','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13256',0,'post','',0), (13257,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nSoldat menaçant une femme et un enfant avec une carabine.\nLes carabiniers (1963), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nFaites la partir. Pas dans la cuisine. Mettez-vous sur la chaise ! Tournez-vous !\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','07’17','','publish','open','open','','0717','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13257',0,'post','',0), (13258,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','07’43','','publish','open','open','','0743','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13258',0,'post','',0), (13259,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nEnfant sur une pelouse écoutant de la musique. Homme apprenant à nager à une femme.\nLes hommes les dimanches (1930), Robert Siodmak et Edgar George Ulmer.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nBande son de Les hommes les dimanches (1930), Robert Siodmak et Edgar George Ulmer.\n\nÉcrits\n---\n\n','07’44','','publish','open','open','','0744','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13259',0,'post','',0), (13260,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nDeux hommes avec un scooter suivant deux femmes qui se promenant dans la rue.\nBlue jeans (1957), Jacques Rozier.\n\n\nVoix Off et In\n---\n\nAlors on se promène ? Vous n’avez pas peur toutes seules ? Vous habitez chez vos parents ? Alors vous habitez chez papa et maman ?\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','07’51','','publish','open','open','','0751','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13260',0,'post','',0), (13261,1,'2023-09-26 09:18:58','2023-09-26 07:18:58','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nChez papa et maman ? \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','08’09','','publish','open','open','','0809','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13261',0,'post','',0), (13262,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nAvion de guerre \n orné d’un dessin de dents. Documentaire de la guerre civile en Chine. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','08’12','','publish','open','open','','0812','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13262',0,'post','',0), (13263,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nRequin émergeant de l\'eau, la gueule grande ouverte.\nLes dents de la mer (1975), Steven Spielberg.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','08’13','','publish','open','open','','0813','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13263',0,'post','',0), (13264,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n1 \n REMAKES \n\n','08’14','','publish','open','open','','0814','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13264',0,'post','',0), (13265,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nEmpilement de cadavres.\nNuit et brouillard (1956), Alain Resnais.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','08’16','','publish','open','open','','0816','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13265',0,'post','',0), (13266,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nHomme tuant un cheval.\nLe sang des bêtes (1949), Georges Franju,.\n\n\nVoix Off et In\n---\n\nIl est presque impossible d’abolir\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','08’19','','publish','open','open','','0819','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13266',0,'post','',0), (13267,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nla réciprocité entre les hommes.\nLa violence est une forme.\nLa violence et le sacré, (1972), René Girard\n\n\nBande Son\n---\n\nId. e Cue (2006), Scott Walker.\n\n\nÉcrits\n---\n\nL’une part la décision et\ndécision, c’est : se tenir\nêtre et le non-être @ et il y\nde l’être, le primat incor\n\n(Vladimir Ilitch Lénine).\n','08’24','','publish','open','open','','0824','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13267',0,'post','',0), (13268,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nHibou, fondu avec un homme battant des paupières et les frottant successivement.\nLa Grève (1925), Sergueï Eisenstein. Histoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCue (2006), Scott Walker.\n\n\nÉcrits\n---\n\n','08’31','','publish','open','open','','0831','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13268',0,'post','',0), (13269,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','08’36','','publish','open','open','','0836','','','2023-11-09 08:53:18','2023-11-09 07:53:18','',0,'https://localhost/?p=13269',0,'post','',0), (13270,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nHommes essayant de prendre la fuite et se faisant tirer dessus. Certains meurent. Hommes lançant dans la mer des prisonniers attachés.\nPaisà (1946), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nAccadeva nell’inverno del 1944. All’inizio della primavera la guerra era finita.\n\n\nBande Son\n---\n\nMitraillette, personnes tombant dans l\'eau.\n\n\nÉcrits\n---\n\n','08’43','','publish','open','open','','0843','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13270',0,'post','',0), (13271,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nSurexposé : djihadistes tirant sur des hommes, et les lançant à la mer. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','09’06','','publish','open','open','','0906','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13271',0,'post','',0), (13272,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nSurexposé et saturé en tons rouges : mer. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','09’13','','publish','open','open','','0913','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13272',0,'post','',0), (13273,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nUn homme et une femme traversant en courant le corridor de Vasari à Florence.\nPaisà (1946), Roberto Rossellini.\n\nEn surimpression, La belle et la bête (1946), Jean Cocteau.\n\n\nVoix Off et In\n---\n\nS’il vous plaît (fois 7)\n\n\nBande Son\n---\n\nRessac de vagues.\n\n\nÉcrits\n---\n\n','09’15','','publish','open','open','','0915','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13273',0,'post','',0), (13274,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nDevenir immortelle ne vous intéresse vraiment pas ?\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\nRIM (AK) ES\n','09’23','','publish','open','open','','0923','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13274',0,'post','',0), (13275,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nHomme se jettant à la mer pour sauver une femme voulant se suicider.\nVertigo (1958), Alfred Hitchcock.\n\n\nVoix Off et In\n---\n\n- Immortelle, quoi ça sert ?\n- On m’a dit que tout le monde en avait envie.\n- Qu’est ce que je vais devenir si je meurs pas ? La vie va s’arrêter\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’27','','publish','open','open','','0927','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13275',0,'post','',0), (13276,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nje ne suis pas comme vous. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','09’44','','publish','open','open','','0944','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13276',0,'post','',0), (13277,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nSurexposé et au ralenti : homme transportant le corps d’une femme ayant risqué de se noyer.\nVertigo (1958), Alfred Hitchcock.\n\n\nVoix Off et In\n---\n\n- Fière, et orgueilleuse avec ça.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’47','','publish','open','open','','0947','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13277',0,'post','',0), (13278,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nFemme à la plage et homme naigeant dans la mer.\nFemme au corbeau (1929), Frank Borzage.\n\nVoix Off et In\n---\n\n- Oui, fière, si je me compare.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’49','','publish','open','open','','0949','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13278',0,'post','',0), (13279,1,'2023-09-26 09:18:59','2023-09-26 07:18:59','Images\n---\n\nCaméraman assis sur une dolly.\nSilence ! On tourne (2001), Youssef Chahine.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’56','','publish','open','open','','0956','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13279',0,'post','',0), (13280,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nVisage d’une femme.\nL’Atalante (1934), Jean Vigo, au ralenti et superposé à l’image d’un homme.\n\n\nVoix Off et In\n---\n\nEt humble, si je me considère.\n- Vous me l\'avez déjà dit.\n- Oui, mais je ne savais pas que c\'était vous. Je croyais que c\'était Simon qui était là.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’58','','publish','open','open','','0958','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13280',0,'post','',0), (13281,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nHomme déposant une femme par terre au bord d’un lac.\nHélas pour moi (1993), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nC’est notre première dispute, et je t’aime.\nHélas pour moi (1993), Jean-Luc Godard.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','10’12','','publish','open','open','','1012','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13281',0,'post','',0), (13282,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nDeux personnes marchant à quatre pattes sur le sol au milieu de l\'eau.\nLa furie du désir [Ruby Gentry] (1952), King Vidor.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','10’19','','publish','open','open','','1019','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13282',0,'post','',0), (13283,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nQuintette avec piano (1944), Op. 18 - I (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','10’25','','publish','open','open','','1025','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13283',0,'post','',0), (13284,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nImages d’archives : signature de l\'armistice de la Seconde Guerre mondiale le 8 mai 1945. En noir et blanc, puis en couleurs.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','10’27','','publish','open','open','','1027','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13284',0,'post','',0), (13285,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','10’37','','publish','open','open','','1037','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13285',0,'post','',0), (13286,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nImages d’archives de la chaîne de télévision francaise Planète : folle fêtant, drapeau Etatsunien à la main.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','10’39','','publish','open','open','','1039','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13286',0,'post','',0), (13287,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nAssignat de 25 sols. (Papier monnaie fiduciaire d’échange, instaurée sous la Révolution française par la loi du 4 janvier 1792). \n\n\nVoix Off et In\n---\n\nOn a signé, ah signé, assigné, assigné, assignats. (Jean-Luc Godard) \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','10’41','','publish','open','open','','1041','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13287',0,'post','',0), (13288,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nVous vous souvenez de José. républicain espagnol ? Avec les communistes j\'irai jusqu\'à la mort.\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','10’55','','publish','open','open','','1055','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13288',0,'post','',0), (13289,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nHommes posant un livre sur la tête d’un homme allongé et plaçant le bout de l\'index et du majeur sur sa couverture.\nIvan le terrible (1944), Sergej Ejzenstejn. Liberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nAvec les communistes j\'irai jusqu\'à la mort mais je ne ferai pas un pas de plus.\nL’Espoir (1937), André Malraux.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','11’00','','publish','open','open','','1100','','','2023-11-09 08:53:19','2023-11-09 07:53:19','',0,'https://localhost/?p=13289',0,'post','',0), (13290,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nEnfants jouant du violon.\nLes enfants jouent à la Russie (1993), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nOrchestre.\n\n\nÉcrits\n---\n\n','11’21','','publish','open','open','','1121','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13290',0,'post','',0), (13291,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nPhotographie d’Inès Armand, femme politique communiste. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','11’26','','publish','open','open','','1126','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13291',0,'post','',0), (13292,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nAvec des couleurs surexposées et saturées : groupe de personnes avec drapeaux et armes.\nLa liberté guidant le peuple (1830), Eugène Delacroix.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','11’30','','publish','open','open','','1130','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13292',0,'post','',0), (13293,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nEn noir et blanc et surexposé : groupe de personnes avec drapeaux et armes.\nLa liberté guidant le peuple (1830), Eugène Delacroix.\n\nVoix Off et In\n---\n\nLes aventures. Encore un rouge. Dernier, le rouge.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','11’32','','publish','open','open','','1132','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13293',0,'post','',0), (13294,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nAlternance en clignotant de photos en couleur d’Hitler, et d’une dame marchant, un enfant dans les bras.\nAngèle (1934), Marcel Pagnol.\n\n\nVoix Off et In\n---\n\n- C’est lui qui a commencé, et c’est la vérité.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','11’35','','publish','open','open','','1135','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13294',0,'post','',0), (13295,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nTais-toi Cassandre ! \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','11’40','','publish','open','open','','1140','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13295',0,'post','',0), (13296,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nFemme pleurant.\nLes larmes de Freya (1900), Anne-Marie Zylberman.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','11’42','','publish','open','open','','1142','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13296',0,'post','',0), (13297,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nMains tournées vers la lumière.\nFragment de tableau (1588), Anonyme, École de Fontainebleau.\nUne main sous un sein, une autre main joignant l’index au pouce.\nHistoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard,.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','11’45','','publish','open','open','','1145','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13297',0,'post','',0), (13298,1,'2023-09-26 09:19:00','2023-09-26 07:19:00','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n2 \n LES SOIRÉES DE \n ST. PÉTERSBOURG (Joseph de Maistre, 1821) \n\n','11’48','','publish','open','open','','1148','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13298',0,'post','',0), (13299,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nJeune fille dansant à un bal.\nGuerre et paix (1967), Sergueï Bondartchouk.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nInstruments à cordes : bande son de Guerre et paix (1967), Sergueï Bondartchouk.\n\n\nÉcrits\n---\n\n','11’53','','publish','open','open','','1153','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13299',0,'post','',0), (13300,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nSoldats à cheval, pendant une bataille.\nGuerre et paix (1967), Sergueï Bondartchouk.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence et Piano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','11’55','','publish','open','open','','1155','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13300',0,'post','',0), (13301,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nSurexposé, puis perturbé par des scintillements, des taches noires ou des taches blanches surexposées : nobles entrant dans une salle de bal.\nGuerre et paix (1967), Sergueï Bondartchouk.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nEntrance of Tsar Alexander (Polonaise) : bande son du film Guerre et paix (1967), Sergueï Bondartchouk.\n\n\nÉcrits\n---\n\n','12’06','','publish','open','open','','1206','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13301',0,'post','',0), (13302,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','12’45','','publish','open','open','','1245','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13302',0,'post','',0), (13303,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nEnfants luttant à coups de bâton.\nLes enfants de la guerre (1976), Jocelyne Saab.\n\n\nVoix Off et In\n---\n\nLa guerre est là. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','12’47','','publish','open','open','','1247','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13303',0,'post','',0), (13304,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nFemme allongée sur le dos devant un homme regardant la mer.\nNotre musique (2004), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- La voyez-vous, Péguy, dit-elle.\n- Il n’y a pas de morts.\n- Rien n’est aussi commode qu\'un texte.\n- Il y a seulement\n- Et rien n’est aussi commode qu\'un mot dans un texte.\n\n\nBande Son\n---\n\nRessac de vagues.\n\n\nÉcrits\n---\n\n','13’03','','publish','open','open','','1303','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13304',0,'post','',0), (13305,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nNous n\'avions que du livre à mettre dans du livre. \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','13’13','','publish','open','open','','1313','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13305',0,'post','',0), (13306,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nSurexposé : bateaux naviguant en mer. \n\n\nVoix Off et In\n---\n\nQue serait-ce quand il faut dans un livre, dans du livre, mettre de la réalité ? Et au deuxième degré quand il faut, dans la réalité, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’17','','publish','open','open','','1317','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13306',0,'post','',0), (13307,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nCannon visant une voiture.\nDe l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nmettre de la réalité.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','13’29','','publish','open','open','','1329','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13307',0,'post','',0), (13308,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nFemme se posant la main sur la tête.\nLe silence de la mer (1949), Jean-Pierre Melville.\n\nEn alternance : canon visant une voiture.\nDe l’origine du XXI siècle (2000), Jean-Luc Godard.\n\nVoix Off et In\n---\n\nQu\'arrive-t-il toujours mon ami ?\n\nBande Son\n---\n\nPiano.\n\nÉcrits\n---','13’31','','publish','open','open','','1331','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13308',0,'post','',0), (13309,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nVoiture militaire passant devant une folle. \n\n\nVoix Off et In\n---\n\n\n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’34','','publish','open','open','','1334','','','2023-11-09 08:53:20','2023-11-09 07:53:20','',0,'https://localhost/?p=13309',0,'post','',0), (13310,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nNoir. En alternance : femme se posant la main sur la tête.\nLe silence de la mer (1949), Jean-Pierre Melville.\n\n\nVoix Off et In\n---\n\nLe soir tombe, les vacances finissent.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','13’36','','publish','open','open','','1336','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13310',0,'post','',0), (13311,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nHomme torturé au chalumeau.\nRoma città aperta (1945), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nIl me faut une journée pour faire l\'histoire d\'une seconde.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','13’43','','publish','open','open','','1343','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13311',0,'post','',0), (13312,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’46','','publish','open','open','','1346','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13312',0,'post','',0), (13313,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nDétail surexposé : Reporter, et ombre d’un soldat au fusil. \n\n\nVoix Off et In\n---\n\nIl me faut une année pour faire l\'histoire d\'une minute. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’51','','publish','open','open','','1351','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13313',0,'post','',0), (13314,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nReporter, et ombre d’un soldat au fusil. \n\n\nVoix Off et In\n---\n\nIl me faut une vie pour faire l\'histoire d\'une heure. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’57','','publish','open','open','','1357','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13314',0,'post','',0), (13315,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nIl me faut une éternité pour faire l\'histoire d\'un jour. (Julie Delpy).\nClio, dialogue de l’histoire et de l’âme païenne (1912), Charles Péguy.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','14’05','','publish','open','open','','1405','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13315',0,'post','',0), (13316,1,'2023-09-26 09:19:01','2023-09-26 07:19:01','Images\n---\n\nHélas pour moi (1993), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Au revoir Ludovic, vous allez à la guerre ?\n- Oui madame Donadieu.\n\n\nBande Son\n---\n\nAu violon : bande son d’Hélas pour moi (1993), Jean-Luc Godard.\n\n\nÉcrits\n---\n\n','14’08','','publish','open','open','','1408','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13316',0,'post','',0), (13317,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','14’25','','publish','open','open','','1425','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13317',0,'post','',0), (13318,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nHomme lançant une lance dans le dos d\'un autre homme.\nLes Nibelungen. La mort de Siegfried (1924), Fritz Lang.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. puis silence.\n\n\nÉcrits\n---\n\n','14’28','','publish','open','open','','1428','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13318',0,'post','',0), (13319,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nDjihadistes tuant d’une une voiture des gens dans la rue.\nIci et ailleurs (1976), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','14’32','','publish','open','open','','1432','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13319',0,'post','',0), (13320,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nHomme transpercé par un javelot.\nLe testament d\'Orphée (1960), Jean Cocteau.\n\n\nVoix Off et In\n---\n\nQuel horreur (fois 3)\n\n\nBande Son\n---\n\nMitraillette, voitures.\n\n\nÉcrits\n---\n\n','14’35','','publish','open','open','','1435','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13320',0,'post','',0), (13321,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','14’42','','publish','open','open','','1442','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13321',0,'post','',0), (13322,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nMaison en flammes. \n\n\nVoix Off et In\n---\n\nC\'est à Saint Petersburg \n\n\nBande Son\n---\n\nViolon. \n\n\nÉcrits\n---\n\n\n\n','14’45','','publish','open','open','','1445','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13322',0,'post','',0), (13323,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nNobles habillés pour une fête de carnaval. Guerre et paix (1967), Sergueï Bondartchouk.\n\n\nVoix Off et In\n---\n\nque de Maistre écrivait les soirées... A la veille de la bataille de la Moskova, il écrivait : « Les fléaux, les malheurs, les divisions, les tortures sont la punition de la méchanceté de l’homme corrompu par le péché. Le bourreau est la pierre angulaire de la société @ l’exécuteur de l’expiation divine.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','14’51','','publish','open','open','','1451','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13323',0,'post','',0), (13324,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nPhoto d’une voiture avec militaires. \n\n\nVoix Off et In\n---\n\nC\'est lui \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','15’17','','publish','open','open','','1517','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13324',0,'post','',0), (13325,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nMontage en surimpression : photo d’une comtesse. My Official Wife (1926), Paul L. Stein.\n\n\nVoix Off et In\n---\n\nqui nous renvoie à notre juge naturel... Sa mission est sacrée.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','15’19','','publish','open','open','','1519','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13325',0,'post','',0), (13326,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','15’22','','publish','open','open','','1522','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13326',0,'post','',0), (13327,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nMilitaires sur un champ de bataille, explosions.\nGuerre et paix (1956), King Vidor.\n\n\nVoix Off et In\n---\n\nLe ciel ne peut être apaisé que par le sang. L’innocent peut payer pour le coupable. (Jean Luc Godard).\nLes soirées de Saint-Pétersbourg (1821), Joseph de Maistre.\n\n\nBande Son\n---\n\nId. et batterie\n\n\nÉcrits\n---\n\n','15’26','','publish','open','open','','1526','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13327',0,'post','',0), (13328,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nEn noir et blanc : homme traînant un chargement.\nLes paumés de la mendicité [Ladoni] (1994), Artur Aristakisyan.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence, puis Concerto pour Violoncelle et cordes : part II. Longing (2008), Dobrinka Tabakova.\n\n\nÉcrits\n---\n\n','15’33','','publish','open','open','','1533','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13328',0,'post','',0), (13329,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nPhoto du tombeau de Rosa Luxemburg.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','16’02','','publish','open','open','','1602','','','2023-11-09 08:53:21','2023-11-09 07:53:21','',0,'https://localhost/?p=13329',0,'post','',0), (13330,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nEn superposition : soldats tirant une femme à la bouche ouverte.\nLa Chanteuse de café (ou au gant) (1878), Edgar Degas. Histoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','16’09','','publish','open','open','','1609','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13330',0,'post','',0), (13331,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nCheval dans un cimetière. Documentaire Shoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','16’12','','publish','open','open','','1612','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13331',0,'post','',0), (13332,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nFemme gisant sur le dos, devant un homme regardant la mer.\nNotre musique (2004), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVagues et cris de mouettes.\n\n\nÉcrits\n---\n\n','16’18','','publish','open','open','','1618','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13332',0,'post','',0), (13333,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','16’50','','publish','open','open','','1650','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13333',0,'post','',0), (13334,1,'2023-09-26 09:19:02','2023-09-26 07:19:02','Images\n---\n\nDétail saturé et surexposée : photographie d’une femme à terre, blessée, un chien mort à ses côtés.\nHistoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','16’54','','publish','open','open','','1654','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13334',0,'post','',0), (13335,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nSaturé, puis pris depuis le toit d\'un réservoir : soldats traversant une rivière, les armes au-dessus de la tête. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','16’56','','publish','open','open','','1656','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13335',0,'post','',0), (13336,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','17’05','','publish','open','open','','1705','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13336',0,'post','',0), (13337,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nTableau représentant Joseph de Maistre, père de la philosophie contre-révolutionnaire, et critique important des idées des Lumières. \n\n\nVoix Off et In\n---\n\nAu cours de la soirée, le comte Joseph de Maistre grand croix de l\'ordre de saint Maurice et de Lazare, continua… \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','17’08','','publish','open','open','','1708','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13337',0,'post','',0), (13338,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nSaturé : bombardements aériens. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nExplosions et avions. \n\n\nÉcrits\n---\n\n\n\n','17’16','','publish','open','open','','1716','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13338',0,'post','',0), (13339,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nVoyage dans la steppe à l’arrière d’un camion : une femme et un enfant, la tête recouverte d’un foulard @ sur la route poussiéreuse, l’ombre d’autres camions passant dans la perpendiculaire à l’horizon.\nAlenka (1961), Boris Barnet. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nConcerto pour Violoncelle et cordes : part II. Longing (2008), Dobrinka Tabakova.\n\n\nÉcrits\n---\n\nLa terre\n','17’27','','publish','open','open','','1727','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13339',0,'post','',0), (13340,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nFemme poursuivie et attaquée par un groupe d\'hommes.\nLes Contes de la lune vague après la pluie (1953), Kenji Mizoguchi.\n\n\nVoix Off et In\n---\n\ncontinua ses phrases les plus folles. Ainsi s’accomplit sans cesse la grande loi de la destruction des êtres vivants. La terre entière continuellement imbibée de sang n’est qu’un autel immense où tout ce qui vit\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','17’33','','publish','open','open','','1733','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13340',0,'post','',0), (13341,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nFemmes traversant une ville détruite dont les bâtiments s\'effondrent devant elles.\nHistoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\ndoit être immolé, sans fin, sans mesure @\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','17’56','','publish','open','open','','1756','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13341',0,'post','',0), (13342,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nEn couleur : femme au bord d\'une route, le visage défiguré par des coups.\nIci et ailleurs (1976), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nOù tout ce qui vit doit être immolé, sans fin, sans mesure, sans relâche jusqu\'à la consommation des choses, jusqu\'à l\'extinction du mal.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','18’02','','publish','open','open','','1802','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13342',0,'post','',0), (13343,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nVoitures de police djihadistes défilant dans les rues, avec des drapeaux noirs. \n\n\nVoix Off et In\n---\n\nD’ici un mois, les brigades allaient devoir quitter le pays. Une fois de plus, nous comprîmes à quel point \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’15','','publish','open','open','','1815','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13343',0,'post','',0), (13344,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nVoiture avec des soldats armés de fusils passant au milieu d\'une rue avec des gens autour. \n\n\nVoix Off et In\n---\n\nnous n’avions pu imaginer que la guerre finisse sans que nous remportions la victoire. La guerre est donc divine en elle-même. \n \n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’19','','publish','open','open','','1819','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13344',0,'post','',0), (13345,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLa guerre, la guerre est donc divine en elle-même, parce que c\'est une loi du monde. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nDélivrance \n\n','18’28','','publish','open','open','','1828','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13345',0,'post','',0), (13346,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nPhotos d\'avions de chasse en vol. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’35','','publish','open','open','','1835','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13346',0,'post','',0), (13347,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nSaturé : bombes et explosions. \n\n\nVoix Off et In\n---\n\nQui pourrait douter que la mort trouvée dans les combats n’est de grand privilège et qui pourrait croire que les victimes de cet épouvantable \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’37','','publish','open','open','','1837','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13347',0,'post','',0), (13348,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nPhoto d\'une petite fille demandant désespérément de l\'aide à un soldat. \n\n\nVoix Off et In\n---\n\njugement aient versé leur sang en vain. La guerre est donc divine dans la gloire mystérieuse qui l\'environne, et dans l\'attrait non moins \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’47','','publish','open','open','','1847','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13348',0,'post','',0), (13349,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\ninexplicable qui nous y porte. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','19’07','','publish','open','open','','1907','','','2023-11-09 08:53:22','2023-11-09 07:53:22','',0,'https://localhost/?p=13349',0,'post','',0), (13350,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nEnfants jouant à la guerre. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','19’11','','publish','open','open','','1911','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13350',0,'post','',0), (13351,1,'2023-09-26 09:19:03','2023-09-26 07:19:03','Images\n---\n\nSaturé : voiture passant avec un drapeau étasunien. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','19’21','','publish','open','open','','1921','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13351',0,'post','',0), (13352,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','19’24','','publish','open','open','','1924','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13352',0,'post','',0), (13353,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nFemme militaire.\nLa chute de Berlin (1950), Mikhaïl Tchiaoureli.\n\n\nVoix Off et In\n---\n\nEn fin de soirée, encore ces mots de représentants de la diplomatie française\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’26','','publish','open','open','','1926','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13353',0,'post','',0), (13354,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nà Saint-Petersburg.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’33','','publish','open','open','','1933','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13354',0,'post','',0), (13355,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nAu ralenti : politiciens débattant dans une assemblée.\nNapoléon (1927), Abel Gance.\n\n\nVoix Off et In\n---\n\nEn fin de soirée, encore ces mots de la diplomatie française à Saint-Petersburg.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’36','','publish','open','open','','1936','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13355',0,'post','',0), (13356,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nDétail : homme et femme pleurant.\nAdam et Ève chassés du paradis (1424 - 1425), Masaccio.\n\n\nVoix Off et In\n---\n\nMais c’est précisément parce que la révolution qui s’y passe est le comble de l’absurdité et de la corruption morale... (Jean-Luc Godard).\nSoirées de Saint-Pétersbourg (1821), Joseph de Maistre.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’43','','publish','open','open','','1943','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13356',0,'post','',0), (13357,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nChien.\nAdieu au langage (2014), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’49','','publish','open','open','','1949','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13357',0,'post','',0), (13358,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nHomme en voiture roulant très vite.\nDr. Mabuse, le joueur (1922), Fritz Lang.\n\n\nVoix Off et In\n---\n\net Malraux dira plus simplement transformer notre apocalypse en armée ou crever, c’est tout. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’57','','publish','open','open','','1957','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13358',0,'post','',0), (13359,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nTransformer notre apocalypse en armée \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','20’07','','publish','open','open','','2007','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13359',0,'post','',0), (13360,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nSaturé et en tons verts et jaunes : canard attaqué par un crocodile, et tentant de s\'échapper.\n\n\nVoix Off et In\n---\n\nou crever, c’est tout.\nL’espoir (1937), André Malraux.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','20’09','','publish','open','open','','2009','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13360',0,'post','',0), (13361,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nLapin touché par un coup de feu.\nLa règle du jeu (1939), Jean Renoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCoup de feu.\n\n\nÉcrits\n---\n\n','20’13','','publish','open','open','','2013','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13361',0,'post','',0), (13362,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nPhotos de trois indiens à cheval au bord d\'une rivière, dans un quartier industrialisé.\nNotre musique (2004), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nLaissez-moi seul. Tout seul, vous entendez ? Je ne demande rien à personne moi.\nAllô Berlin ? Ici Paris ! (1931), Julien Duvivier.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','20’21','','publish','open','open','','2021','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13362',0,'post','',0), (13363,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nRangée de personnes pendues ensemble.\nShoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','20’26','','publish','open','open','','2026','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13363',0,'post','',0), (13364,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n3.\nCES FLEURS ENTRE LES RAILS,\nDANS LE VENT CONFUS\nDES VOYAGES\n\n(Joseph Maria Rilke).\n','20’28','','publish','open','open','','2028','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13364',0,'post','',0), (13365,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nPetite fille sur le quai regardant le passage d\'un train.\nMadeline + Train = Sheer Delight, Vidéo sur youtube .\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano.\n\n\nÉcrits\n---\n\n','20’41','','publish','open','open','','2041','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13365',0,'post','',0), (13366,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nEn négatif et passé en noir et blanc : train à vapeur passant.\nVisual essays : origins of film (1983), Al Razutis.\n\n\nVoix Off et In\n---\n\n- What’s coming ?\n- A train.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','20’42','','publish','open','open','','2042','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13366',0,'post','',0), (13367,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nImages du 19ème siècle : passagers montant dans un train. \n\n\nVoix Off et In\n---\n\n- Oh is gonna arrive the train ? \n - Yeah \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','20’45','','publish','open','open','','2045','','','2023-11-09 08:53:23','2023-11-09 07:53:23','',0,'https://localhost/?p=13367',0,'post','',0), (13368,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n- Here he comes ! \n - We are gonna be safe, let\'s go back \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','20’59','','publish','open','open','','2059','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13368',0,'post','',0), (13369,1,'2023-09-26 09:19:04','2023-09-26 07:19:04','Images\n---\n\nEn négatif, passé en noir et blanc, clignotant sur les images originales : train à vapeur passant.\nThe edge (2010), Alekseï Outchitel.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nTrain en approche.\n\n\nÉcrits\n---\n\n','21’03','','publish','open','open','','2103','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13369',0,'post','',0), (13370,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n- Oooh\nMadeline + Train = Sheer Delight, Vidéo sur youtube.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','21’05','','publish','open','open','','2105','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13370',0,'post','',0), (13371,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nSaturé : fleurs. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','21’07','','publish','open','open','','2107','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13371',0,'post','',0), (13372,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nHommes jetant des pierres sur un train venant de passer.\nHélas pour moi (1993), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- lui jette la première pierre !\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','21’09','','publish','open','open','','2109','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13372',0,'post','',0), (13373,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','21’14','','publish','open','open','','2114','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13373',0,'post','',0), (13374,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nPassagers d\'un train s\'installant dans leurs cabines avant le départ.\nBerlin express (1948), Jacques Tourneur.\n\n\nVoix Off et In\n---\n\nCompartment B, Lucienne Mirbeau, birthplace Lyon France, occupation secretary. Compartment C, Herr Otto Franzen, birthplace, Frankfurt, Germany. Once a German industrialist, now a dealer in scrap iron. Compartment D, unoccupied, but being held for a person of importance. Compartment E, James Sterling of Liverpool, former occupation, soldier, present occupation, school teacher. Lieutenant Maxim Kiroshilov, birthplace Moskow, defender of Stalingrad, now military aide, Russian occupation authorities. Compartment F, Hneu Perrault, Paris, once a member of the French Underground, now a man of commerce.\nCompartment G, Hans Schmidt, birthplace Munich, occupation\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','21’19','','publish','open','open','','2119','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13374',0,'post','',0), (13375,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','22’27','','publish','open','open','','2227','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13375',0,'post','',0), (13376,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nTrain à vapeur en approche traversant un bois sous la neige.\nThe edge (2010), Alekseï Outchitel.\n\n\nVoix Off et In\n---\n\nIl était environ neuf heures du matin\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','22’30','','publish','open','open','','2230','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13376',0,'post','',0), (13377,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nEn couleurs : gens poursuivant un train en partance.\nThe edge (2010), Alekseï Outchitel.\n\n\nVoix Off et In\n---\n\nc’était à la fin de novembre, par un temps de dégel. Le train de Varsovie filait à toute vapeur vers Petersburg.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','22’38','','publish','open','open','','2238','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13377',0,'post','',0), (13378,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nSuresposé et passé en noir et blanc : Femmes nues au sauna.\nThe edge (2010), Alekseï Outchitel.\n\n\nVoix Off et In\n---\n\nL’humidité et la brume étaient telles que le jour avait peine à percer.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','22’42','','publish','open','open','','2242','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13378',0,'post','',0), (13379,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nDeux enfants devant un train en partance.\nPaysage dans le brouillard (1988), Theo Angelopoulos.\n\n\nVoix Off et In\n---\n\nÀ dix pas à droite et à gauche de la voie, on distinguait malaisément quoi que ce fût par les fenêtres du wagon. (Jean Luc Godard).\nL’idiot (1962), Fiodor Dostoïevski.\n\n\nBande Son\n---\n\nId. puis trains et foule dans une gare.\n\n\nÉcrits\n---\n\n','22’51','','publish','open','open','','2251','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13379',0,'post','',0), (13380,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nQuand un siècle \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','23’23','','publish','open','open','','2323','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13380',0,'post','',0), (13381,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nPhoto d\'une femme en robe rose. \n\n\nVoix Off et In\n---\n\nse dissout lentement dans le siècle suivant \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','23’28','','publish','open','open','','2328','','','2023-11-09 08:53:24','2023-11-09 07:53:24','',0,'https://localhost/?p=13381',0,'post','',0), (13382,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nEnfants photographiant un canard.\nHistoires du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nquelques individus transforment les moyens de survie anciens en moyens nouveaux. Ce sont ces derniers que nous appelons arts.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','23’34','','publish','open','open','','2334','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13382',0,'post','',0), (13383,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nPhoto de Louis-Ferdinand Céline. \n\n\nVoix Off et In\n---\n\nLa seule chose qui survit à une époque \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','23’44','','publish','open','open','','2344','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13383',0,'post','',0), (13384,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nSurexposé : maisons blanches cubiques. \n\n\nVoix Off et In\n---\n\nc\'est la forme d\'art qu\'elle s\'est créée. Aucune activité ne deviendra un art \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','23’50','','publish','open','open','','2350','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13384',0,'post','',0), (13385,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nSaturé : personnes assises à des tables en terrasse d\'un bar. \n\n\nVoix Off et In\n---\n\navant que son époque ne soit terminée. Ensuite \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','23’56','','publish','open','open','','2356','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13385',0,'post','',0), (13386,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nFragment surexposé.\nLouis IX, dit Saint Louis, Roi de France (1844), Emile Signol.\n\n\nVoix Off et In\n---\n\ncet art disparaîtra. (Jean Luc Godard).\nPour une métahistoire du film (printemps 1997), Hollis Frampton, « Trafic », n. 21.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nLe roi Saint Louis\n','24’00','','publish','open','open','','2400','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13386',0,'post','',0), (13387,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nFemme traversant un train bondé.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n- C’est pire que dans le métro.\n- Pardon, laissez passer.\n- Merde alors, vous pouvez pas rester à votre place non ?\n\n\nBande Son\n---\n\nDas Buch der Klange I - XII, V (1999), Hans Otte.\n\n\nÉcrits\n---\n\n','24’05','','publish','open','open','','2405','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13387',0,'post','',0), (13388,1,'2023-09-26 09:19:05','2023-09-26 07:19:05','Images\n---\n\nTrain prenant un virage. \n\n\nVoix Off et In\n---\n\n- Suivez - moi Monsieur. \n - Décidément vous dormez \n - Oui, oui je dors. C’est très curieux. \n - Enfin madame, mais expliquerez-vous ? \n \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','24’46','','publish','open','open','','2446','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13388',0,'post','',0), (13389,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nCadavres le long de voies ferrées.\nNuit et Brouillard (1956), Alain Resnais.\n\n\nVoix Off et In\n---\n\n- Rien. Si vous dormez, si vous rêvez, acceptez vos rêves. C\'est le rôle du dormeur.\nOrphée (1950), Jean Cocteau.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','25’02','','publish','open','open','','2502','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13389',0,'post','',0), (13390,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nCouple dans un train regardant par la fenêtre.\nFilm socialisme (2010), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nElle était devenue terrible, la langue de Goethe, quand on l\'entendait dans la nuit des petites gares russes. (Jean Luc Godard).\nVie et destin (1930), Vasiliĭ Semenovich Grossman.\n\nFemme [traduction du dialecte tunisien]:\nOn la décrit toujours comme quelque chose de surnaturel. Mais c\'est quelque chose qui ne se ressent pas. Une fois, je me suis heurté à une voiture de police. Après une explosion. J\'ai couru, je suis tombée. J\'ai senti ma tête se cogner contre le sol. J\'ai eu un malaise. Je n\'ai pas pensé à la mort. Non. Moi. C\'est MOI qui est en train de mourir.\n\nHomme (traduction du dialecte tunisien):\nJe te souhaite la sûreté.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','25’08','','publish','open','open','','2508','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13390',0,'post','',0), (13391,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nFemme marchant et trébuchant parmi des soldats campant par terre après une catastrophe ferroviaire en Inde.\nLa Croisée des destins [Bhowani Junction] (1956), George Cukor.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nNombreuses personnes parlant et criant.\n\n\nÉcrits\n---\n\n','25’53','','publish','open','open','','2553','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13391',0,'post','',0), (13392,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nHomme aidant une femme à sortir par la fenêtre d\'un wagon de train.\nLe Mécano de la General [The General] (1927), Buster Keaton.\n\n\nVoix Off et In\n---\n\nNous voulons voyager, sans vapeur, et sans voile, faites, pour égayer l’ennui de nos prisons, passer sur nos esprits tendus comme une toile, vos souvenirs avec leur cadre d’horizon. (Julie Delpy).\n« Le voyage », Les Fleurs du mal (1857), Charles Baudelaire.\nHistoires du cinéma 2a (1989 - 1999), Jean-Luc Godard.\n\n\nBande Son\n---\n\nSilence et Le Clavier bien tempéré 1, BWV 846 - 869 (1722), Johann Sebastian Bach.\n\n\nÉcrits\n---\n\n','26’00','','publish','open','open','','2600','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13392',0,'post','',0), (13393,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nTrain en Afrique avec autour des femmes et hommes vendant des fruits et vêtements dans un marché. Enfants suivant un train qui s’éloigne.\nLes routes de l’impossible (2007), Tony Comiti, France 5.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPersonnes parlant et criant. En arrière-plan sonore : tambours.\n\n\nÉcrits\n---\n\n','26’30','','publish','open','open','','2630','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13393',0,'post','',0), (13394,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nHomme et femme mangeant assis sur les sièges d\'un train.\nManon (1949), Henri-Georges Clouzot.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','26’46','','publish','open','open','','2646','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13394',0,'post','',0), (13395,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nPassagers dans un wagon.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nAccordéon.\n\n\nÉcrits\n---\n\n','26’48','','publish','open','open','','2648','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13395',0,'post','',0), (13396,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nHomme parlant de manière animée à une femme dans un train.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSifflement de la vapeur s\'échappant d\'un train.\n\n\nÉcrits\n---\n\n','26’50','','publish','open','open','','2650','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13396',0,'post','',0), (13397,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nPassagers à l\'intérieur d\'une voiture.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nAccordéon, voix de personnes qui discutent.\n\n\nÉcrits\n---\n\n','26’53','','publish','open','open','','2653','','','2023-11-09 08:53:25','2023-11-09 07:53:25','',0,'https://localhost/?p=13397',0,'post','',0), (13398,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nGroupe de personnes à l\'intérieur d\'une voiture, jouant de l\'accordéon.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','26’55','','publish','open','open','','2655','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13398',0,'post','',0), (13399,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLes voix de la séquence précédente continuent \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','26’56','','publish','open','open','','2656','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13399',0,'post','',0), (13400,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nTrain passant au ralenti avec un drapeau nazi. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence et train passant. \n\n\nÉcrits\n---\n\n\n\n','27’00','','publish','open','open','','2700','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13400',0,'post','',0), (13401,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nTrain traversant lentement un marché en Chine.\nShanghai Express (1932), Josef von Sternberg.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','27’05','','publish','open','open','','2705','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13401',0,'post','',0), (13402,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nSaturé : fleurs.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nRising Grace (2016), Wolfgang Muthspiel.\n\n\nÉcrits\n---\n\n','27’07','','publish','open','open','','2707','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13402',0,'post','',0), (13403,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\nSous les yeux de l’occident.\nUnder Western Eyes (1911), Joseph Conrad.\n','27’17','','publish','open','open','','2717','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13403',0,'post','',0), (13404,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nPersonne en tuant une autre dans un train.\nShanghai Express (1932), Josef von Sternberg.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVapeur s\'échappant d\'un train.\n\n\nÉcrits\n---\n\n','27’19','','publish','open','open','','2719','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13404',0,'post','',0), (13405,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nSoldat tirant sur d\'autres soldats, au-delà d\'une barricade.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nTirs de pistolets et mitraillettes.\n\n\nÉcrits\n---\n\n','27’23','','publish','open','open','','2723','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13405',0,'post','',0), (13406,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nAu ralenti : homme et femme passant dans le couloir d\'un train.\n\nTerror by night (1946), Roy William Neill.\n\nVoix Off et In\n---\n\nMais enfin dites-moi pourquoi vous avez fait de l’espionnage ?\n- J\'en sais rien.\n- Vous avez accepté ?\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','27’25','','publish','open','open','','2725','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13406',0,'post','',0), (13407,1,'2023-09-26 09:19:06','2023-09-26 07:19:06','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n- D’entrer dans son organisation ? Non Michel.\nMais même chez les communistes l’agent compte plus que tout le reste.\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','27’36','','publish','open','open','','2736','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13407',0,'post','',0), (13408,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nVapeur sortant d\'un train prenant un virage.\nTerror by night (1946), Roy William Neill.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSifflet, puis passage d\'un train.\n\n\nÉcrits\n---\n\n','27’45','','publish','open','open','','2745','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13408',0,'post','',0), (13409,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nHomme regardant une femme boire, au restaurant d\'un train.\nTerror by night (1946), Roy William Neill.\n\n\nVoix Off et In\n---\n\nDeux discours prononcés par George Steiner et Cornelius Castoriadis se chevauchent :\nSteiner : Il fera exactement la même chose que les autres, ce que les autres lui ont appris.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','27’50','','publish','open','open','','2750','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13409',0,'post','',0), (13410,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nEnfant regardant par la fenêtre d\'un train des wagons militaires transportant des réservoirs.\nLe silence (1963), Ingmar Bergman.\n\n\nVoix Off et In\n---\n\nPour qu\'il y ait vraiment des individus, il faut que la collectivité bouge, et pour que la collectivité bouge il fera exactement la même chose que les autres, ce que les autres\nCastoriadis : Quelque chose a surgi de barbare. Quelque chose d’immense lumière qui a accentué les beaux mystères de la vie\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','27’54','','publish','open','open','','2754','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13410',0,'post','',0), (13411,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nAu ralenti : femme dans le vagons d’un train.\nTerror by night (1946), Roy William Neill.\n\n\nVoix Off et In\n---\n\n- Come va a New York ? Va bene ?\n- Non ci si arricchisce\n- Che importa questo ? Si può star bene senza arricchire\n\n\nBande Son\n---\n\nTrain.\n\n\nÉcrits\n---\n\n','28’11','','publish','open','open','','2811','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13411',0,'post','',0), (13412,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nHommes parlant en regardant par la fenêtre d\'un train.\nSicilia ! (1998), Jean-Marie Straub et Danièle Huillet.\n\n\nVoix Off et In\n---\n\n- Non avresti fatto che il tuo dovere.\n- Naturalmente !\n- I tipi così sono sempre da fermare.\n- Effettivamente, non si sa mai.\n- Ogni morto di fame è un uomo pericoloso.\n- Come no, capace di tutto.\n- Di rubare.\n- Questo va da sé.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','28’14','','publish','open','open','','2814','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13412',0,'post','',0), (13413,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nFemme entrant dans un wagon de train, hommes se retournant pour la regarder.\nJohnny Guitar (1954), Nicholas Ray.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nImage The Fog Dirappearing (2016), Tord Gustavsen.\n\n\nÉcrits\n---\n\n','28’35','','publish','open','open','','2835','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13413',0,'post','',0), (13414,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','29’03','','publish','open','open','','2903','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13414',0,'post','',0), (13415,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nCheval et cavalier au galop, derrière un train.\nTurksib (1921), Viktor Alexandrovitch Turin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','29’07','','publish','open','open','','2907','','','2023-11-09 08:53:26','2023-11-09 07:53:26','',0,'https://localhost/?p=13415',0,'post','',0), (13416,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nHomme passant la main sur un vinyle et écoutant la musique qui s\'en dégage.\nL’Atalante (1934), Jean Vigo.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence et Concerto Grosso No. 4 (1988), Alfred Schnittke.\n\n\nÉcrits\n---\n\n','29’10','','publish','open','open','','2910','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13416',0,'post','',0), (13417,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nCheval et cavalier au galop, le long d’un train.\nTurksib (1921), Viktor Alexandrovitch Turin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','29’16','','publish','open','open','','2916','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13417',0,'post','',0), (13418,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','29’22','','publish','open','open','','2922','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13418',0,'post','',0), (13419,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nChameau reniflant les rails d\'un train, train traversant une prairie déserte.\nTurksib (1921), Viktor Alexandrovitch Turin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nThe Fog Disappearing (2016), Tord Gustavsen.\n\n\nÉcrits\n---\n\n','29’24','','publish','open','open','','2924','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13419',0,'post','',0), (13420,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nPaysage vu d\'un train. \n\n\nVoix Off et In\n---\n\nj\'avoue qu\'avant d\'embarquer à bord \n\n\nBande Son\n---\n\nVoix masculine accompagnée au piano. \n\n\nÉcrits\n---\n\n\n\n','29’31','','publish','open','open','','2931','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13420',0,'post','',0), (13421,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nSaturé et surexposé : train avançant. \n\n\nVoix Off et In\n---\n\nde ce vieux \n piano \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','29’36','','publish','open','open','','2936','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13421',0,'post','',0), (13422,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nMontage en superposition : rose.\nAllemagne 90 neuf zéro (1991), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nj\'ai scruté la météo\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','29’39','','publish','open','open','','2939','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13422',0,'post','',0), (13423,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nPassage du métro. Superposé : femme semblant avoir été heurtée par un train.\nLiberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nj\'ai longtemps flâné\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','29’42','','publish','open','open','','2942','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13423',0,'post','',0), (13424,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nDessin : femme vue de dos.\nLiberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','29’45','','publish','open','open','','2945','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13424',0,'post','',0), (13425,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nEux tous\n\n\nBande Son\n---\n\nFratres pour 12 violoncelles (1977), Arvo Pärt.\n\n\nÉcrits\n---\n\n','29’50','','publish','open','open','','2950','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13425',0,'post','',0), (13426,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nHommes saluant joyeusement des deux mains, depuis un train.\nLes Deux Fedor (1959), Marlen Khoutsiev.\n\n\nVoix Off et In\n---\n\nenfilés sur le fond\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','29’53','','publish','open','open','','2953','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13426',0,'post','',0), (13427,1,'2023-09-26 09:19:07','2023-09-26 07:19:07','Images\n---\n\nFemmes courant.\nLes Deux Fedor (1959), Marlen Khoutsiev.\n\n\nVoix Off et In\n---\n\nDu vert luxuriant.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','29’57','','publish','open','open','','2957','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13427',0,'post','',0), (13428,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nSaturé : paysage vu depuis la fenêtre d’un train. \n\n\nVoix Off et In\n---\n\nDe l’été. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’00','','publish','open','open','','3000','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13428',0,'post','',0), (13429,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’03','','publish','open','open','','3003','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13429',0,'post','',0), (13430,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nHomme courant le long d\'un train.\nWild boys on the road (1933), William A. Wellman. Liberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nEt l’embrasement\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’04','','publish','open','open','','3004','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13430',0,'post','',0), (13431,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nAu ralenti : homme s\'approchant d\'une femme assise dans une grange devant un brasier.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’06','','publish','open','open','','3006','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13431',0,'post','',0), (13432,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nFoule d\'hommes se pressant pour monter dans un train.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\nRoyal\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’07','','publish','open','open','','3007','','','2023-11-09 08:53:27','2023-11-09 07:53:27','',0,'https://localhost/?p=13432',0,'post','',0), (13433,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nSaturé : trains miniatures passant sur une ligne de chemin de fer. Toccata for Toy Trains (1957), Charles and Ray Eames.\n\n\nVoix Off et In\n---\n\nde l\'automne.\n- Et la ruine de l’hiver\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’10','','publish','open','open','','3010','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13433',0,'post','',0), (13434,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\navant que ne fleurisse \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’15','','publish','open','open','','3015','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13434',0,'post','',0), (13435,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nFille faisant de l\'escrime devant un projecteur montrant une cathédrale gothique. En montage clignotant : cameraman sur un dolly. \n\n\nVoix Off et In\n---\n\nà nouveau \n le printemps, \n salit maintenant \n un peu noirci \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’19','','publish','open','open','','3019','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13435',0,'post','',0), (13436,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nHomme se traînant le long d\'une voie ferrée.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nTrain en approche.\n\n\nÉcrits\n---\n\n','30’30','','publish','open','open','','3030','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13436',0,'post','',0), (13437,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’33','','publish','open','open','','3033','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13437',0,'post','',0), (13438,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nHomme se traînant le long d\'une voie ferrée, et essayant de ne pas être écrasé par un train en approche.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’36','','publish','open','open','','3036','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13438',0,'post','',0), (13439,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\npar le temps.\n\n\nBande Son\n---\n\nFratres pour 12 violoncelles (1977), Arvo Pärt.\n\n\nÉcrits\n---\n\n','30’39','','publish','open','open','','3039','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13439',0,'post','',0), (13440,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nHomme évanoui et écrasé par un train.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\n\nToujours serein\n\n\nBande Son\n---\n\nTrain en approche, cris.\n\n\nÉcrits\n---\n\n','30’41','','publish','open','open','','3041','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13440',0,'post','',0), (13441,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','30’45','','publish','open','open','','3045','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13441',0,'post','',0), (13442,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nFemme arrachant ses boucles d\'oreilles en perle, horrifiée.\nAu bord de la mer bleue (1937), Boris Barnet.\n\n\nVoix Off et In\n---\n\n… des sentinelles. Non.\n- Comme s\'ils défendaient\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’47','','publish','open','open','','3047','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13442',0,'post','',0), (13443,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nPerles tombant.\nAu bord de la mer bleue (1937), Boris Barnet.\nEnchaînement avec un montage clignotant : cadavres le long d\'une voie ferrée.\nNuit et brouillard (1956), Alain Resnais.\n\n\nVoix Off et In\n---\n\nde leurs énormes et monolithiques\n\n\nBande Son\n---\n\nFratres pour 12 violoncelles (1977), Arvo Pärt.\n\n\nÉcrits\n---\n\n','31’01','','publish','open','open','','3101','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13443',0,'post','',0), (13444,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nMontage clignotant : sous des cadavres longeant les rails d\'un train, folle dans une église du tableau.\nL\'église Ludwigskirche à Munich (1908), Wassily Kandinsky.\n\n\nVoix Off et In\n---\n\nLes vivants contre les morts.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','31’09','','publish','open','open','','3109','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13444',0,'post','',0), (13445,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nTous. \n Les ossements. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','31’18','','publish','open','open','','3118','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13445',0,'post','',0), (13446,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nFemmes et hommes autour d\'une table, plaçant leurs mains en cercle lors d\'une séance de spiritisme. Anna Karénine (1948), Julien Duvivier.\n\n\nVoix Off et In\n---\n\nAvant que ne fleurissent\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','31’21','','publish','open','open','','3121','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13446',0,'post','',0), (13447,1,'2023-09-26 09:19:08','2023-09-26 07:19:08','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nà nouveau le printemps \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','31’26','','publish','open','open','','3126','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13447',0,'post','',0), (13448,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nTrain passant dans le blizzard et personnes marchant sous la neige et dans le vent.\nAnna Karénine (1948), Julien Duvivier.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et train passant.\n\n\nÉcrits\n---\n\n','31’28','','publish','open','open','','3128','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13448',0,'post','',0), (13449,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nEn superposition, et en alternance : dessin d\'un mort.\nLes désastres de la guerre (1815 - 20), Francisco Goya.\n\nPuis montage clignotant : personne levant un fusil vers le ciel, femme juive.\n\n\nVoix Off et In\n---\n\nEux tous, profilés sur le fond du vert luxuriant de l’été, et l\'embrasement royal de l’automne, et la ruine de l’hiver,\n\n\nBande Son\n---\n\nFratres pour 12 violoncelles (1977), Arvo Pärt et silence.\n\n\nÉcrits\n---\n\n','31’43','','publish','open','open','','3143','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13449',0,'post','',0), (13450,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nAu ralenti, saturé : voie ferrée parcourue par un train.\nAprès le feu (2010), Jacques Perconte.\n\n\nVoix Off et In\n---\n\navant que ne fleurisse à nouveau le printemps. Eux tous.\nSépulture Sud, in Idylle au désert et autres nouvelles (1985), William Faulkner. Grandeur et décadence d\'un petit commerce de cinéma (1986), Jean-Luc Godard.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','32’09','','publish','open','open','','3209','','','2023-11-09 08:53:28','2023-11-09 07:53:28','',0,'https://localhost/?p=13450',0,'post','',0), (13451,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nHomme saluant une femme le regardant par la fenêtre d\'un train, et poursuivant le train qui s’éloigne.\nLe plaisir (1938), Max Ophüls.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence et Das Buch der Klange I - XII, V (1999), Hans Otte.\n\n\nÉcrits\n---\n\n','32’23','','publish','open','open','','3223','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13451',0,'post','',0), (13452,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nPellicule passant dans un projecteur.\nDeux fois cinquante ans de cinéma français (1995), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','32’51','','publish','open','open','','3251','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13452',0,'post','',0), (13453,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n \n\n\nÉcrits\n---\n\n\n\n','33’02','','publish','open','open','','3302','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13453',0,'post','',0), (13454,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n4 \n L’ESPRIT DES LOIS \n\n','33’05','','publish','open','open','','3305','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13454',0,'post','',0), (13455,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nActeurs incarnant au théâtre des soldats intimant à la population qui manifeste de se disperser. Soldats déposant les armes et s\'unissant au peuple. La Commune (Paris, 1971) (2000), Peter Watkins.\n\n\nVoix Off et In\n---\n\nÉcartez - vous. Première sommation, nous allons faire usage de la force. Deuxième et dernière sommation, nous allons faire usage de la force. Dispersez-vous.\n\n\nBande Son\n---\n\nPersonnes protestant et criant.\nThree Little Nocturnes, II Allegro appassionata (2005), Hans Abrahamsen.\n\n\nÉcrits\n---\n\n','33’08','','publish','open','open','','3308','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13455',0,'post','',0), (13456,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nHommes derrière une barricade attaqués par des soldats.\nVendémiaire (1918), Louis Feuillade.\nHistoire (s) du cinéma 3b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- La situation de tous, dans cette heure fatale et dans ce lieu inexorable, avait comme résultat et comme sommet. Les Misérables (1862), Victor Hugo.\n- Le drapeau\n\n\nBande Son\n---\n\nBreit-sehr frisch und straff (1939), Paul Hindemith.\n\n\nÉcrits\n---\n\n','34’08','','publish','open','open','','3408','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13456',0,'post','',0), (13457,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nPhotographie d’Arthur Rimbaud.\n\n\nVoix Off et In\n---\n\n- la mélancolie suprême d’Enjolras. Les Misérables (1862), Victor Hugo.\n- Le drapeau va au paysage infâme\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','34’20','','publish','open','open','','3420','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13457',0,'post','',0), (13458,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nFemme tout en blanc se dirigeant vers un écran puis reculant de peur, les mains en l\'air.\nLe Mystère des roches de Kador (1912), Léonce Perret. Histoire (s) du cinéma 2a (1988 - 89), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\net notre patois étouffe le\ntambour. Arthur Rimbaud,\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','34’30','','publish','open','open','','3430','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13458',0,'post','',0), (13459,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\ndémocratie. (Jean Luc Godard). Les Illuminations. Démocratie (1854), Arthur Rimbaud.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nTERRORISM CONSIDERED\nas one of the\nFINE ARTS\n','34’36','','publish','open','open','','3436','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13459',0,'post','',0), (13460,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nDissonance Films \n\n','34’38','','publish','open','open','','3438','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13460',0,'post','',0), (13461,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nFemme supliant un homme jettant un bébé par la fenêtre.\nHistoire (s) du cinéma, (1988 - 89), Jean-Luc Godard.\n\nVoix Off et In\n---\n\nAprès une révolution dans la révolution (Philippe Sollers).\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nEnd Lo Sung\n','34’41','','publish','open','open','','3441','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13461',0,'post','',0), (13462,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nAu violon \n\n\nÉcrits\n---\n\n\n\n','34’44','','publish','open','open','','3444','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13462',0,'post','',0), (13463,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nSaturé : torero transperçant un taureau à coups d’épée. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','34’48','','publish','open','open','','3448','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13463',0,'post','',0), (13464,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nAu ralenti : homme courant et criant en faisant claquer ses poignets ensemble.\nLa terre (1930), Alexandre Dovjenko. Histoire (s) du cinéma 2a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVoix masculine, accompagnée à la guitare : chant russe.\nLa chasse aux loups (1977), Vladimir Vissotsky.\n\n\nÉcrits\n---\n\n','34’49','','publish','open','open','','3449','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13464',0,'post','',0), (13465,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','35’12','','publish','open','open','','3512','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13465',0,'post','',0), (13466,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nSurexposé : photographie d’un buste de Montesquieu.\n\n\nVoix Off et In\n---\n\nSi je pouvais faire en sorte que ceux qui commandent augmentassent leur connaissances sur ce qu’ils doivent prescrire, et que ceux qui obéissent trouvassent un nouveau plaisir à obéir. L’esprit des lois (1748), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','35’14','','publish','open','open','','3514','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13466',0,'post','',0), (13467,1,'2023-09-26 09:19:09','2023-09-26 07:19:09','Images\n---\n\nEnfants en Asie faisant un exercice militaire. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVoix d\'enfants chantant et criant ensemble. \n\n\nÉcrits\n---\n\n\n\n','35’26','','publish','open','open','','3526','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13467',0,'post','',0), (13468,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nSurexposé : personnes marchant courbées et vacillantes le long d\'un couloir.\nAlphaville (1965), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nJe me croirais le plus heureux des hommes.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','35’31','','publish','open','open','','3531','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13468',0,'post','',0), (13469,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nJe me croirais le plus heureux des mortels. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','35’37','','publish','open','open','','3537','','','2023-11-09 08:53:29','2023-11-09 07:53:29','',0,'https://localhost/?p=13469',0,'post','',0), (13470,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nSaturé et surexposé : pellicule d’aspect usée et déchirée.\nNotre caméra analytique (2015), Yervant Gianikian et Angela Ricci Lucchi.\n\n\nVoix Off et In\n---\n\nJe me croirais le plus heureux des mortels, si je pouvais faire que les hommes\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','35’40','','publish','open','open','','3540','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13470',0,'post','',0), (13471,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nCouverture des volumes de l\'Esprit des lois (1748), Montesquieu.\n\n\nVoix Off et In\n---\n\npuissent se guérir de leurs préjugés.\nL’esprit des lois (1748), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','35’50','','publish','open','open','','3550','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13471',0,'post','',0), (13472,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nSaturé : visage d’un homme de profil allumant une cigarette.\nDétective (1985), Jean-Luc Godard. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nJ\'appelle ici préjugés,\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','35’54','','publish','open','open','','3554','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13472',0,'post','',0), (13473,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nMontage superposé : main tenant une bougie.\nIvan le terrible (1944 - 46), Sergueï Eisenstein. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nnon pas\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','35’56','','publish','open','open','','3556','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13473',0,'post','',0), (13474,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nce qui fait qu\'on ignore de certaines choses, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','35’59','','publish','open','open','','3559','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13474',0,'post','',0), (13475,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nSurexposé : buste de Montesquieu.\n\n\nVoix Off et In\n---\n\nmais ce qui fait qu\'on s\'ignore soi-même. (Jean Luc Godard)\nL’esprit des lois (1748), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’00','','publish','open','open','','3600','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13475',0,'post','',0), (13476,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nCouteau planté sur une surface noire.\nAu cœur de l\'orage (1948), Jean-Paul Le Chanois.\n\n\nVoix Off et In\n---\n\nE arrivato Zampanò ! è arrivato Zampanò !\n\n\nBande Son\n---\n\nTambours.\n\n\nÉcrits\n---\n\n','36’02','','publish','open','open','','3602','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13476',0,'post','',0), (13477,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nAu ralenti : deux clowns parmi une foule de gens.\nLa Strada (1954), Federico Fellini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','36’13','','publish','open','open','','3613','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13477',0,'post','',0), (13478,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nFemme au bord d\'une rivière.\nPastorales Tahitiennes (1893), Paul Gauguin. Alternant, en montage clignotant : homme l’observant à travers une vitre.\nLe Pré de Béjine (1935 - 37), Sergueï Eisenstein. En alternance : femme en blanc des Pastorales tahitiennes (1892), Paul Gauguin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’18','','publish','open','open','','3618','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13478',0,'post','',0), (13479,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nSaturé : homme et femme marchant entre des voitures en feu.\nWeekend (1967), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nC’est qu’il n’est pas\n\n\nBande Son\n---\n\nChoral pour orgue, BWV 721 (« Aie pitié de moi Seigneur ») (1704), Johann Sebastian Bach.\n\n\nÉcrits\n---\n\n','36’22','','publish','open','open','','3622','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13479',0,'post','',0), (13480,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nplus permis à un gouvernement \n qu’à un individu d’être un assassin. C’est que l’Europe est solidaire \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','36’27','','publish','open','open','','3627','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13480',0,'post','',0), (13481,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nFemmes décapitant un homme.\nJudith tranchant la tête d’Holopherne (1620), Artemisia Gentileschi.\n\n\nVoix Off et In\n---\n\nc’est que tout ce qui se fait en Europe\nest fait par l’Europe\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’32','','publish','open','open','','3632','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13481',0,'post','',0), (13482,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nHomme pillant un cadavre. \n\n\nVoix Off et In\n---\n\nc’est que \n s’il existe un gouvernement \n de bêtes fauves \n il doit être traité \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','35’34','','publish','open','open','','3534','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13482',0,'post','',0), (13483,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nHomme regardant à travers une caméra. En superposition : cadavre d’homme dans la rue. \n\n\nVoix Off et In\n---\n\nen bête fauve \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','36’41','','publish','open','open','','3641','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13483',0,'post','',0), (13484,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nHomme conduisant une voiture à toute vitesse.\nDr. Mabuse, le joueur (1922), Fritz Lang.\n\nEn superposition : dessin d\'homme. Combats (1915), Ernst Ludwig Kirchner. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nc’est qu’à l’heure qu’il est, tout près de nous là, sous nos yeux on massacre\non incendie\non pille\non extermine\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’44','','publish','open','open','','3644','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13484',0,'post','',0), (13485,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\non égorge les pères et les mères \n on vend les petites filles et les petits garçons \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','36’49','','publish','open','open','','3649','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13485',0,'post','',0), (13486,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nFemme avec une tache rouge à la place de son sexe se trouvant situé à la hauteur de la bouche d’un Saturne dont le croquis se superpose au dessin en clignotement léger comme une flamme qui va s’éteindre, avec une femme portant une torche et au bras levé.\nLady Macbeth somnambule (1781 - 84), Johann Heinrich Füssli. Histoire (s) du cinéma 3a, Jean-Luc Godard (1889 - 99)\n\n\nVoix Off et In\n---\n\non vend les petites filles et les petits garçons\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’52','','publish','open','open','','3652','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13486',0,'post','',0), (13487,1,'2023-09-26 09:19:10','2023-09-26 07:19:10','Images\n---\n\nLady Macbeth id. clignotement id. avec deux corps pendus à un arbre, des taches rouges à la place du sexe et l’un en morceaux accrochés à l’arbre : des bras tranchés et attachés d’une corde à une branche, le corps pendu par les jambes et la tête plantée dans une branche.\nBel exploit, avec des morts (dans la série des Désastres de la guerre, n. 39 (1810 - 1815), Francisco de Goya. Histoire (s) du cinéma 3a (1889 - 99), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nc’est que les enfants trop petits\npour être vendus\non les fend d’un coup de sabre\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’55','','publish','open','open','','3655','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13487',0,'post','',0), (13488,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nGoya id. Clignotant : enfant errant dans une ville.\nAllemagne année zéro (1948), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nc’est qu’on brûle les familles dans les maisons\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’58','','publish','open','open','','3658','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13488',0,'post','',0), (13489,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nEnfant errant dans une ville.\nAllemagne année zéro (1948), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','37’03','','publish','open','open','','3703','','','2023-11-09 08:53:30','2023-11-09 07:53:30','',0,'https://localhost/?p=13489',0,'post','',0), (13490,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nId.. Rossellini. En surimpression : homme avec une tête au bout d’un pique.\nGravure des Disparates (1821 - 24), Francisco de Goya. Histoire (s) du cinéma 3a (1889 - 99), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nde sorte qu’aux vivants qui leur ont envoyé le carnage\nles morts envoient la peste, ce qui est bien fait\nnous apprenons aux gouvernements d’Europe\nceci :\nc’est qu’on ouvre les femmes grosses\npour leur tuer les enfants dans les entrailles\n\n\nBande Son\n---\n\nChoral pour orgue, BWV 721 (« Aie pitié de moi Seigneur ») (1704), Johann Sebastian Bach.\n\n\nÉcrits\n---\n\nLes signes parmi nous.\n','37’09','','publish','open','open','','3709','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13490',0,'post','',0), (13491,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nc’est qu’il y a dans les places publiques\ndes tas de squelettes. (Jean-Luc Godard)\nPour la Serbie (1876), Victor Hugo.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’25','','publish','open','open','','3725','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13491',0,'post','',0), (13492,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nChat noir descendant les escaliers au ralenti.\nDe l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nLe sort de la France\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','37’27','','publish','open','open','','3727','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13492',0,'post','',0), (13493,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nSurexposé : homme se traînant péniblement vers une chaise.\nDocteur Jerry et Mister Love (1963), Jerry Lewis.\n\n\nVoix Off et In\n---\n\nSuivait celui de l’Amérique. Comme dans les contes romantiques allemandes, le chat\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’29','','publish','open','open','','3729','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13493',0,'post','',0), (13494,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nqui éprouve à son tour les amours \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','37’37','','publish','open','open','','3737','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13494',0,'post','',0), (13495,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nPieds marchant au milieu de l\'eau.\nLa couleur de la grenade (1968), Sergei Parajanov.\n\n\nVoix Off et In\n---\n\net les ambitions de son maître et les rend dérisoires.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’42','','publish','open','open','','3742','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13495',0,'post','',0), (13496,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nPieds marchant dans la rue.\nLes Olvidados (1950), Luis Buñuel.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCloche d’enterrement.\n\n\nÉcrits\n---\n\n','37’44','','publish','open','open','','3744','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13496',0,'post','',0), (13497,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nPhotographie de Marilyn Monroe.\nHistoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','37’46','','publish','open','open','','3746','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13497',0,'post','',0), (13498,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nHomme et jeune femme sous la pluie.\nLe premier maître (1965), Andreï Kontchalovski. De l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’47','','publish','open','open','','3747','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13498',0,'post','',0), (13499,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nVisage de femme aux mains jointes dans un geste de prière. En tons rouges :\ndétail de la fresque de la coupole San Antonio de la Florida (1798), Francisco Goya. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’50','','publish','open','open','','3750','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13499',0,'post','',0), (13500,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nJean-Luc Godard posant les mains sur un exemplaire de De la certitude (1951), Ludwig Wittgenstein, puis les retirant. En dessous, un autre livre de la Pléiade. Sur un bureau, clés et marqueurs. À côté, JLG / JLG (1995), Jean-Luc Godard. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','37’51','','publish','open','open','','3751','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13500',0,'post','',0), (13501,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nIris : détail, un visage.\nJudith et Holopherne (1820 - 23), Francisco de Goya. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Pourquoi Sarajevo ?\n- On dit deux cents villages brûlés\nil n’y en a que quatre vingt dix neuf\nce que vous appelez la peste\nn’est que le typhus\ntoutes les femmes n’ont pas été violées\n\n\nBande Son\n---\n\nCloche d’enterrement et silence.\n\n\nÉcrits\n---\n\nDes ténèbres\n','37’59','','publish','open','open','','3759','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13501',0,'post','',0), (13502,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\ntoutes les filles n’ont pas été vendues \n quelques-unes ont échappé \n on a châtré les prisonniers \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','38’10','','publish','open','open','','3810','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13502',0,'post','',0), (13503,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nDétail du visage d\'une femme.\nBalcon (1868), Edouard Manet. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nmais on leur a aussi coupé la tête…\n- Parce que la Palestine\n-... à la pointe d’une baïonnette. (Jean-Luc Godard)\nPour la Serbie (1876), Victor Hugo.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nJe sais à quoi tu penses\n','38’15','','publish','open','open','','3815','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13503',0,'post','',0), (13504,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nEt cetera, et cetera. (Jean-Luc Godard) \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','38’27','','publish','open','open','','3827','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13504',0,'post','',0), (13505,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nQuatrièmes de couverture des exemplaires des volumes de l\'Esprit des lois (1748), Montesquieu.\n\n\nVoix Off et In\n---\n\nC\'est en cherchant à instruire les hommes, que l\'on peut pratiquer cette vertu générale qui comprend l\'amour de tous. L\'homme …\nque l\'on peut pratiquer cette vertu générale qui comprend l\'amour de tous.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','38’31','','publish','open','open','','3831','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13505',0,'post','',0), (13506,1,'2023-09-26 09:19:11','2023-09-26 07:19:11','Images\n---\n\nHommes encagoulés de blanc sur le toit d\'une voiture avec une croix en bois sur le coffre. \n\n\nVoix Off et In\n---\n\nL\'homme, l’homme \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','38’58','','publish','open','open','','3858','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13506',0,'post','',0), (13507,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nAu ralenti : homme ouvrant un canif avec sa main.\nM le maudit (1931), Fritz Lang. Histoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\ncet être flexible, se pliant dans la société\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','39’00','','publish','open','open','','3900','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13507',0,'post','',0), (13508,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nHomme tenant un appareil photo. \n\n\nVoix Off et In\n---\n\naux pensées \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','39’07','','publish','open','open','','3907','','','2023-11-09 08:53:31','2023-11-09 07:53:31','',0,'https://localhost/?p=13508',0,'post','',0), (13509,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nFemme mourant dans les bras d\'un homme et s\'effondrant sur le sol.\n\n\nVoix Off et In\n---\n\net aux impressions des autres, est également capable de comprendre sa propre nature. lorsqu\'on la lui montre, et d\'en perdre jusqu\'au sentiment lorsqu\'on la lui dérobe. (Jean-Luc Godard).\nL’esprit des lois (1748), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','39’09','','publish','open','open','','3909','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13509',0,'post','',0), (13510,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nHomme poussant un autre homme au sol.\nFrancesco, giullare di dio (1950), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','39’30','','publish','open','open','','3930','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13510',0,'post','',0), (13511,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nPhotographie d\'un réalisateur regardant à travers une caméra \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','39’39','','publish','open','open','','3939','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13511',0,'post','',0), (13512,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nSaturé et ouverture iris entourée de noir : mains d\'une femme avec des ciseaux coupant une pellicule. \n\n\nVoix Off et In\n---\n\n- Books ? \n - Yeah, in the last barrel \n - Books \n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','39’46','','publish','open','open','','3946','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13512',0,'post','',0), (13513,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nHomme trouvant un livre et le lisant, pendant que d\'autres enfants et adultes l\'entourent avec intérêt.\nVers sa destinée (1939), John Ford.\n\n\nVoix Off et In\n---\n\n- That\'s law.\n- Law, I know that book was about somethin’.\n- Hardly a thumb mark on it either.\n- No sir. We took mighty good care of it. Reckon you can read it, sir ?\n- I expect I could make heads or tails out of it, if I set my mind to it.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','39’48','','publish','open','open','','3948','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13513',0,'post','',0), (13514,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','40’07','','publish','open','open','','4007','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13514',0,'post','',0), (13515,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nHomme allongé, les jambes contre un arbre, un livre à la main.\nVers sa destinée (1939), John Ford.\n\n\nVoix Off et In\n---\n\nA bas le roi !\nIl a dix femmes dans son lit pour y passer de folles nuits. A Bas le roi !\nVive la loi ! Vive la loi !\nVive le roi ! Peut contenter d’une traite. A bas la loi !\nChanson paillarde républicaine.\n\nBande Son\n---\n\nAccordéon, voix féminine.\n\n\nÉcrits\n---\n\n','40’10','','publish','open','open','','4010','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13515',0,'post','',0), (13516,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nHomme en menaçant et poussant un autre dans des escaliers.\nLe Chaos (2007), Youssef Chahine.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','40’32','','publish','open','open','','4032','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13516',0,'post','',0), (13517,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','40’36','','publish','open','open','','4036','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13517',0,'post','',0), (13518,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nAu ralenti : homme souriant, les dents découvertes.\nFreaks (1939), Tod Browning. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','40’39','','publish','open','open','','4039','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13518',0,'post','',0), (13519,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nFemme nue, homme lui léchant l’anus.\nExtrait d’un film pornographique.\nHistoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','40’44','','publish','open','open','','4044','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13519',0,'post','',0), (13520,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nHomme riant, et se couvrant la bouche avec la main.\nFreaks (1939), Tod Browning. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et Arcadiana, Op. 12 : IV. Et … (tango mortale) (1994), Thomas Adès.\n\n\nÉcrits\n---\n\n','40’51','','publish','open','open','','4051','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13520',0,'post','',0), (13521,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nSurexposé, en noir et blanc : François Truffaut.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nArcadiana, Op. 12 : IV. Et … (tango mortale) (1994), Thomas Adès.\n\nÉcrits\n---\n\n','40’57','','publish','open','open','','4057','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13521',0,'post','',0), (13522,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nSurexposé, en noir et blanc : Jacques Rivette. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’00','','publish','open','open','','4100','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13522',0,'post','',0), (13523,1,'2023-09-26 09:19:12','2023-09-26 07:19:12','Images\n---\n\nSurexposé, en noir et blanc : Eric Rohmer. \n\n\nVoix Off et In\n---\n\nOn sent que l’on tombera. Doit tomber. \n Va tomber. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’04','','publish','open','open','','4104','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13523',0,'post','',0), (13524,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nle secret et la loi \n\n','41’08','','publish','open','open','','4108','','','2023-11-09 08:53:32','2023-11-09 07:53:32','',0,'https://localhost/?p=13524',0,'post','',0), (13525,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nSaturé : femme attachée à un poteau, et brûlée vive.\nJeanne au bûcher (1954) Roberto Rossellini. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','41’16','','publish','open','open','','4116','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13525',0,'post','',0), (13526,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’30','','publish','open','open','','4130','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13526',0,'post','',0), (13527,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nHomme marchant sous un arbre.\n\n\nVoix Off et In\n---\n\nQu’est-ce que cela fait ? Tout est grâce. Je crois qu’il est mort presque aussitôt. (Jean-Luc Godard).\nJournal d\'un curé de campagne (1951), Robert Bresson.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','41’32','','publish','open','open','','4132','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13527',0,'post','',0), (13528,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nChars traversant une forêt. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’37','','publish','open','open','','4137','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13528',0,'post','',0), (13529,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','41’41','','publish','open','open','','4141','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13529',0,'post','',0), (13530,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nHommes courbés à genoux ponçant un parquet.\nLes Raboteurs de parquet (1875), Gustave Caillebotte.\n\n\nVoix Off et In\n---\n\nUn homme que la justice a retranché du nombre des vivants\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','41’43','','publish','open','open','','4143','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13530',0,'post','',0), (13531,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nHomme marchant derrière les barreaux d\'une prison.\nLa faux coupable (1956), Alfred Hitchcock.\n\n\nVoix Off et In\n---\n\nappartient au Parquet. Le Parquet est souverain @\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','41’47','','publish','open','open','','4147','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13531',0,'post','',0), (13532,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nil ne dépend de personne, il ne relève que de sa conscience. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’54','','publish','open','open','','4154','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13532',0,'post','',0), (13533,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nHomme serrant les poings.\nLe faux coupable (1956), Alfred Hitchcock.\n\n\nVoix Off et In\n---\n\nLa prison appartient au Parquet\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’00','','publish','open','open','','4200','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13533',0,'post','',0), (13534,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nil en est \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','42’03','','publish','open','open','','4203','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13534',0,'post','',0), (13535,1,'2023-09-26 09:19:13','2023-09-26 07:19:13','Images\n---\n\nJuge enjoinant à une femme de garder le silence.\nJour de colère (1943), Carl Theodor Dreyer.\n\n\nVoix Off et In\n---\n\nle maître absolu. (Jean-Luc Godard)\nScènes de la vie parisienne (1820), Honoré Balzac.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’06','','publish','open','open','','4206','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13535',0,'post','',0), (13536,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nHomme marchant dans un long couloir obscure.\nLa dame de Shanghai (1948), Orson Welles. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Ils ont vite été relâchés dans la nature.\n- Les Clanton et les Mclaury ont payé leur caution. C’est la loi. C’est la même pour eux que pour toi ou moi.\n- Alors il y a quelque chose qui cloche dans la loi.\nWyatt Earp (1994), Lawrence Kasdan.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n- Tais toi !\n','42’10','','publish','open','open','','4210','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13536',0,'post','',0), (13537,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nInsight (2002), Dobrinka Tabakova.\n\n\nÉcrits\n---\n\n','42’22','','publish','open','open','','4222','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13537',0,'post','',0), (13538,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nSaturé : hommes marchant en rang, les mains au-dessus de la tête. En arrière-plan : fumée d’incendie.\nTout va bien (1972), Jean Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’23','','publish','open','open','','4223','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13538',0,'post','',0), (13539,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nAu ralenti : homme désignant de la main un point hors-champ.\nAlexandre Nevski (1938), Sergueï Eisenstein et Dmitri Vassiliev.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’32','','publish','open','open','','4232','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13539',0,'post','',0), (13540,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','42’39','','publish','open','open','','4239','','','2023-11-09 08:53:33','2023-11-09 07:53:33','',0,'https://localhost/?p=13540',0,'post','',0), (13541,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nPrisonnier nu, assis et recroquevillé.\nEau argentée, Syrie autoportrait (2014), Ossama Mohammad et Wiam Simav Bedirxan.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’44','','publish','open','open','','4244','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13541',0,'post','',0), (13542,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nFemme avec un foulard autour de la bouche et du nez regardant à travers les barreaux.\nTout va bien (1972), Jean Luc Godard. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’52','','publish','open','open','','4252','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13542',0,'post','',0), (13543,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nPrisonnier d\'un camp de concentration regardant à travers la fenêtre d’un train.\nNuit et brouillard (1956), Alain Resnais. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’57','','publish','open','open','','4257','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13543',0,'post','',0), (13544,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nSoldats. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','42’59','','publish','open','open','','4259','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13544',0,'post','',0), (13545,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nManifestation appelant à la grève générale diffusée par la programme télévisé français C\'est dans l\'air.\n\nVoix Off et In\n---\n\nGrève générale,\nJusqu’au retrait total. (2x)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','43’00','','publish','open','open','','4300','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13545',0,'post','',0), (13546,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nHomme dans l\'obscurité, le menton appuyé sur la paume de la main.\nFantômas (1913), Louis Feuillade. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Et toujours le même slogan, et la même connerie.\n\nTous ensemble, tous ensemble !\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','43’04','','publish','open','open','','4304','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13546',0,'post','',0), (13547,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nBlanc\n\n\nVoix Off et In\n---\n\nGrève générale !\nTous ensemble, tous ensemble !\nIl faut que ça continue, il faut que ça continue pour faire céder ce gouvernement. (Discours de François Ruffin)\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nla société\nest fondée\nsur un crime\nen commun\nLa violence et le sacré (1972), René Girard.\n','43’13','','publish','open','open','','4313','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13547',0,'post','',0), (13548,1,'2023-09-26 09:19:14','2023-09-26 07:19:14','Images\n---\n\nHomme recourbé, la tête posée sur un bloc de bois, condamné à mort, puis décapité. Le procès de Charles I (1963), Guy Lessertisseur.\n\n\nVoix Off et In\n---\n\nSouvenez-vous ! (Sigmund Freud)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','43’20','','publish','open','open','','4320','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13548',0,'post','',0), (13549,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nAu ralenti : personnes dans le procès de Nuremberg (1945 - 46). \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','43’35','','publish','open','open','','4335','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13549',0,'post','',0), (13550,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nInsight (2002), Dobrinka Tabakova.\n\n\nÉcrits\n---\n\n','43’46','','publish','open','open','','4346','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13550',0,'post','',0), (13551,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nSaturé et surexposé : femme et fleurs géantes.\nLa Fée Libellule (1908), Georges Méliès. Histoire (s) du cinéma 2a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','43’50','','publish','open','open','','4350','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13551',0,'post','',0), (13552,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nPhotographie de Marilyne Monroe. Iris et clignotant : corbeaux s’envolant. Les Oiseaux (1963), Alfred Hitchcock. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nDevenue adulte, la jeune femme se méfiant de la liberté exagérée, dont le mot souvent répété pourrait faire craindre les excès, tout comme elle sera hostile à la république\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','44’04','','publish','open','open','','4404','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13552',0,'post','',0), (13553,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','44’12','','publish','open','open','','4412','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13553',0,'post','',0), (13554,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nBanc de montage. Puis en surimpression : détail de Gabrielle d\'Estrées et une de ses sœurs (1594), Anonyme, École Française.\n\nLa bobine est aussi grande que le buste de la femme et sa pointe ressemble presque à celle du sein de la femme. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nnon par principe, mais parce que l\'Europe\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','44’13','','publish','open','open','','4413','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13554',0,'post','',0), (13555,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nHommes prononçant un discours devant une foule, à la fin du XVII siècle.\n\n\nVoix Off et In\n---\n\nn\'a pas les vertus nécessaires. (Jean-Luc Godard).\nMémoire de la reine Hortense (1831), Hortense de Beauharnais.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','44’16','','publish','open','open','','4416','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13555',0,'post','',0), (13556,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nPlusieurs personnes dansant dans une salle. This Country\'s Going to War, Duck soup (1933), Leo McCarey.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nBande son de This Country\'s Going to War, Duck soup (1933), Leo McCarey. Et voix qui chantent.\n\n\nÉcrits\n---\n\n','44’21','','publish','open','open','','4421','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13556',0,'post','',0), (13557,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLes rebels, c’est vous ? Vous vous insurgez contre l’ordre \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nt \n\n','44’24','','publish','open','open','','4424','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13557',0,'post','',0), (13558,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nChat se retournant, l’air terrifié. Cartoon de Tex Avery. En surimpression : texte.\nHistoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Non, contre les privilèges !\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\nmontage\ninter\ndit /\npar\nandré\nbazin\n','44’28','','publish','open','open','','4428','','','2023-11-09 08:53:34','2023-11-09 07:53:34','',0,'https://localhost/?p=13558',0,'post','',0), (13559,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nAdolescent parlant à une caméra, habillé en soldat avec un foulard sur la tête.\n\n\nVoix Off et In\n---\n\nDevant nous de la République\nL\'étendard …\n(réécriture de La Marseillaise, paroles de l’Abbé René Charles de Lusson)\n\n\nBande Son\n---\n\nVoix masculine chantant La Marseillaise.\n\n\nÉcrits\n---\n\nEt je vous invite à égorger les mécréants\n','44’34','','publish','open','open','','4434','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13559',0,'post','',0), (13560,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nAdolescent tirant avec une arme à feu sur un autre dans les couloirs d\'une école.\nElephant (2003), Gus Van Sant.\n\n\nVoix Off et In\n---\n\nla sensation mentale qu’il éprouvait depuis quelques temps, se transforma en un tourbillon de ténèbres\n\n\nBande Son\n---\n\nCoup de mitraillette.\n\n\nÉcrits\n---\n\n','44’37','','publish','open','open','','4437','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13560',0,'post','',0), (13561,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLes pauvres gens, ceux pour qui j’avais \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','44’41','','publish','open','open','','4441','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13561',0,'post','',0), (13562,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nAu ralenti : femme grimpant dans un wagon de marchandises d\'un train du documentaire Shoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\nVoix Off et In\n---\n\nJe les préfère [les pauvres]\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','44’44','','publish','open','open','','4444','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13562',0,'post','',0), (13563,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nDessin : femme, homme et deux enfants manipulant une lanterne magique.\nHistoire (s) du cinéma 3b (1988 - 98), Jean-Luc Godard.\n\nVoix Off et In\n---\n\nmais uniquement parce qu\'ils sont les vaincus. (Jean-Luc Godard)\nLes Conquérants (1928), André Malraux.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','44’50','','publish','open','open','','4450','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13563',0,'post','',0), (13564,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nGris \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','44’55','','publish','open','open','','4455','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13564',0,'post','',0), (13565,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nHomme avec un chapeau mexicain et une moustache, l\'air en colère.\nViva Villa ! (1934), Jack Conway.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\n\n\nÉcrits\n---\n\n','44’56','','publish','open','open','','4456','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13565',0,'post','',0), (13566,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nAu ralenti : Cavaliers passant au-dessus d’un jeune homme enterré jusqu’aux épaules.\nQue Viva Mexico ! (1931 - 1979), Sergueï Eisenstein.\n\n\nVoix Off et In\n---\n\n[Bruit d\'une voiture qui freine et accélère]\nEt bien des fois abandonné cet ouvrage\n\n\nBande Son\n---\n\nFreinage et accélération de la voiture.\n\n\nÉcrits\n---\n\n','44’58','','publish','open','open','','4458','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13566',0,'post','',0), (13567,1,'2023-09-26 09:19:15','2023-09-26 07:19:15','Images\n---\n\nHomme passant la main à travers le feu d’une cheminée.\nLes visiteurs du soir (1942), Marcel Carné.\n\n\nVoix Off et In\n---\n\nJe suivais mon objet sans former de dessein @ je ne connaissais ni les règles\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','45’06','','publish','open','open','','4506','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13567',0,'post','',0), (13568,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nni les exceptions. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','45’15','','publish','open','open','','4515','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13568',0,'post','',0), (13569,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nPaysage de jour, paisible.\nJLG / JLG (1995), Jean-Luc Godard.\n\nEn alternance : homme à cheval semblant mort, battu par le vent.\nNan of the Music Mountain (1917), G. H. Melford. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nJe ne trouvais la vérité que pour la perdre. (Jean-Luc Godard).\nL’Esprit des lois (1887), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’16','','publish','open','open','','4516','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13569',0,'post','',0), (13570,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nIl n’y a que de traits noir. Histoire de l’art, « L’art moderne », I, (1921), Elie Faure,.\nHistoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’19','','publish','open','open','','4519','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13570',0,'post','',0), (13571,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nSaturé et surexposé en tons rouges : flammes et fumée s\'élevant à l\'horizon. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nViolons. Sergei Sergeyevich Prokofiev. \n\n\nÉcrits\n---\n\n\n\n','45’21','','publish','open','open','','4521','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13571',0,'post','',0), (13572,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','45’28','','publish','open','open','','4528','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13572',0,'post','',0), (13573,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nCouverture du livre de science-fiction.\nLa fin du A (1984), A. E. Van Vogt.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’30','','publish','open','open','','4530','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13573',0,'post','',0), (13574,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nÉcoliers aux bras croisés, l\'air sérieux.\nLuis Buñuel (1932), Las Hurdes. Liberté et Patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\n- Vous êtes un drôle de pistolet, c\'est ça que vous vouliez dire à la tribune, pourquoi vous ne l’avez pas dit ?\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’37','','publish','open','open','','4537','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13574',0,'post','',0), (13575,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nFragment de texte.\n\n\nVoix Off et In\n---\n\n- Je l\'ai dit mais je n\'ai pas su me faire entendre.\n\nEn même temps : Ce qui joue ici, ce n\'est pas seulement cette vision rétrospective des choses qui considère tout le passé comme préparant le fait accompli.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\nplus la pein la la\ndans la boue j\nplus soif la lang\nse referme elle\ndroite à présent c’\nl’image\n\n[je souris encore ce n\'est plus la peine depuis longtemps ce n\'est plus la peine la langue ressort va dans la boue je reste comme ça plus soif la langue rentre la bouche se referme elle doit faire une ligne droite à présent c\'est fait j\'ai fait l\'image], Image (1950), Samuel Beckett. Histoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n','45’46','','publish','open','open','','4546','','','2023-11-09 08:53:35','2023-11-09 07:53:35','',0,'https://localhost/?p=13575',0,'post','',0), (13576,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nAu ralenti : foule se pressant et tendant les mains.\nMetropolis (1927), Fritz Lang. Histoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nC’est également une certaine interférence des événements qui embrouille tout. (Jean-Luc Godard).\nGuerre et Paix (1867), Léon Tolstoï.\n\nLes phares, éteignez les phares !\nNuit du carrefour (1932), Jean Renoir.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’51','','publish','open','open','','4551','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13576',0,'post','',0), (13577,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','46’00','','publish','open','open','','4600','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13577',0,'post','',0), (13578,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nFemme au nez en sang se faisant pousser par des policiers et juge parlant animeusement.\nVladimir et Rosa (1971), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nPolitique, ça veut dire quoi politique ?!\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','46’02','','publish','open','open','','4602','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13578',0,'post','',0), (13579,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nJuge parlant animeusement.\nVent d’est (1969), Jean-Luc Godard et Jean-Pierre Gorin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','46’03','','publish','open','open','','4603','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13579',0,'post','',0), (13580,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nJuge en hauteur, derrière le banc, dans une salle d\'audience.\nLa terreur et la vertu (1964), Stellio Lorenzi.\n\n\nVoix Off et In\n---\n\nDeux discours solennels prononcés par un homme se chevauchent.\n\nLe dieu des prêtres est différent de l’être suprême. Le véritable prêtre de l’être suprême c’est la nature, son temple, l’univers, son culte, la vertu, ses fêtes, la joie d’un grand peuple rassemblé sous ses yeux pour resserrer les doux nœuds de la fraternité universelle et pour lui présenter l’hommage des cœurs sensibles et pures. Sur le rapport des idées religieuses et morales avec les principes républicains et sur les fêtes nationales (1866), Maximilien de Robespierre.\n\n- Vous devez savoir, si le ressort du gouvernement populaire dans la paix est la vertu. En temps de guerre, le ressort du gouvernement populaire est par nécessité la terreur, mais toujours la vertu,\ncar la vertu sans la terreur est impuissante, mais la terreur sans la vertue est funeste. Sur les principes de morale politique qui doivent guider la Convention nationale dans l’administration intérieure de la République (1794), Maximilien de Robespierre.\n- Tout cela est bel et bon\n\n\nBande Son\n---\n\nApplaudissements.\n\n\nÉcrits\n---\n\n','46’06','','publish','open','open','','4606','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13580',0,'post','',0), (13581,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nCouverture d’un exemplaire de De l’Esprit des Lois (1748), Montesquieu.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nApplaudissements.\n\n\nÉcrits\n---\n\n','46’24','','publish','open','open','','4624','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13581',0,'post','',0), (13582,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nSurexposé et saturé en tons rouge : photographie des manifestations en Grèce (2015), Alkis Konstantinidis.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','46’27','','publish','open','open','','4627','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13582',0,'post','',0), (13583,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nSurexposée et saturé en tons rouges et jaunes : presque illisible. \n\n\nVoix Off et In\n---\n\n- Qu’est-ce qu’elle dit ? J’entends rien ! \n \n\n\nBande Son\n---\n\nId. et vagues \n\n\nÉcrits\n---\n\n\n\n','46’42','','publish','open','open','','4642','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13583',0,'post','',0), (13584,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nEn surimpression : défilement d’une pellicule dans un iris. Couple au projecteur.\nLa Prison (1949), Ingmar Bergman. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Elle dit que les pauvres sauveront le monde\nNotre Musique (2004), Jean-Luc Godard.\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','46’52','','publish','open','open','','4652','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13584',0,'post','',0), (13585,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','46’59','','publish','open','open','','4659','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13585',0,'post','',0), (13586,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nFemme mourant dans les bras d\'une autre femme essayant de parler à un homme devant elle répétant à haute voix ce qu\'il entend.\nNotre Musique (2004), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIls ne demanderont rien en échange. Ils ne savent pas le prix du service rendu. Ils feront cette colossale affaire.\n\n\nBande Son\n---\n\nBrusquement : silence.\n\n\nÉcrits\n---\n\n','47’01','','publish','open','open','','4701','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13586',0,'post','',0), (13587,1,'2023-09-26 09:19:16','2023-09-26 07:19:16','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nEt … \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','47’46','','publish','open','open','','4746','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13587',0,'post','',0), (13588,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nFemme effrayée à la vue d\'un monstre, puis s’évanouissant.\nLa belle et la bête (1946), Jean Cocteau. Histoire (s) du cinéma 2b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nOù allez-vous ?\n\n\nBande Son\n---\n\nBande son du film La belle et la bête (1946), Jean Cocteau.\n\n\nÉcrits\n---\n\n','47’50','','publish','open','open','','4750','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13588',0,'post','',0), (13589,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nFemme avec bâton à la main et policier avec un chapeau saluant le publique.\nUn drame chez les fantoches (1908), Emile Cohl.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','47’58','','publish','open','open','','4758','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13589',0,'post','',0), (13590,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','48’00','','publish','open','open','','4800','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13590',0,'post','',0), (13591,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n5 \n LA RÉGION CENTRALE \n (Michael Snow, 1971) \n\n','48’02','','publish','open','open','','4802','','','2023-11-09 08:53:36','2023-11-09 07:53:36','',0,'https://localhost/?p=13591',0,'post','',0), (13592,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nSaturé et au ralenti : chemin avec des pierres.\nLa Région Centrale (1971), Michael Snow.\n\n\nVoix Off et In\n---\n\nC’est une brève histoire, que celle de l’extinction en masse des espèces.\nEn bref, le plus gros des dégradations environnementales d’aujourd’hui est le fait de deux groupes. Le milliard le plus riche et le milliard le plus pauvre. Les plus riches détruisent l’environnement global par leur surconsommation rapide des ressources et leur production de déchets. Tandis que les plus pauvres détruisent leurs ressources par nécessité et par absence de choix.\nUne brève histoire de l\'extinction en masse des espèces (2010), Franz J.\nBroswimmer.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','48’16','','publish','open','open','','4816','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13592',0,'post','',0), (13593,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nSaturé et surexposé en tons rouges et jaunes : homme assis. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','48’58','','publish','open','open','','4858','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13593',0,'post','',0), (13594,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nSaturé et surexposé en tons bleus : presque illisible.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','49’00','','publish','open','open','','4900','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13594',0,'post','',0), (13595,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nHomme portant un chapeau haut de forme et tenant une loupe devant son œil.\nDossier Secret [Mr Arkadin] (1955), Orson Welles.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nBande son de Dossier Secret [Mr Arkadin] (1955), Orson Welles.\n\n\nÉcrits\n---\n\n','49’03','','publish','open','open','','4903','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13595',0,'post','',0), (13596,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\nHommage\nA la Catalogne\n','49’15','','publish','open','open','','4915','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13596',0,'post','',0), (13597,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','49’18','','publish','open','open','','4918','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13597',0,'post','',0), (13598,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nHomme tenant d\'une main le revers de sa veste, remonté jusqu\'au cou.\nLa terre (1930), Alexandre Dovjenko.\nLiberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nEt pourtant aimer ceux qui sont capable de faire cela. Etre aimé d\'eux peut-être. Qu\'attendre de plus de l\'amour ? Quelle rage de leur demander encore des comptes. Mais lui aussi parlait lentement. Cet amour ne t\'empêchait pas de coucher avec ce type, alors que tu pensais si nous étions vivants.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','49’24','','publish','open','open','','4924','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13598',0,'post','',0), (13599,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nFemme se tenant la main devant la bouche, l\'air perdu et pensif.\nLa terre (1930), Alexandre Dovjenko. Liberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nMais nous sommes vivants ! – Vous m\'interrogez avec quelque chose qui n\'est pas vivant en vous et qui cherche en moi quelque chose qui ne peux pas vivre. Cela c’est une souffrance, c\'est l\'angoisse, c\'est l\'attente, lorsque le temps est toujours de trop et que toutefois le temps manque au temps... Dans l’attente le temps qui permet d’attendre se perd pour mieux répondre à l’attente. Et l’attente qui a lieu dans le temps ouvre le temps à l’absence de temps où il n’y a pas lieu d’attendre. (Jean-Luc Godard).\nL’attente, l’oubli (1962), Maurice Blanchot.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','50’03','','publish','open','open','','5003','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13599',0,'post','',0), (13600,1,'2023-09-26 09:19:17','2023-09-26 07:19:17','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nHe oui Ninon, c’est une fille \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','50’58','','publish','open','open','','5058','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13600',0,'post','',0), (13601,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nMains d\'un vieil homme tournées vers le haut.\nHistoire (s) du cinéma 1b / 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIl y a les cinq doigts. On accomplirait l’acte rédempteur.\nLa main. (Jean-Luc Godard).\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','51’00','','publish','open','open','','5100','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13601',0,'post','',0), (13602,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nDessin de main tournée vers le bas.\nLiberté et patrie, Jean-Luc Godard et Anne-Marie Miéville (2002).\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','51’09','','publish','open','open','','5109','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13602',0,'post','',0), (13603,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nMain d\'homme reposant sur une main de femme. La main de femme repose sur une épaule. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','51’12','','publish','open','open','','5112','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13603',0,'post','',0), (13604,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nEt un long moment après \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','51’16','','publish','open','open','','5116','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13604',0,'post','',0), (13605,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nDessin de Bécassine. Caumery et Pinchon. \n\n\nVoix Off et In\n---\n\nParce que les histoires que l\'on raconte vont moins vite que les actions \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','51’20','','publish','open','open','','5120','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13605',0,'post','',0), (13606,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nne s\'accomplissent (Jean-Luc Godard). \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','51’29','','publish','open','open','','5129','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13606',0,'post','',0), (13607,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','51’32','','publish','open','open','','5132','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13607',0,'post','',0), (13608,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nFemme tenant un trousseau de clés à la main et touchant une clé sur laquelle est écrit « unica ».\nLes Enchaînés, [Notorious] (1946), Alfred Hitchcock. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','51’35','','publish','open','open','','5135','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13608',0,'post','',0), (13609,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nLa femme serrant dans ses bras un homme et, derrière sa tête, dérobant une clé d’un trousseau.\nLes Enchaînés, [Notorious] (1946), Alfred Hitchcock. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','51’51','','publish','open','open','','5151','','','2023-11-09 08:53:37','2023-11-09 07:53:37','',0,'https://localhost/?p=13609',0,'post','',0), (13610,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nSOUS LES YEUX \n DE L’OCCIDENT \n\n','51’57','','publish','open','open','','5157','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13610',0,'post','',0), (13611,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nHomme poussé les mains derrière le dos par d\'autres hommes. Images retransmises dans le documentaire\nShoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCris\n\n\nÉcrits\n---\n\n','51’59','','publish','open','open','','5159','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13611',0,'post','',0), (13612,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nPetite fille portant un nourrisson sur l\'épaule et, à côté d\'elle, trois autres enfants, habillés de haillons.\nDe l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','52’01','','publish','open','open','','5201','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13612',0,'post','',0), (13613,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','52’06','','publish','open','open','','5206','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13613',0,'post','',0), (13614,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nDans un roman,\n\n\nBande Son\n---\n\nArpèges à la guitare. Raf Raf (1991), Anouar Brahem.\n\n\nÉcrits\n---\n\nHEUREUSE ARABIE\nL\'Arabie heureuse : souvenirs de voyages en Afrique et en Asie (1860), Alexandre Dumas.\n','52’08','','publish','open','open','','5208','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13614',0,'post','',0), (13615,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nSaturé : enfant sur le toit d\'une maison, vu de dos, regardant le reste de la ville.\n\n\nVoix Off et In\n---\n\nDans un roman l\'intérêt, dans le pire des cas, vient du fait que\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','52’10','','publish','open','open','','5210','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13615',0,'post','',0), (13616,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\ntrès souvent les situations quelconques \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','52’21','','publish','open','open','','5221','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13616',0,'post','',0), (13617,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nFemme tenant à la main une clé.\nMeshes of afternoon (1943), Maya Deren, Alexandr Hackenschmied.\n\n\nVoix Off et In\n---\n\nont un comportement assez\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','52’23','','publish','open','open','','5223','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13617',0,'post','',0), (13618,1,'2023-09-26 09:19:18','2023-09-26 07:19:18','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nproche du pire des cas. \n (Jean-Luc Godard) \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nLES \n PARADIS \n PERDUS \n\n','52’26','','publish','open','open','','5226','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13618',0,'post','',0), (13619,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nDessin de soldat avec une épée et un bouclier orné d\'un croissant et d’une étoile. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVoix féminine chantant en arabe. \n\n\nÉcrits\n---\n\n\n\n','52’33','','publish','open','open','','5233','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13619',0,'post','',0), (13620,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nArmée avec des lances, des épées et des boucliers en marche.\nConstantinople, Faruk Aksoy, (2012).\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nTaabani Nibniou, Hedi Jouini (1993).\n\n\nÉcrits\n---\n\n','52’35','','publish','open','open','','5235','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13620',0,'post','',0), (13621,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nSaturé en tons rouge : homme agenouillé avec un drapeau à la main.\nLe visage de Dieu (2014), Bahram Aloui.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','52’41','','publish','open','open','','5241','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13621',0,'post','',0), (13622,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nTourné en noir et blanc et surexposé : photographie de Hosni Moubarak, ancien Président de la République arabe d\'Égypte. \n\n\nVoix Off et In\n---\n\nJe peux mourir tranquille \n (Albert Cossery) \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','52’45','','publish','open','open','','5245','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13622',0,'post','',0), (13623,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nHomme parlant à une femme vêtue d\'une tenue traditionnelle arabe.\nLa bandera (1935), Julien Duvivier.\n\n\nVoix Off et In\n---\n\nTe souviens-tu encore comment nous entraînions autrefois notre pensée. Le plus souvent nous partions d\'un rêve. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','52’47','','publish','open','open','','5247','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13623',0,'post','',0), (13624,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nJeune homme dormant avec un keffieh. En surimpression : femmes agées dansant et jouant cérémonieusement de la musique autour d\'une jeune femme à la poitrine nue. \n\n\nVoix Off et In\n---\n\nJe me sens toujours très bien les mains dans les poches même si j’ai pas un sou. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','52’54','','publish','open','open','','5254','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13624',0,'post','',0), (13625,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nPhotographie en noir et blanc d’un homme âgé assis avec à côté de lui un âne portant une télévision sur son dos. \n\n\nVoix Off et In\n---\n\nJe me suis toujours senti un fils de roi. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','52’58','','publish','open','open','','5258','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13625',0,'post','',0), (13626,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nHomme âgé assis avec à côté de lui un âne portant une télévision sur son dos. \n\n\nVoix Off et In\n---\n\nMais tous les égyptiens se sentent un peu fils de roi. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','53’01','','publish','open','open','','5301','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13626',0,'post','',0), (13627,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nSaturé en tous rouge : désert.\nThe Thief of Baghdad (1978), Cline Donner.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nAu violon : musique traditionnelle arabe. Personnes discutant.\n\n\nÉcrits\n---\n\n','53’04','','publish','open','open','','5304','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13627',0,'post','',0), (13628,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nSaturé en tons rouge : homme portant de l’encens fumant.\nAladdin\'s magic lamp (1967), Boris Rytsarev.\n\n\nVoix Off et In\n---\n\nL’orient est plus philosophe que l’occident,\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','53’07','','publish','open','open','','5307','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13628',0,'post','',0), (13629,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nJeune homme et jeune femme ayant des rapports sexuels la nuit dans une chambre.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\net le moindre vanupieds vous dira de choses extraordinaires\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','53’15','','publish','open','open','','5315','','','2023-11-09 08:53:38','2023-11-09 07:53:38','',0,'https://localhost/?p=13629',0,'post','',0), (13630,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSur la vie, sur le monde. Et vous entendez chacun est philosophe \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','53’18','','publish','open','open','','5318','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13630',0,'post','',0), (13631,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nTrois personnes sur un tapis volant.\nLe voleur de Bagdad (1924), Raoul Walsh.\n\n\nVoix Off et In\n---\n\nParce que il a le temps de réfléchir, de penser, de voir le monde passer\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','53’26','','publish','open','open','','5326','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13631',0,'post','',0), (13632,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nArmée romaine devant les murs d\'une ville du Moyen-Orient.\nIl Messia (1975), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nEn occident\n(Albert Cossery)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','53’29','','publish','open','open','','5329','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13632',0,'post','',0), (13633,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nCroisés à cheval avec des armures et des drapeaux passant sous les acclamations de la foule.\nThe Crusades (1935), Cecil B DeMille.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence, puis cris d’acclamation.\n\n\nÉcrits\n---\n\n','53’33','','publish','open','open','','5333','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13633',0,'post','',0), (13634,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','53’38','','publish','open','open','','5338','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13634',0,'post','',0), (13635,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nSaturé : soldats en guerre.\nAdieu Bonaparte (1985), Youssef Chahine.\n\n\nVoix Off et In\n---\n\nArrêtez ! Oh le con.\n- Vous ne savez pas qui vous êtes, vous voyez bien. Le christianisme, c’est le refus de se connaître, c’est la mort du langage.\nDétective (1985), Jean-Luc Godard.\n\n\nBande Son\n---\n\nTirs au pistolet, puis klaxon.\n\n\nÉcrits\n---\n\n','53’41','','publish','open','open','','5341','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13635',0,'post','',0), (13636,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nInscriptions en arabe sur fond noir du film Socialisme (2010), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nSilence je vous ai dit.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','53’57','','publish','open','open','','5357','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13636',0,'post','',0), (13637,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nAu ralenti : femme se précipitant pour ramasser un tissu et s’en couvrant jusqu\'au nez. \n\n\nVoix Off et In\n---\n\nTout à coup, il aperçut à l’horizon derrière Tunis, comme des brouillards légers, qui se traînaient contre le sol @ \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','54’03','','publish','open','open','','5403','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13637',0,'post','',0), (13638,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nSaturé et surexposé : personnages presque invisibles. \n\n\nVoix Off et In\n---\n\npuis ce fut un grand rideau de poudre grise perpendiculairement étalé, et, dans les tourbillons \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','54’15','','publish','open','open','','5415','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13638',0,'post','',0), (13639,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nSurexposé, et saturé en tons bleu clair, rouges et verts : navire voguant dans la mer et drapeaux qui flottent dans le vent.\n\n\nVoix Off et In\n---\n\nde cette masse nombreuse,\ndes têtes de dromadaires, des lances,\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','54’24','','publish','open','open','','5424','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13639',0,'post','',0), (13640,1,'2023-09-26 09:19:19','2023-09-26 07:19:19','Images\n---\n\nSurexposé, en noir et blanc : mer avec de la vapeur flottant au loin dans l’air. \n\n\nVoix Off et In\n---\n\ndes boucliers parurent. C’était l’armée des Barbares qui s’avançait sur Carthage. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','54’30','','publish','open','open','','5430','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13640',0,'post','',0), (13641,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nCaravane dans le désert.\nIl Messia (1975), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nOh Salammbô.(Jean-Luc Godard).\nSalammbô (1862), Gustave Flaubert.\n\n\nBande Son\n---\n\nAube rouge à Grozny (2000), Anouar Trio Brahem.\n\n\nÉcrits\n---\n\n','54’37','','publish','open','open','','5437','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13641',0,'post','',0), (13642,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','55’07','','publish','open','open','','5507','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13642',0,'post','',0), (13643,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nSaturé, au ralenti : deux mains déboutonnant une robe bleue.\nMéditerranée (1963), Jean Daniel Pollet.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','55’11','','publish','open','open','','5511','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13643',0,'post','',0), (13644,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nDans l’ombre de l’Occident. \n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nCES FLEURS \n PERDUES \n DANS LE VENT \n\n','55’33','','publish','open','open','','5533','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13644',0,'post','',0), (13645,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nSaturé en tons jaunes et rouges : hommes creusant avec des pelles dans le désert. Groupe d\'arabophones essayant d\'embarquer sur un bateau en plein désert.\nLes Baliseurs du désert (1984), Nacer Khémir.\n\n\nVoix Off et In\n---\n\nIl est certain que la représentation, plus particulièrement l’acte de représenter (et donc de réduire) implique presque toujours\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','55’35','','publish','open','open','','5535','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13645',0,'post','',0), (13646,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nFemme nue dans dans une réplique miniature de ville du Moyen-Orient, puis capturée par un homme à cheval déguisé en soldat croisé.\nPassion (1982), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nimplique presque toujours une violence envers le sujet de la représentation. (Jean-Luc Godard). Dans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','55’59','','publish','open','open','','5559','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13646',0,'post','',0), (13647,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nAu ralenti, saturé de bleu : croisé levant l’épée pour frapper.\nPassion (1982), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIl y a\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','56’02','','publish','open','open','','5602','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13647',0,'post','',0), (13648,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nun réel contraste entre la violence de l’acte de représenter et le calme intérieur de la représentation elle-même. (Jean-Luc Godard). Dans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','56’10','','publish','open','open','','5610','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13648',0,'post','',0), (13649,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nSaturé : film en couleur pris avec une petite caméra numérique en 2016 d’une ville de bord de mer avec un homme à vélo. Au ralenti : deux enfants cherchant quelque chose entre les rochers, les pieds dans la mer. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence, et vagues. \n\n\nÉcrits\n---\n\n\n\n','56’22','','publish','open','open','','5622','','','2023-11-09 08:53:39','2023-11-09 07:53:39','',0,'https://localhost/?p=13649',0,'post','',0), (13650,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nFoule de personnes se bousculant dans la rue.\nDe l’origine du XX siècle (2000), Jean. Luc Godard.\n\n\nVoix Off et In\n---\n\nIls sont pris entre “ salamalecs ” et “ charabia ”, et les Arabes n\'intéressent pas “ le monde ”. Les musulmans non plus. Si l\'islam retient politiquement l\'attention, le “ monde arabe ” est d’abord décor et paysage.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','56’40','','publish','open','open','','5640','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13650',0,'post','',0), (13651,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nDeux soldats intimant à une personne de lever les mains et de faire face au mur. \n\n\nVoix Off et In\n---\n\nLe monde arabe s\'il existe en tant que monde n\'est jamais regardé en tant que tel. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','57’09','','publish','open','open','','5709','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13651',0,'post','',0), (13652,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nDe nouveau, petite fille portant un bébé sur les épaules, trois autres enfants habillés de haillons à ses côtés.\nDe l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIl est toujours examiné comme un ensemble relativement à un pays du moyen-orient. Dans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’17','','publish','open','open','','5717','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13652',0,'post','',0), (13653,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','57’19','','publish','open','open','','5719','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13653',0,'post','',0), (13654,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nJeune femme ramant sur un lac, aidée par un jeune homme assis derrière elle.\nLes Dernières vacances, (1947), Roger Leenhardt. Histoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nCes citoyens, ces amants de la patrie, dans l’excès de leur passion, auraient voulu mourir pour elle\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’23','','publish','open','open','','5723','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13654',0,'post','',0), (13655,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nSaturé en tons bleus : homme à cheval au milieu d\'un paysage vallonné.\nPaysage et cavalier, aquarelle réalisée au cours du trajet Tanger-Meknès (1832), Eugène Delacroix.\n\n\nVoix Off et In\n---\n\net ils allaient la tuer.\nHistoire de la Révolution française (1847 - 1853), Jules Michelet.\n\nLes défauts\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’33','','publish','open','open','','5733','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13655',0,'post','',0), (13656,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nSurexposé : autre aquarelle d’homme au turban à cheval de Eugène Delacroix. \n\n\nVoix Off et In\n---\n\nEt les enjeux \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','57’39','','publish','open','open','','5739','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13656',0,'post','',0), (13657,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nFemme étendant du linge, autre femme se lavant au bord d\'un ruisseau.\nFemme qui se lave et sa servante Maures (1854), Eugene Delacroix\nPeinture.\n\n\nVoix Off et In\n---\n\nLes arabes, les arabes peuvent-ils parler. (Jean-Luc Godard). Dans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’42','','publish','open','open','','5742','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13657',0,'post','',0), (13658,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nFemme interpellée bruyamment alors qu\'elle traverse une rue dans une ville du Moyen-Orient, puis se retournant.\nDjamila (1958), Youssef Chahine.\n\n\nVoix Off et In\n---\n\nDjamila, Djamila !\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’52','','publish','open','open','','5752','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13658',0,'post','',0), (13659,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nJeune homme levant les mains et montrant les paumes, puis plaçant d’un geste lent la main droite sur la paume gauche.\nLes Baliseurs du désert, Nacer Khémir (1984), cité dans Voyage à Tunis (2007), Bruno Moll.\n\n\nVoix Off et In\n---\n\nLes arabes peuvent-ils parler. (Jean-Luc Godard).\nDans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\nÀ demi-voix, d’une voix douce et faible disant de grandes choses : d’importantes, d’étonnantes, de profondes et justes choses,\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’58','','publish','open','open','','5758','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13659',0,'post','',0), (13660,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nHomme attrapant une colombe et la sortant de sa petite maison accrochée au mur.\nLe collier perdu de la colombe (1991), Nacer Khémir.\n\n\nVoix Off et In\n---\n\nd’une voix douce et faible. La menace du tonnerre, la présence d’absolus dans une voix de rougegorge\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','58’16','','publish','open','open','','5816','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13660',0,'post','',0), (13661,1,'2023-09-26 09:19:20','2023-09-26 07:19:20','Images\n---\n\nSaturé : homme et enfant marchant dans le désert.\nBab\'Aziz, le prince qui contemplait son âme (2005), Nacer Khémir, cité dans Voyage à Tunis (2007), Bruno Moll.\n\n\nVoix Off et In\n---\n\ndans le détail fin d’une flûte, et la délicatesse du son pur. Tout le soleil suggérait, au moyen d’un demi-sourire demie voix...\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','58’27','','publish','open','open','','5827','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13661',0,'post','',0), (13662,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nHomme se jetant sur une robe posée sur le toit d\'une maison de terre cuite dans une ville du Moyen-Orient.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','58’36','','publish','open','open','','5836','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13662',0,'post','',0), (13663,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nSaturé : maisons se reflétant dans l\'eau. \n\n\nVoix Off et In\n---\n\nEt d’une sorte de murmure en français infiniment pur. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','58’44','','publish','open','open','','5844','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13663',0,'post','',0), (13664,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nAu ralenti : enfant poussant une roue de voiture.\n\n\nVoix Off et In\n---\n\nQui n’eût saisi les mots, qui l’eût ouï à quelque distance, aurait cru qu’il disait des riens. Et c’étaient des riens pour l’oreille, rassurée. (Julie Delpy).\nÀ propos de Stéphane Mallarmé. À demi-voix (1939), Paul Valery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','58’55','','publish','open','open','','5855','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13664',0,'post','',0), (13665,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nTremblant de droite à gauche : ville en ruines avec des soldats cachés, armes à la main.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','59’04','','publish','open','open','','5904','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13665',0,'post','',0), (13666,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nSurexposé : pinceau projetant de l\'aquarelle sur une feuille de papier. \n\n\nVoix Off et In\n---\n\nMais ce contraste et cette musique cette voix ridant l’air à peine cette puissance chuchotée ces perspectives, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','59’10','','publish','open','open','','5910','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13666',0,'post','',0), (13667,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nEnfants jouant dans la rue, autres enfants avec un scooter et un chat.\n\n\nVoix Off et In\n---\n\nces découvertes, ces abîmes et ces manœuvres devinées ce sourire congédiant l’univers. Psaume sur une voix, Autres Rhumbs (1927), Paul Valéry. Histoires du cinéma 4a (1989 - 99), Jean-Luc Godard.\n\n\nBande Son\n---\n\nVoix d’enfants.\n\n\nÉcrits\n---\n\n','59’22','','publish','open','open','','5922','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13667',0,'post','',0), (13668,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nJeune femme parlant au téléphone en arabe, observée par un homme au chapeau de prière musulman situé derrière la vitre d’une cabine téléphonique.\nGare Centrale (1958), Youssef Chahine.\n\n\nVoix Off et In\n---\n\nJeune femme [traduction du dialecte égyptien]:\nIl faut que je vois. Il faut que je te vois, tu as été absent pendant quatre ans. Je m\'en fiche. Dis leur n\'importe quoi. Je t\'attendrai à la gare. Mon chéri...\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','59’36','','publish','open','open','','5936','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13668',0,'post','',0), (13669,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nVoix d\'un enfant criant [traduction du dialecte palestinien]:\nMonsieur le juge, la guerre a brûlé mes livres !\nHistoires du cinéma 4b (1989 - 99), Jean-Luc Godard.\n\nVoix d’homme récitant un poème du poète palestinien Mahmoud Darwich en arabe [traduction de l’arabe classique]:\nJe t\'ai donné un instant. Et j\'ai passé un moment. Mais ton visage n\'est pas... et ton kohl un maquillage similaire au mascara] est devenu ciment. Et les fusils. J\'ai eu peur de la mort mais j\'ai souris. J\'ai porté la blessure des blessés pour un instant. Oh mon dieu... Je t\'ai cherché sous le palmier. On l\'a traîné...\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','59’57','','publish','open','open','','5957','','','2023-11-09 08:53:40','2023-11-09 07:53:40','',0,'https://localhost/?p=13669',0,'post','',0), (13670,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nPeut-être \n Que \n Dans \n Mille et un \n Jours \n \n Racontera \n cela \n\n','1h00’03','','publish','open','open','','1h0003','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13670',0,'post','',0), (13671,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nClignotant : deux nouveaux mots s’ajoutent au texte précédemment affiché.\nIci et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nPeut-être\nQue\nDans\nMille et un\nJours\nScheherazade\nRacontera\nCela\nautrement\n','1h00’04','','publish','open','open','','1h0004','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13671',0,'post','',0), (13672,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nPhotographie d\'une personne morte et défigurée, au crâne fendu.\nIci et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h00’09','','publish','open','open','','1h0009','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13672',0,'post','',0), (13673,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nFemme parlant devant un brasier. Main d\'une autre personne s\'approchant et posant l\'index sur sa lèvre inférieure.\nLes silences du passé (1994), Moufida Tlatli.\n\n\nVoix Off et In\n---\n\nVoix d\'un homme parlant en arabe. Ici et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nBande Son\n---\n\nCoups de mitraillette. Ici et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nÉcrits\n---\n\n','1h00’13','','publish','open','open','','1h0013','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13673',0,'post','',0), (13674,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nDe nouveau, personne morte et défigurée au crâne fendu.\nIci et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nVoix Off et In\n---\n\nId.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h00’22','','publish','open','open','','1h0022','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13674',0,'post','',0), (13675,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nSaturé : cadavres dans un paysage désertique. \n\n\nVoix Off et In\n---\n\nId. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h00’31','','publish','open','open','','1h0031','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13675',0,'post','',0), (13676,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nSaturé en tons bleus : personne nageant dans l\'eau. \n\n\nVoix Off et In\n---\n\nId. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h00’41','','publish','open','open','','1h0041','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13676',0,'post','',0), (13677,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nSaturée en tons verts et rouges : femmes habillées plongeant dans un fleuve.\nLa saison des hommes (2002), Moufida Tlatli.\n\n\nVoix Off et In\n---\n\nId.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h00’47','','publish','open','open','','1h0047','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13677',0,'post','',0), (13678,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nLivre feuilleté\nL\'Arabie heureuse. Souvenirs de voyages en Afrique et en Asie (1860), Hadji-Abd-El-Hamid Bey, publié par Alexandre Dumas.\n\n\nVoix Off et In\n---\n\nQue n’a-t-on pas écrit la nuit ? pourtant de ce qui fut écrit à partir de ces visions par Holderlin, Rimbaud.\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','1h00’54','','publish','open','open','','1h0054','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13678',0,'post','',0), (13679,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nNous parlions de ce qu’on voit dans un rêve\nNous nous demandions comment, dans l’obscurité totale peuvent surgir parmi nous\n\n\nBande Son\n---\n\nVoix masculine d’un muezzin, en arabe.\nPuis, après à la guitare. Thimar, 6. Uns (1998), Anouar Brahem, John Surman, Dave Holland.\n\n\nÉcrits\n---\n\n','1h01’06','','publish','open','open','','1h0106','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13679',0,'post','',0), (13680,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nSaturé : aquarelle représentant un homme marchant entre des maisons.\nVue dans une ruelle (1914), August Macke.\n\n\nVoix Off et In\n---\n\nde couleurs de telle intensité\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h01’18','','publish','open','open','','1h0118','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13680',0,'post','',0), (13681,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nMains de Godard feuilletant des images, dont un dessin stylisé d’une femme en robe bleue.\nHistoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nElles sont le produit de notre savoir\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h01’20','','publish','open','open','','1h0120','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13681',0,'post','',0), (13682,1,'2023-09-26 09:19:21','2023-09-26 07:19:21','Images\n---\n\nAquarelle de femme en robe.\nHistoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nconcernant la lumière\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h01’23','','publish','open','open','','1h0123','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13682',0,'post','',0), (13683,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nHomme allongé sur un lit regardant au plafond où des images semblent être projetées.\n\n\nVoix Off et In\n---\n\nLe savoir voit !\n\nLe contrepoint est une discipline de la superposition des lignes mélodiques.\n\n\nBande Son\n---\n\nConcerto pour violon no 2 en mi mineur, Op. 64 (MWV O 14) (1844), Félix Mendelssohn.\n\n\nÉcrits\n---\n\nPASSEPORT\nVERS\nLE RÉEL\n','1h01’25','','publish','open','open','','1h0125','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13683',0,'post','',0), (13684,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLes mélodies n’ont pas besoin d’être identiques \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h01’35','','publish','open','open','','1h0135','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13684',0,'post','',0), (13685,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nAquarelle d\'un âne au milieu des maisons.\nVue sur une mosquée (1914), August Macke.\n\n\nVoix Off et In\n---\n\nnon plus que parentes, étrangères l\'une à l\'autre. Elles ne font pas obstacle à la composition\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h01’44','','publish','open','open','','1h0144','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13685',0,'post','',0), (13686,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nmais il faut les tenir \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h01’49','','publish','open','open','','1h0149','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13686',0,'post','',0), (13687,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nPhotographie d\'un pinceau posé sur une feuille peinte. \n\n\nVoix Off et In\n---\n\ntoutes les deux ensemble et en même temps. Dans l\'harmonie les accords produisent les mélodies. \n\n\nBande Son\n---\n\nId. et silence. \n\n\nÉcrits\n---\n\n\n\n','1h01’53','','publish','open','open','','1h0153','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13687',0,'post','',0), (13688,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nSurexposé et en tons jaunes : trois femmes faisant la vaisselle dans des bacs de fer posés à même le sol.\nTamaout (1970), Marc’o.\n\n\nVoix Off et In\n---\n\nDans le contrepoint ce sont des mélodies elles-mêmes dont dont à l\'inverse résultent les accords. (Jean-Luc Godard).\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h02’07','','publish','open','open','','1h0207','','','2023-11-09 08:53:41','2023-11-09 07:53:41','',0,'https://localhost/?p=13688',0,'post','',0), (13689,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','1h02’16','','publish','open','open','','1h0216','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13689',0,'post','',0), (13690,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nTrois filles et un garçon jouant dans une piscine.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h02’21','','publish','open','open','','1h0221','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13690',0,'post','',0), (13691,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nSaturé : soleil couchant sur la mer. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h02’39','','publish','open','open','','1h0239','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13691',0,'post','',0), (13692,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\nHEUREUSE\nARABIE\n\nHasards de l\'Arabie heureuse (2005), Frederic Prokosch.\n','1h02’48','','publish','open','open','','1h0248','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13692',0,'post','',0), (13693,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nSaturé et surexposé : bateau au milieu de la mer et pêcheurs. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h02’55','','publish','open','open','','1h0255','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13693',0,'post','',0), (13694,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nFemme se peingnant les mains de symboles géométriques. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h03’08','','publish','open','open','','1h0308','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13694',0,'post','',0), (13695,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nSaturé : mer ondulante vue d\'un golfe. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence, puis vagues. \n\n\nÉcrits\n---\n\n\n\n','1h03’09','','publish','open','open','','1h0309','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13695',0,'post','',0), (13696,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. et silence. \n\n\nÉcrits\n---\n\n\n\n','1h03’41','','publish','open','open','','1h0341','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13696',0,'post','',0), (13697,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nJeune femme pleurant sur une plage, hommes chantant en arabe en arrière-plan. La fièvre (2014), Safia Benhaïm.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVoix masculines accompagnées d’instruments à percussions.\n\n\nÉcrits\n---\n\n','1h03’47','','publish','open','open','','1h0347','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13697',0,'post','',0), (13698,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h03’57','','publish','open','open','','1h0357','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13698',0,'post','',0), (13699,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nEn noir et blanc : bris de vitres de voitures.\nDjamila (1958), Youssef Chahine.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nExplosion et vitres cassées.\n\n\nÉcrits\n---\n\n','1h03’58','','publish','open','open','','1h0358','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13699',0,'post','',0), (13700,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nFemme nue s’alongeant sur un homme nu sur un lit.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h04’00','','publish','open','open','','1h0400','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13700',0,'post','',0), (13701,1,'2023-09-26 09:19:22','2023-09-26 07:19:22','Images\n---\n\nFemme embrassant les pieds d\'un homme. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h04’05','','publish','open','open','','1h0405','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13701',0,'post','',0), (13702,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nHomme marchant sur des toits de maisons au moyen-orient.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\nTrès loin, très bas, l’océan … cent millions de vagues.\nElles rampaient vers les côtes invisibles de Dofa,\n\n\nBande Son\n---\n\nId. puis coups de mitraillette.\n\n\nÉcrits\n---\n\n','1h04’07','','publish','open','open','','1h0407','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13702',0,'post','',0), (13703,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nLac et ciel entourés de montagnes. \n\n\nVoix Off et In\n---\n\nsi lentes que, vues d’en haut, d’en plein ciel en ciel, elles ne donnaient qu’à peine l’impression de bouger \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h04’24','','publish','open','open','','1h0424','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13703',0,'post','',0), (13704,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nSaturé : hommes et femmes sur une plage, bateau. \n\n\nVoix Off et In\n---\n\nElles glissaient sur la mer avec l’indolente précision d\'un dessin de Damas \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h04’35','','publish','open','open','','1h0435','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13704',0,'post','',0), (13705,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nqui semble comme un grand réseau blanc sur une feuille\n\n\nBande Son\n---\n\nArpèges à la guitare. Raf Raf (1991), Anouar Brahem.\n\n\nÉcrits\n---\n\nARCHÉOLOGIE\nET PIRATES\n','1h04’42','','publish','open','open','','1h0442','','','2023-11-09 08:53:42','2023-11-09 07:53:42','',0,'https://localhost/?p=13705',0,'post','',0), (13706,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nSurexposé et saturé : quatre enfants au milieu de la mer. \n\n\nVoix Off et In\n---\n\nde verre bleu. De place en place, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h04’45','','publish','open','open','','1h0445','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13706',0,'post','',0), (13707,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nPhoto d\'un coucher de soleil sur la mer. \n\n\nVoix Off et In\n---\n\ndans cette transparence, la forme d\'un poisson frémissait puis s\'éclipsait, raie géant peut-être, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h04’52','','publish','open','open','','1h0452','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13707',0,'post','',0), (13708,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nCoucher de soleil sur la mer. \n\n\nVoix Off et In\n---\n\noù requin sur la voie d\'eau plus froide. Vers le nord. S’aplatissait un archipel \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h05’00','','publish','open','open','','1h0500','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13708',0,'post','',0), (13709,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nZoomé : coucher de soleil sur la mer. \n\n\nVoix Off et In\n---\n\ncortège de crocodiles, \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h05’09','','publish','open','open','','1h0509','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13709',0,'post','',0), (13710,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nSurexposé : hommes dans un bateau. \n\n\nVoix Off et In\n---\n\nvers les jardins du sud, vers le nord. Les pirogues s\'aplatissaient. Un archipel posé sur la plaque de verre comme \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h05’16','','publish','open','open','','1h0516','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13710',0,'post','',0), (13711,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\ndes moustiques.\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h05’26','','publish','open','open','','1h0526','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13711',0,'post','',0), (13712,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nSaturé en tons rouge : désert, dunes. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h05’27','','publish','open','open','','1h0527','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13712',0,'post','',0), (13713,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nVieil homme soufflant sur des braises placées sur une brique, et posant une cafetière dessus. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h05’30','','publish','open','open','','1h0530','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13713',0,'post','',0), (13714,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nPalmiers secoués par un vent fort. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVent \n\n\nÉcrits\n---\n\n\n\n','1h05’36','','publish','open','open','','1h0536','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13714',0,'post','',0), (13715,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nRue bruyante d\'une ville du Moyen Orient vue d’un balcon. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nChanson en arabe provenant d’une radio résonnant dans la ville. \n\n\nÉcrits\n---\n\n\n\n','1h05’41','','publish','open','open','','1h0541','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13715',0,'post','',0), (13716,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nSurexposé et déformé : masque d’aigle sur un homme dont on voit les mains au bas du cadre.\nJudex (1964), Georges Franju.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h05’45','','publish','open','open','','1h0545','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13716',0,'post','',0), (13717,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nAu ralenti : femme au balcon vue de dos, se retournant.\nLa mome vert de gris (1953), Bernard borderie.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h05’52','','publish','open','open','','1h0552','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13717',0,'post','',0), (13718,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nFemme dansant en regardant la caméra.\nLa bandera (1935), Julien Duvivier.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h05’55','','publish','open','open','','1h0555','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13718',0,'post','',0), (13719,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nPhoto d\'une rue d’une ville prise avec un téléphone portable depuis un balcon. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nExplosions et cris. \n\n\nÉcrits\n---\n\n\n\n','1h06’00','','publish','open','open','','1h0600','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13719',0,'post','',0), (13720,1,'2023-09-26 09:19:23','2023-09-26 07:19:23','Images\n---\n\nAu ralenti : homme enflammé courant. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h06’06','','publish','open','open','','1h0606','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13720',0,'post','',0), (13721,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nDeux hommes lisant le Coran et priant. \n\n\nVoix Off et In\n---\n\nLe livre. Les religions du livre ont forgé nos sociétés \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h06’12','','publish','open','open','','1h0612','','','2023-11-09 08:53:43','2023-11-09 07:53:43','',0,'https://localhost/?p=13721',0,'post','',0), (13722,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nHomme sortant d\'une maison en pierre et en saluant d’autres en leur tendant la main.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\net nous avons sacralisé les textes.\nTables de la lois, dix commencements, rouleaux de la Torah, Bible, Coran etc.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h06’19','','publish','open','open','','1h0619','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13722',0,'post','',0), (13723,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nIl fallait (Jean-Luc Godard) \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h06’36','','publish','open','open','','1h0636','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13723',0,'post','',0), (13724,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nPeinte à la main sur un fond noir : « Le Livre d’\' » écrit en rouge et « Image » écrit en blanc. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h06’38','','publish','open','open','','1h0638','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13724',0,'post','',0), (13725,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nSaturé : vidéo prise du sommet d\'une montagne, montrant la mer. Le bruit du vent perturbe le microphone. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVent. \n\n\nÉcrits\n---\n\n\n\n','1h06’41','','publish','open','open','','1h0641','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13725',0,'post','',0), (13726,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nEn noir et blanc : femme dansant tandis que des hommes et des femmes assis à table la regardent.\nLa mome vert de gris (1953), Bernard borderie.\n\n\nVoix Off et In\n---\n\nIci, à Dofa, la capitale de l\'Émirat, il était inconcevable qu’un mouvement subversif se soit constitué\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h06’50','','publish','open','open','','1h0650','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13726',0,'post','',0), (13727,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nHomme et enfant entrant dans une pièce remplie de fumée de cigarette, où de nombreux hommes sont assis à table tout en regardant un écran, se plaignant de la main, et à haute-voix. Ils s’asseyent à table et commandent de la nourriture à un serveur.\n\n\nVoix Off et In\n---\n\nVous êtes conscients je suppose que toutes les histoires racontées se montrent parties.\n\nquelque rumeur autre que les explosions\n\n\nBande Son\n---\n\nId. puis voix humaines.\n\n\nÉcrits\n---\n\n','1h06’55','','publish','open','open','','1h0655','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13727',0,'post','',0), (13728,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nSaturé en tons jaunes et rouges, et sous-exposé : puit de pétrole en flammes. \n\n\nVoix Off et In\n---\n\nEn effet la grande puissance impérialiste qui étendait son emprise politique sur tous les États du Golfe ne s’intéressait plus à Dofa depuis qu’il était clair que son sous-sol ne renfermait pas de pétrole. \n \n En superposition la voix de Jean-Luc Godard : un gouvernement assez puissant pour donner aux gens tout ce qu\'ils veulent, \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h07’28','','publish','open','open','','1h0728','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13728',0,'post','',0), (13729,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nHomme tirant de nuit sur des fêtards réunis autour d\'un feu. Fêtards s\'enfuyant à la vue de l\'homme. \n\n\nVoix Off et In\n---\n\nassez puissant pour leur prendre tout ce qu’ils ont. \n \n Les frondeurs irréductibles de l’ordre établi avaient depuis longtemps renoncé à toute action brutale \n\n\nBande Son\n---\n\nId. puis chants, coups de fusil et cris. \n\n\nÉcrits\n---\n\n\n\n','1h07’50','','publish','open','open','','1h0750','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13729',0,'post','',0), (13730,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nSous-exposé, en noir et blanc : personnes autour d\'un feu.\n\n\nVoix Off et In\n---\n\nla considérant comme inadéquate dans cet oasis misérable\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h08’13','','publish','open','open','','1h0813','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13730',0,'post','',0), (13731,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nmais où régnait une paix souveraine \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h08’21','','publish','open','open','','1h0821','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13731',0,'post','',0), (13732,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nPaysage semi désert, vu d\'une route.\n\n\nVoix Off et In\n---\n\ncar, là où il n\'y a rien, même les scélérats se résignent à l\'indigence. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h08’24','','publish','open','open','','1h0824','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13732',0,'post','',0), (13733,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h08’32','','publish','open','open','','1h0832','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13733',0,'post','',0), (13734,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nHaut et bas de l’écran noircis pour imiter la vision d’une personne portant une burqa. Au milieu de l’écran, à travers la fente : femmes marchant couvertes d’une burqa.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nÀ la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h08’36','','publish','open','open','','1h0836','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13734',0,'post','',0), (13735,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h08’52','','publish','open','open','','1h0852','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13735',0,'post','',0), (13736,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nVisage d\'une femme chantant en arabe. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVoix féminine, en arabe. \n\n\nÉcrits\n---\n\n\n\n','1h08’55','','publish','open','open','','1h0855','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13736',0,'post','',0), (13737,1,'2023-09-26 09:19:24','2023-09-26 07:19:24','Images\n---\n\nSaturé en tons oranges et jaunes : match de football à la télévision aaccompagné des mots d’un commentateur sportif et photographie en couleur seppia de deux footballers. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h08’59','','publish','open','open','','1h0859','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13737',0,'post','',0), (13738,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h09’11','','publish','open','open','','1h0911','','','2023-11-09 08:53:44','2023-11-09 07:53:44','',0,'https://localhost/?p=13738',0,'post','',0), (13739,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nHomme et femme regardant la télévision. \n\n\nVoix Off et In\n---\n\nOn ne pouvait cependant oublier leur aptitude à se surpasser dans l\'abjection \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h09’12','','publish','open','open','','1h0912','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13739',0,'post','',0), (13740,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nMains d\'un homme enchaîné.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\nlorsqu\'ils sont soutenus\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h09’23','','publish','open','open','','1h0923','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13740',0,'post','',0), (13741,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nPetit enfant marchant dans une rue à la lumière du soleil sur laquelle se découpent les ombres des pales d\'un moulin.\nÀ côté de lui, homme enchaîné et gardé par trois autres hommes.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\net conseillés par des criminels d\'une plus grande envergure venus de l\'extérieur.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h09’26','','publish','open','open','','1h0926','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13741',0,'post','',0), (13742,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSamantar \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h09’38','','publish','open','open','','1h0938','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13742',0,'post','',0), (13743,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nVisage d\'un jeune homme appuyant sur une vitre reflétant son image. \n\n\nVoix Off et In\n---\n\nétait convaincu que la pauvreté d’un pays était sa seule sauvegarde contre les rapaces armés ou non. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h09’44','','publish','open','open','','1h0944','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13743',0,'post','',0), (13744,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nDeux petites filles au foulard sur la tête. Mains de personnes applaudissant. \n\n\nVoix Off et In\n---\n\nqui n\'attendaient qu\'une promesse de profit pour venir le conquérir, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h09’58','','publish','open','open','','1h0958','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13744',0,'post','',0), (13745,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nSurexposé et saturé : chameaux et hommes marchant en file dans le désert. \n\n\nVoix Off et In\n---\n\nle détruire et le pourrir \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h10’01','','publish','open','open','','1h1001','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13745',0,'post','',0), (13746,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nFemme vue de dos, regardant un âne. \n\n\nVoix Off et In\n---\n\nEt Samantar remerciait le ciel d\'être né sur cette \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h10’05','','publish','open','open','','1h1005','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13746',0,'post','',0), (13747,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nAu ralenti, en noir et blanc : homme marchant dans une rue, une arme à la main. \n\n\nVoix Off et In\n---\n\nterre désertique démunie de toute matière première et assez ingrate pour décourager les marchés. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h10’14','','publish','open','open','','1h1014','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13747',0,'post','',0), (13748,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLe plus stupéfiant dans cette affaire \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h10’26','','publish','open','open','','1h1026','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13748',0,'post','',0), (13749,1,'2023-09-26 09:19:25','2023-09-26 07:19:25','Images\n---\n\nRue et marché en plein air dans une ville du Moyen-Orient.\nLa fièvre (2014), Safia Benhaïm.\n\n\nVoix Off et In\n---\n\nétait que les attentats étaient revendiqués par une soi-disant\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h10’31','','publish','open','open','','1h1031','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13749',0,'post','',0), (13750,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nSaturé : trois personnes sur une plage rocheuse au bord d\'une mer.\n\n\nVoix Off et In\n---\n\nforce de libération du golfe totalement inconnue et dont les tracts mal imprimés se targuaient d\'un vocabulaire révolutionnaire depuis longtemps dépassé. (Jean-Luc Godard). Une ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId. puis vent.\n\n\nÉcrits\n---\n\n','1h10’38','','publish','open','open','','1h1038','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13750',0,'post','',0), (13751,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h11’30','','publish','open','open','','1h1130','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13751',0,'post','',0), (13752,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nSurexposé et saturé : deux hommes debout dans une voiture au toit ouvert, et criant des phrases en arabe.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\n[traduction de l’arabe] : Le volontariat dans la brigade de... La vie est une posture...\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h11’32','','publish','open','open','','1h1132','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13752',0,'post','',0), (13753,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nNi l\'importance du territoire de Dofa … \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h11’35','','publish','open','open','','1h1135','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13753',0,'post','',0), (13754,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nSous-exposée : homme se déplaçant dans l\'ombre.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h11’40','','publish','open','open','','1h1140','','','2023-11-09 08:53:45','2023-11-09 07:53:45','',0,'https://localhost/?p=13754',0,'post','',0), (13755,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nRalenti et sous exposé : main glissant trois doigts dans l’ouverture d\'une porte, pour l\'ouvrir.\nAl-lail (1992), Mohamed Malas.\n\nVoix Off et In\n---\n\nJournal télévisé [traduction de l’arabe standard] :\nNous ne savons pas jusqu\'à présent jusqu\'où pourra aller la riposte russe mais le climat ambiant laisse à penser que l\'attaque ne...\n\nVoix d’homme :\nni la conjoncture politique dans la région n\'avaient\n\nresté jusqu\'ici en dehors de l\'éclatante prospérité\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h11’46','','publish','open','open','','1h1146','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13755',0,'post','',0), (13756,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nSurexposé et saturé, au ralenti : rangée de personnes vêtues de blanc se tenant les mains, et les déplaçant vers l\'arrière. Puis pieds en tongs dansant. \n\n\nVoix Off et In\n---\n\ndes émirats voisins pouvait d\'un jour à l\'autre devenir un enfer. \n\n\nBande Son\n---\n\nVoix masculines chantant un chant soufi (mystique) d\'Afrique du Nord (Hadhra en Tunisie ou Aissaoua en Algérie), accompagné de percussions. (Chant d\'invocation où l’on dit que il n\'y a de dieu que Dieu et que Mohamed est son prophète. Éloges de Dieu et du prophète Mohamed. Éloges d\'un saint patron qui est censé nous protéger). \n\n\nÉcrits\n---\n\n\n\n','1h12’00','','publish','open','open','','1h1200','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13756',0,'post','',0), (13757,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h12’24','','publish','open','open','','1h1224','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13757',0,'post','',0), (13758,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nDe nouveau, groupe d\'hommes courant dans la rue et se pressant contre la porte d\'un appartement. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h12’28','','publish','open','open','','1h1228','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13758',0,'post','',0), (13759,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nSaturé : hommes en tenue militaire officielle, et commandants.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\nCe qui tourmentait le Cheick El Kadem, le premier ministre du royaume, c\'était une vue de l\'esprit\n\n\nBande Son\n---\n\nTrompettes de fanfare militaire.\n\n\nÉcrits\n---\n\n','1h12’34','','publish','open','open','','1h1234','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13759',0,'post','',0), (13760,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nSaturé, sortant à droite et réapparaissant à gauche de l\'écran comme s\'il était projeté sur l\'écran d\'une télévision cassée : libellé du film « Le Livre d\'Image ». \n\n\nVoix Off et In\n---\n\ncar il rêvait de soumettre à sa domination, l\'ensemble des pays du golfe. \n\n\nBande Son\n---\n\nId. et puis silence. \n\n\nÉcrits\n---\n\n\n\n','1h12’47','','publish','open','open','','1h1247','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13760',0,'post','',0), (13761,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nSaturé : maison en ruine sur une plage de roche en bord de mer. \n\n\nVoix Off et In\n---\n\nIl était vrai que sur cette bande de terre aride, \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h12’57','','publish','open','open','','1h1257','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13761',0,'post','',0), (13762,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nManifestation avec de nombreuses personnes dans la rue portant des pancartes écrites en arabe.\nShoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\n\nVoix Off et In\n---\n\nIl était le maître incontesté\n\n\nBande Son\n---\n\nÀ la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h13’08','','publish','open','open','','1h1308','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13762',0,'post','',0), (13763,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nSurexposé : sultan avec une femme à ses côtés.\nThe Thief of Baghdad (1978), Cline Donner.\n\nVoix Off et In\n---\n\npuisque le vieil émir régnant, croupissant dans son harem, ne prenait plus la peine de lui donner des ordres.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h13’15','','publish','open','open','','1h1315','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13763',0,'post','',0), (13764,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nEt la passion \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h13’21','','publish','open','open','','1h1321','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13764',0,'post','',0), (13765,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nHomme au fez rouge sortant d\'une voiture dont le conducteur ouvre la porte.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\npour le pouvoir, Ben Kadem l\'avait ressentie depuis son enfance et maintenant à 42 ans elle le dévorait avec encore plus de densité.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h13’24','','publish','open','open','','1h1324','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13765',0,'post','',0), (13766,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nGroupe de personnes marchant de nuit dans les dunes d\'un désert.\nBab\'Aziz, le prince qui contemplait son âme (2005), Nacer Khémir.\n\n\nVoix Off et In\n---\n\nMais malheureusement le monde n\'était pas aussi simple que son rêve d\'enfant. L\'irruption du pétrole dans la péninsule sauf ici à Dofa avait détruit l\'espoir de réaliser ses ambitions.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h13’37','','publish','open','open','','1h1337','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13766',0,'post','',0), (13767,1,'2023-09-26 09:19:26','2023-09-26 07:19:26','Images\n---\n\nPalmier enflammé dans le désert de nuit.\nBab\'Aziz, le prince qui contemplait son âme (2005), Nacer Khémir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nÀ la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h14’00','','publish','open','open','','1h1400','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13767',0,'post','',0), (13768,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nFemmes riant dans un harem.\nArabian nights (1942), John Rawlins.\n\n\nVoix Off et In\n---\n\nChose étrange,\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h14’11','','publish','open','open','','1h1411','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13768',0,'post','',0), (13769,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nle seul homme avec lequel Ben Kadem pouvait parler franchement de son ambition \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h14’16','','publish','open','open','','1h1416','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13769',0,'post','',0), (13770,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nPalmiers secoués par un vent fort. \n\n\nVoix Off et In\n---\n\nc’était celui là même qui trouvait cette ambition dérisoire : son jeune cousin Samantar. \n\n\nBande Son\n---\n\nVent. \n\n\nÉcrits\n---\n\n\n\n','1h14’24','','publish','open','open','','1h1424','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13770',0,'post','',0), (13771,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h14’33','','publish','open','open','','1h1433','','','2023-11-09 08:53:46','2023-11-09 07:53:46','',0,'https://localhost/?p=13771',0,'post','',0), (13772,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nDéplacement de gauche à droite : photo d\'un restaurant appelé « Les coquillages » et d’une rue d’une ville de bord de mer.\n\n\nVoix Off et In\n---\n\nn’avait pas uniquement pour objet d’approfondir sa vision sur le jeu sanglant des grandes puissances. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nExplosions.\n\n\nÉcrits\n---\n\n','1h14’36','','publish','open','open','','1h1436','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13772',0,'post','',0), (13773,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nPhoto de Barack Obama aux côtés de l\'émir du Koweït Cheikh Sabah al-Ahmad al-Jaber al-Sabah.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h14’53','','publish','open','open','','1h1453','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13773',0,'post','',0), (13774,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nHomme au fez s\'approchant d\'une grille d\'entrée et frappant avec son bâton contre la grille.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\nIl était d\'une importance capitale de savoir l\'opinion de Samantar sur les derniers événements survenus.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h14’57','','publish','open','open','','1h1457','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13774',0,'post','',0), (13775,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLe début d’une ère révolutionnaire à Dofa \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h15’07','','publish','open','open','','1h1507','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13775',0,'post','',0), (13776,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nVisage d\'un homme plongé dans l\'obscurité, puis émergeant à la lumière éclairant ses lèvres et son nez.\n\n\nVoix Off et In\n---\n\nétait une négation totale de la possible d’une action armée dans la péninsule. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h15’12','','publish','open','open','','1h1512','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13776',0,'post','',0), (13777,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nSaturé en tons bleus et rouges : personnes ballottées par une mer agitée. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVagues. \n\n\nÉcrits\n---\n\n\n\n','1h15’24','','publish','open','open','','1h1524','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13777',0,'post','',0), (13778,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nPersonne au foulard palestinien nué autour de la tête, se traînant avec un bras sur le sable, tenant de l’autre un fusil.\nIci et ailleurs (1975), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Tu es seul ?\n- Oui je suis seul.\n- Je ne te dérange pas ?\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h15’28','','publish','open','open','','1h1528','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13778',0,'post','',0), (13779,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nAu ralenti, saturé en tons bleus : foule de personnes manifestant.\nSexe, salafistes, printemps arabe (2012), Paul Moreira.\n\n\nVoix Off et In\n---\n\n- Je suis toujours ravi de te voir.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h15’36','','publish','open','open','','1h1536','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13779',0,'post','',0), (13780,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nSous-exposé et tourné en noir et blanc : personnes dansant au milieu de la fumée.\nSilence ! On tourne (2001), Youssef Chahine.\n\n\nVoix Off et In\n---\n\n- Un tel bonheur m\'est rarement accordé, excellence. - Tu te détaches de moi.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h15’43','','publish','open','open','','1h1543','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13780',0,'post','',0), (13781,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nFemme portant une écharpe à pois rouges et blancs et courant les mains en l\'air.\nÀ propos d\'Elly (2009), Asghar Farhadi.\n\n\nVoix Off et In\n---\n\n- Je vois que tu n\'es toujours pas prêt à ce sacrifice.\n\n\nBande Son\n---\n\nA la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h15’51','','publish','open','open','','1h1551','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13781',0,'post','',0), (13782,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nSaturé : groupe d\'hommes armés sur le toit d\'une voiture, observés par un homme vu de dos se cachant derrière un mur. Au ralenti : hommes descendant de la voiture.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\n- C\'est l\'excuse de toute ambition politique que de prétendre se sacrifier pour le bonheur du peuple. Mais le peuple ne t\'a rien demandé, il veut simplement vivre en paix.\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','1h15’57','','publish','open','open','','1h1557','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13782',0,'post','',0), (13783,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nEn noir et blanc, basculé de 180° : visage d\'un homme la tête en bas, plongé dans l\'obscurité.\n\n\nVoix Off et In\n---\n\n- Pendant que nous vivons en paix, le monde bouge. (Avec écho)\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h16’15','','publish','open','open','','1h1615','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13783',0,'post','',0), (13784,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nTremblements, et déplacement de droite à gauche : enfant écrivant sur une feuille de papier, observée de dos par un autre enfant. \n\n\nVoix Off et In\n---\n\n- Que nous importe ce monde qui bouge. (Avec écho) \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’23','','publish','open','open','','1h1623','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13784',0,'post','',0), (13785,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nSaturé en tons rouges : visage de femme aux mains jointes en prière. Détail de la fresque de la coupole.\nSan Antonio de la Florida (1798), Francisco Goya. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nCe sont tous des canailles, tous complices de l’imposture universelle.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h16’25','','publish','open','open','','1h1625','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13785',0,'post','',0), (13786,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n- La révolution a commencé dans le royaume mais tu le sais déjà sans doute. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’33','','publish','open','open','','1h1633','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13786',0,'post','',0), (13787,1,'2023-09-26 09:19:27','2023-09-26 07:19:27','Images\n---\n\nEn noir et blanc, basculé de 180° : visage courroucé d\'un homme plongé dans l\'obscurité.\n\n\nVoix Off et In\n---\n\n- Je le reconnaîtrais volontiers s’il s’agissait d’une vraie révolution, mais j’en doute.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h16’40','','publish','open','open','','1h1640','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13787',0,'post','',0), (13788,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nSaturé : tissu rouge traîné sur la plage par le vent.\nFissures (2009), Hicham Ayouch.\n\n\nVoix Off et In\n---\n\nOn a arrêté quelque type\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h16’49','','publish','open','open','','1h1649','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13788',0,'post','',0), (13789,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nconnu de nos services \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’51','','publish','open','open','','1h1651','','','2023-11-09 08:53:47','2023-11-09 07:53:47','',0,'https://localhost/?p=13789',0,'post','',0), (13790,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nSaturé : enfants jouant avec une femme portant une burka. \n\n\nVoix Off et In\n---\n\nmais ils prétendent ne rien savoir. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’54','','publish','open','open','','1h1654','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13790',0,'post','',0), (13791,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nIls demandent même de quelle bombe il s’agit car \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’55','','publish','open','open','','1h1655','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13791',0,'post','',0), (13792,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nFemme et homme vus à contre jour, se faisant face dans un couloir.\n\n\nVoix Off et In\n---\n\nils n’ont rien entendu. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nDe nouveau, à la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h16’56','','publish','open','open','','1h1656','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13792',0,'post','',0), (13793,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nSaturé : homme portant un voile et homme marchant dans une rue. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVoitures, et personnes marchant et parlant. \n\n\nÉcrits\n---\n\n\n\n','1h17’02','','publish','open','open','','1h1702','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13793',0,'post','',0), (13794,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nRue de nuit, éclairée par des lampadaires, avec des gens parlant et faisant du bruit. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h17’07','','publish','open','open','','1h1707','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13794',0,'post','',0), (13795,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nFemmes voilées et hommes marchant dans la rue.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et en arrière-plan, annonces de service d\'une gare.\n\n\nÉcrits\n---\n\n','1h17’25','','publish','open','open','','1h1725','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13795',0,'post','',0), (13796,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nCôte montagneuse surplombant la mer. Groupe de personnes marchant sur la plage. \n\n\nVoix Off et In\n---\n\nIci, à Dofa, que des gens \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h17’31','','publish','open','open','','1h1731','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13796',0,'post','',0), (13797,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nlancent des bombes un peu partout cela me parait normal \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nHICHAM \n People throwing bombs \n\n','1h17’40','','publish','open','open','','1h1740','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13797',0,'post','',0), (13798,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nHomme touareg vêtu de blanc, assis au pied d\'un palmier dans le désert, caressant une antilope.\nBab\'Aziz, le prince qui contemplait son âme, Nacer Khémir (2005).\n\n\nVoix Off et In\n---\n\nque pourraient-ils faire d\'autre ? C\'est leur seule manière d\'exprimer leur révolte devant la férocité des moyens employés par le gouvernement. Quelle autre attitude serait valable ? Pour ma part, je serai toujours du côté des bombes.\n\n\nBande Son\n---\n\nDe nouveau, à la guitare : arpèges. Silence.\n\n\nÉcrits\n---\n\n','1h17’44','','publish','open','open','','1h1744','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13798',0,'post','',0), (13799,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLa révolution, \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nTAREK \n\n','1h18’13','','publish','open','open','','1h1813','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13799',0,'post','',0), (13800,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nSurexposé, en noir et blanc : hommes touareg sous des palmiers avec des ânes à leurs côtés. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’18','','publish','open','open','','1h1818','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13800',0,'post','',0), (13801,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nSaturé en tons rouges : explosion et flammes. \n\n\nVoix Off et In\n---\n\ncela ne me paraît pas vital dans cette région. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’21','','publish','open','open','','1h1821','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13801',0,'post','',0), (13802,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nHomme courant. \n\n\nVoix Off et In\n---\n\nIl est vrai qu\'à notre époque \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’26','','publish','open','open','','1h1826','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13802',0,'post','',0), (13803,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nSaturé : enfants et personnes courant en tous sens et semblant regarder quelque chose hors champ.\nLes Baliseurs du désert, Nacer Khémir (1984), cité dans Voyage à Tunis (2007), Bruno Moll.\n\n\nVoix Off et In\n---\n\ntout est possible\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’32','','publish','open','open','','1h1832','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13803',0,'post','',0), (13804,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nSaturé : missile tiré sur une voiture explosant.\n13 hours. The Secret Soldiers of Benghazi, (2016), Michael Bay.\n\n\nVoix Off et In\n---\n\ncrois-tu que les hommes\n\n\nBande Son\n---\n\nExplosions et cris.\n\n\nÉcrits\n---\n\n','1h18’37','','publish','open','open','','1h1837','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13804',0,'post','',0), (13805,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’40','','publish','open','open','','1h1840','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13805',0,'post','',0), (13806,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nSaturé et sous-exposé : explosion, avec un hélicoptère en feu à l\'arrière-plan. Homme tombant au sol en gémissant après avoir été touché par un missile.\n13 hours. The Secret Soldiers of Benghazi, (2016), Michael Bay.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’41','','publish','open','open','','1h1841','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13806',0,'post','',0), (13807,1,'2023-09-26 09:19:28','2023-09-26 07:19:28','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\ncrois-tu que les hommes au pouvoir aujourd\'hui\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h18’43','','publish','open','open','','1h1843','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13807',0,'post','',0), (13808,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nHommes vêtus de manière formelle, avec un fez sur la tête, parlant entre eux.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\ndans le monde soient autre chose\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’47','','publish','open','open','','1h1847','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13808',0,'post','',0), (13809,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nSaturé et au ralenti : homme courant dans une rue, avec à ses côtés une explosion.\nKarbala, 4 jour en enfer (2015), Krzysztof Łukaszewicz.\n\n\nVoix Off et In\n---\n\nque des débiles sanguinaires ?\n(Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’53','','publish','open','open','','1h1853','','','2023-11-09 08:53:48','2023-11-09 07:53:48','',0,'https://localhost/?p=13809',0,'post','',0), (13810,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nC’était peu de rêver d’être roi \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’55','','publish','open','open','','1h1855','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13810',0,'post','',0), (13811,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nSous-exposé et saturé et puis surexposé : Homme visant avec un bazooka à l’épaule.\nKarbala, 4 jour en enfer (2015), Krzysztof Łukaszewicz.\n\n\nVoix Off et In\n---\n\nquand on pouvait rêver d\'être Faust.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’57','','publish','open','open','','1h1857','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13811',0,'post','',0), (13812,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nMais nul, mais nul, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’00','','publish','open','open','','1h1900','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13812',0,'post','',0), (13813,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nPersonne morte gisant sur le sol.\nKarbala, 4 jour en enfer (2015), Krzysztof Łukaszewicz.\n\n\nVoix Off et In\n---\n\nne rêvait plus d\'être Faust\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h19’03','','publish','open','open','','1h1903','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13813',0,'post','',0), (13814,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\net chacun rêvait d\'être roi. (Jean-Luc Godard).\nAir de Méphistophélès, Damnation de Faust (1846), Hector Berlioz.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h19’05','','publish','open','open','','1h1905','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13814',0,'post','',0), (13815,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nEnfant jetant des pierres sur un chien dans une rue. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’10','','publish','open','open','','1h1910','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13815',0,'post','',0), (13816,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nPersonne écrivant en arabe sur une feuille de papier.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCloud (2017), Tomasz Stanko New York Quartet.\n\n\nÉcrits\n---\n\n','1h19’16','','publish','open','open','','1h1916','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13816',0,'post','',0), (13817,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nAquarelle d\'un homme vêtu de blanc assis sur le sol. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’20','','publish','open','open','','1h1920','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13817',0,'post','',0), (13818,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nSaturé en tons bleus : lac entouré d\'arbres.\n\n\nVoix Off et In\n---\n\nÀ Dofa, le rêve de Cheikh ben Kadem fit naufrage. La mort de son jeune amant dissipa l’ambition de soumettre à sa domination l\'ensemble\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h19’28','','publish','open','open','','1h1928','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13818',0,'post','',0), (13819,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nVoiture longeant une route suivie de personnes marchant derrière elle.\nLes terrasses (2013), Merzak Allouache.\n\n\nVoix Off et In\n---\n\ndes pays du golfe. Ben Kadem s\'en vint alors confesser ses erreurs politiques\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h19’43','','publish','open','open','','1h1943','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13819',0,'post','',0), (13820,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nDe nouveau, photo en noir et blanc d\'un homme au visage courroucé. \n\n\nVoix Off et In\n---\n\nà Samantar et puis il s\'enfuit et se refugia. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’51','','publish','open','open','','1h1951','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13820',0,'post','',0), (13821,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSamantar heureux et tranquillisé \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’58','','publish','open','open','','1h1958','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13821',0,'post','',0), (13822,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nSaturé : maison en ruine entourée d\'antennes de télévision et d\'internet. \n\n\nVoix Off et In\n---\n\npar ce dénouement, sortit de sa misérable cahute. \n \n\n\nBande Son\n---\n\nDe nouveau, à la guitare : arpèges. \n\n\nÉcrits\n---\n\n\n\n','1h20’01','','publish','open','open','','1h2001','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13822',0,'post','',0), (13823,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nHomme souriant.\nLes terrasses (2013), Merzak Allouache.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h20’07','','publish','open','open','','1h2007','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13823',0,'post','',0), (13824,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nSurexposé : Photographie d\'une file d\'hommes vêtus de jeans et de lunettes de soleil marchant. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h20’11','','publish','open','open','','1h2011','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13824',0,'post','',0), (13825,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h20’18','','publish','open','open','','1h2018','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13825',0,'post','',0), (13826,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nSaturé : cheval tirant une calèche passant dans une rue. \n\n\nVoix Off et In\n---\n\nCe n\'est que quelques mois plus tard que Samantar rencontra Tarek le long de la mer \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h20’20','','publish','open','open','','1h2020','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13826',0,'post','',0), (13827,1,'2023-09-26 09:19:29','2023-09-26 07:19:29','Images\n---\n\nJeune homme au turban accompagnant un homme âgé dans une prairie près d\'un ruisseau et s’asseyant sur un rocher.\n\n\nVoix Off et In\n---\n\net apprit la vérité de la fausse révolution fomentée par l\'ancien premier ministre. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\nCe que je fais avec les enfants dit le fou c\'est une sorte de contre-révolution.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h20’27','','publish','open','open','','1h2027','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13827',0,'post','',0), (13828,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nSurexposé : groupe d\'enfants jouant et courant.\nLes mille mois (2003), Faouzi Bensaïdi.\n\n\nVoix Off et In\n---\n\nUn fou peut aller partout, il a une liberté totale de mouvement, et de parole. Avec l\'aide des enfants j\'ai fait sauter la banque et l\'agence d\'import export\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h20’43','','publish','open','open','','1h2043','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13828',0,'post','',0), (13829,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nHomme écrivant sur une feuille de papier, et enfant regardant ce qu\'il écrit, debout devant lui, dans une maison du Moyen Orient avec des tapis, des coussins et des rideaux devant les fenêtres. \n\n\nVoix Off et In\n---\n\nles deux signes de l\'ignominie capitaliste. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’01','','publish','open','open','','1h2101','','','2023-11-09 08:53:49','2023-11-09 07:53:49','',0,'https://localhost/?p=13829',0,'post','',0), (13830,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nSaturé en tons rouges et bleus, et basculé de 90 degrés : coucher du soleil et puits de pétrole. \n\n\nVoix Off et In\n---\n\nMais comment as-tu pu te procurer les explosifs ? Ils ont été repérés \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’02','','publish','open','open','','1h2102','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13830',0,'post','',0), (13831,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nEnfants courant derrière la caméra. Enfant portant une chemise blanche trop longue et marchant en trébuchant sur le tissu. \n\n\nVoix Off et In\n---\n\npar les enfants dans un vieux derrick abandonné par les étrangers quand ils cherchaient en vain du pétrole. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’09','','publish','open','open','','1h2109','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13831',0,'post','',0), (13832,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nEnfant sur une route faisant tourner de la main une bobine rouge en s’aidant d’une pellicule. Reel-Unreel (2011), Francis Alÿs.\n\n\nVoix Off et In\n---\n\nJe te remercie. Discuter avec un fou est un privilège\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h21’18','','publish','open','open','','1h2118','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13832',0,'post','',0), (13833,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nCouverture d’un exemplaire d’Images en parole (2003), Anne-Marie Miéville. L’exemplaire est feuilleté.\n\n\nVoix Off et In\n---\n\ninestimable, crois moi. (Jean-Luc Godard).\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h21’25','','publish','open','open','','1h2125','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13833',0,'post','',0), (13834,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nGros plan de la face de Bécassine.\nDerrière : id. en dimensions réduites.\n\n\nVoix Off et In\n---\n\nCrois-moi. On n\'est jamais suffisamment triste. (Anne-Marie Miéville).\nLe territoire de l’homme (1978), Elias Canetti.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h21’32','','publish','open','open','','1h2132','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13834',0,'post','',0), (13835,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nSaturé : pinceau et livre ouvert. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’38','','publish','open','open','','1h2138','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13835',0,'post','',0), (13836,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nSaturé : photographie d\'un grand pinceau et d\'un crayon. \n\n\nVoix Off et In\n---\n\nOn n\'est jamais suffisamment triste pour que le monde soit meilleur. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’41','','publish','open','open','','1h2141','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13836',0,'post','',0), (13837,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nSaturé : de nouveau, plage de roche en bord de mer, enfants y jouant au football. \n\n\nVoix Off et In\n---\n\nla terre abandonnée, la terre abandonnée, surchargée de lettres de l\'alphabet, étouffée sous les connaissances et \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’53','','publish','open','open','','1h2153','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13837',0,'post','',0), (13838,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nplus guère d\'oreilles qui soient à l\'écoute. (Anne-Marie Miéville).\nLe territoire de l’homme (1978), Elias Canetti.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h22’10','','publish','open','open','','1h2210','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13838',0,'post','',0), (13839,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nSurexposé et en négatif : de nouveau, petite fille aux yeux fermés, le visage levé vers le ciel et les mains tendues devant elle.\nMiracle en Alabama (1962), Arthur Penn. Histoire (s) du cinéma 4a, (1988 - 98) Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946) Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','1h22’14','','publish','open','open','','1h2214','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13839',0,'post','',0), (13840,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nDétail de son visage et de sa main gauche. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h22’20','','publish','open','open','','1h2220','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13840',0,'post','',0), (13841,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nEn tons bleus : détail de son visage. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h22’26','','publish','open','open','','1h2226','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13841',0,'post','',0), (13842,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nDétail de sa main.\n\n\nVoix Off et In\n---\n\nVoici les roses de cette nuit écloses.\nLa Damnation de Faust (1946), Berlioz Hector.\n\n\nBande Son\n---\n\nLa Damnation de Faust (1946), Berlioz Hector.\n\n\nÉcrits\n---\n\n','1h22’32','','publish','open','open','','1h2232','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13842',0,'post','',0), (13843,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nEn blanc sur fond noir : inscription manuscrites. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nGodard \n Battaggia \n Aragno \n Brenez \n\n','1h22’43','','publish','open','open','','1h2243','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13843',0,'post','',0), (13844,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h22’49','','publish','open','open','','1h2249','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13844',0,'post','',0), (13845,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSilenzio, si gira. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nDe Vinci, Bernanos, King Lear, Closed vision, Weinberg, Giacometti, Jeanne d\'arc, Chahine, Chien andalou, Histoire (s) du cinéma, Derain, Caméra analytique, S. Walker, Artaud, Murnau, Ramuz, Hamlet, Gaumont, Miracle en Alabama, J Michelet, Histoire, Kiss me Deadly, V. Grossman \n\n','1h22’54','','publish','open','open','','1h2254','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13845',0,'post','',0), (13846,1,'2023-09-26 09:19:30','2023-09-26 07:19:30','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSilenzio. Camera, moteur, motore \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nD. Guyotat, Allemagne année neuf zéro, Le dernier des hommes, J. Gozland, Johny Guitar, petit soldat, M Leroux, Liban Guerres et hommes, Salo, A Sokourov, Timbuktu, Vrai faux passeport, chute faucon noir, les carabiniers, hommes du dimanche, Blue jean, guerre de chine, les dents de la mer, Le sang des bêtes, R. Girard, V Illitch, La grève, Païsa \n\n','1h22’58','','publish','open','open','','1h2258','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13846',0,'post','',0), (13847,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\npartito, ciak, Odissea 14702 prima.\nLe Mépris (1963), Jean-Luc Godard.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nVertigo, femme au corbeau, l\'Atalante, au bord de la mer bleue, hélas pour moi, Ruby gentry, planète, 8 mai 1945, les enfants jouent à la Russie, Delacroix, Angèle, Zylberman, JLG JLG, Guerre et paix, Péguy, Les enfants de la guerre, Stalingrad, l\'espoir, Inessa Armand, le silence de la mer\n','1h23’03','','publish','open','open','','1h2303','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13847',0,'post','',0), (13848,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nGong profond et inquiétant. \n\n\nÉcrits\n---\n\n\n\n','1h23’08','','publish','open','open','','1h2308','','','2023-11-09 08:53:50','2023-11-09 07:53:50','',0,'https://localhost/?p=13848',0,'post','',0), (13849,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nEn gras, s’ajoutant à la liste précédente : « TEXTES ». \n La liste disparaît. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n TEXTES \n\n','1h23’10','','publish','open','open','','1h2310','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13849',0,'post','',0), (13850,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nGoogle, Al razutis, RM Rilke, Berlin express, l\'affrontement, paysage dans le brouillard, Dostoïevski, Hollis Frampton, L. F. Céline, P de Villiers, Hans Otte, Manon, Orphée, croisée des destins, mécano de la générale, route de l\'impossible, Baudelaire, Hegel, D. Vertov, terror by night, G Steiner, castoriadis, le silence \n\n','1h23’14','','publish','open','open','','1h2314','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13850',0,'post','',0), (13851,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nShanghai express, A Brehem, E Vittorini T Gustavsen, Turksib, A. Schnittke, Trigon films, Liberté et patrie, P. Val, W. Faulkner, grandeur et décadence, les 2 Fédor, Wild boys on the road, Toccata for toy trains, Arvo part, Au bord de la mer bleue, Anna Karenine, Medvedkine, Après le feu, le plaisir, deux fois cinquante ans, la commune, Arditti quartet, ECM records, V. Hugo, vendémiaire \n\n','1h23’19','','publish','open','open','','1h2319','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13851',0,'post','',0), (13852,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nEn gras, s’ajoutant à la liste précédente : « FILMS ». \n La liste disparaît. \n\n\nVoix Off et In\n---\n\nMais la langue ne sera jamais \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nFILMS \n\n','1h23’20','','publish','open','open','','1h2320','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13852',0,'post','',0), (13853,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nle langage \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nA. Rimbaud, terrorism considered, Sollers, V. Vysotsky, Montesquieu, le faux coupable, Grèce 2013, Au cœur de l\'orage, La Strada, J.- S. Bach, Les chouans, Mister love, Sayat nova, Los Olvidados, Marilyn, Le premier maître, les onze fioretti, Young Mister Lincoln, Monsieur de Charette, Le chaos, Freaks, Porno, danish string quartet, For ever Mozart \n\n','1h23’25','','publish','open','open','','1h2325','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13853',0,'post','',0), (13854,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nCaillebotte, Balzac, Jacques rivette, Dies irae, Wyatt Earp, Tout va bien, Alexandre Nevski, Eau argentée, C dans l\'air, Fantômas, Freud, procès de Charles 1er, Nuremberg, Méliès, Hortense de Beauharnais, école de Fontainebleau, Duck soup, René Charles de Lusson, Elephant, Week-end, Viva Villa, Que viva mexico, les visiteurs du soir, Elie Faure, S. Prokofiev, La fin du A \n\n','1h23’30','','publish','open','open','','1h2330','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13854',0,'post','',0), (13855,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nEn gras, s’ajoutant à la liste précédente : « TABLEAUX ». \n La liste disparaît. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nCoq chantant. \n\n\nÉcrits\n---\n\nTABLEAUX \n\n','1h23’31','','publish','open','open','','1h2331','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13855',0,'post','',0), (13856,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVom Winde Beweint - 1 Largo Molto (1990), Giya Kancheli.\n\n\nÉcrits\n---\n\nlas Hurdes, Beckett, metropolis, Nuit du carrefour, M. Blanchot, Vladimir et Rosa, terreur et vertu, l\'esprit des lois, La dame de Shanghai, Un feu, la belle et la Bête, Emile Cohl, la région centrale, Photo Libération, Bécassine, Broswimmer, Notorius, Moubarak, Origine du XXIe siècle, A. Cossery, le visage de Dieu, Meshes of afternoon, Les 1001 nuits, Constantinople, Détective, Film socialisme, Voleur de Bagdad (R. Walsh)\n','1h23’35','','publish','open','open','','1h2335','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13856',0,'post','',0), (13857,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nAladin magic lamp, le Messie, The crusades, Bonaparte, frères de guerre, Salammbô, Méditerranée, E. Saïd, S. Luste Boulbina, M. Koldenitzky, Nous, les dernières vacances, Djamila, Voyage à Tunis, Collier perdu de la colombe, Kanchelli, Khalled abou Khalled, gare centrale, Ici et ailleurs, la saison des hommes, Alexandre Dumas, Muezzin, P Mizraki, Mendelssohn, A. Macke, Tamaout, Détention secrète \n\n','1h23’40','','publish','open','open','','1h2340','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13857',0,'post','',0), (13858,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nEn gras, s’ajoutant à la liste précédente : « MUSIQUE » \n La liste disparaît. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nMUSIQUE \n\n','1h23’41','','publish','open','open','','1h2341','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13858',0,'post','',0), (13859,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n F. Prokosch, Judex, la Bandera, Syriana, D. Sibony, La môme vert de gris, Mille mois, Premiers chanteurs des Bilad Al Sham, les silences du palais, Al leil, La fièvre, About Elly, Tunisie, Voleur de Bagdad (C. Donner), Bab\' Aziz\', Arabian nights, Fissures, Salafistes sexe, Maghreb, 13 hours, kerbala, Tomasz Stanko, les terrasses, 2 films inconnus, Reel unreel, La recupart, Elias Canetti, P. Weiss \n\n','1h23’45','','publish','open','open','','1h2345','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13859',0,'post','',0), (13860,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nEUX TOUS \n\n','1h23’49','','publish','open','open','','1h2349','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13860',0,'post','',0), (13861,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nSurexposé, en noir et blanc : photo d\'un enfant mangeant assis. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h23’51','','publish','open','open','','1h2351','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13861',0,'post','',0), (13862,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. Lettres latines rouges s’y superposant à des lettres arabes blanches. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nHAMIDREZA \n PEJMAN \n\n','1h23’54','','publish','open','open','','1h2354','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13862',0,'post','',0), (13863,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. Lettres latines rouges s’y superposant à des lettres arabes blanches. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nGEORGES \n SCHOUCAIR \n\n','1h23’56','','publish','open','open','','1h2356','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13863',0,'post','',0), (13864,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nNADER \n MOBARGHA \n\n','1h23’59','','publish','open','open','','1h2359','','','2023-11-09 08:53:51','2023-11-09 07:53:51','',0,'https://localhost/?p=13864',0,'post','',0), (13865,1,'2023-09-26 09:19:31','2023-09-26 07:19:31','Images\n---\n\nEn noir et blanc : grillage avec une pancarte indiquant : « NO TRESPASSING ». \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’00','','publish','open','open','','1h2400','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13865',0,'post','',0), (13866,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nEn couleur : photo d’un grillage avec une pancarte indiquant : « DÉFENSE D’ENTRER \n PROPRIÉTÉ DE L’ETAT ». \n\n\nVoix Off et In\n---\n\nEn réalité, disait Brecht, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’04','','publish','open','open','','1h2404','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13866',0,'post','',0), (13867,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nInscription manuscrite : \n « Film immatriculé \n Au Registre public de la \n Cinématographie \n et visé à la censure \n sous N932 15 / 2 / 46 ». \n\n\nVoix Off et In\n---\n\nseul le fragment \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’09','','publish','open','open','','1h2409','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13867',0,'post','',0), (13868,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nAu ralenti et en noir et blanc : jeunes esclaves vénérant un roi sur un trône. \n\n\nVoix Off et In\n---\n\nporte la marque de l\'authenticité parce qu’il est le plus proche de la fonction la plus intérieure de l’acte de production. De production qui correspond à la respiration, au simple fait d’exister tout juste vécu par la conscience. (Jean-Luc Godard). \n \n Deux voix de Godard continuent de parler en se chevauchant : \n \n Marx et Engels. A leurs yeux \n Eugène Sue était un aveugle, \n un solitaire, pour qui la vie pleine de vie était une abstraction. Ils admirent, il vrai, que la représentation d’une civilisation tombée dans la dépravation d’un état où les droits civils n’étaient pas respectés, où l’inégalité régnait, contenait … critique. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’14','','publish','open','open','','1h2414','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13868',0,'post','',0), (13869,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nEn noir et blanc : détail de la main du San Giovanni Battista (1508 - 1513), Leonardo da Vinci.\n\n\nVoix Off et In\n---\n\nMais\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’41','','publish','open','open','','1h2441','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13869',0,'post','',0), (13870,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nSurexposé et saturé : pellicule tirée d\'une bobine en rotation. \n\n\nVoix Off et In\n---\n\nau contraire de Balzac, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’44','','publish','open','open','','1h2444','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13870',0,'post','',0), (13871,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nSurexposé, en noir et blanc : de nouveau, photographie d\'un enfant mangeant assis. \n\n\nVoix Off et In\n---\n\nil ne faisait que satisfaire son penchant effréné pour l’homme \n \n \n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’45','','publish','open','open','','1h2445','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13871',0,'post','',0), (13872,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nSoldats courants à travers des explosions.\n\n\nVoix Off et In\n---\n\ns’humiliant lui-même.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’48','','publish','open','open','','1h2448','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13872',0,'post','',0), (13873,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nPhotographie de Louis-Ferdinand Céline.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’50','','publish','open','open','','1h2450','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13873',0,'post','',0), (13874,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nDe nouveau, femme s’évanouissant avec les mains en l\'air devant un écran. Deux fois cinquante ans de cinéma français (1995), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nQu’il n’utilisait le remords et l’expiation\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’51','','publish','open','open','','1h2451','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13874',0,'post','',0), (13875,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nDe nouveau, femme au micro parlant lors d\'une manifestation. \n\n\nVoix Off et In\n---\n\nd’actes d’une brutalité inouïe \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’53','','publish','open','open','','1h2453','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13875',0,'post','',0), (13876,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nEn négatif : de nouveau, homme caché dans l\'ombre, le menton posé sur la main gauche.\nFantômas (1913), Louis Feuillade. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’54','','publish','open','open','','1h2454','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13876',0,'post','',0), (13877,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nDe nouveau, photographie de Marilyne Monroe. Iris et clignotement : corbeaux s’envolant.\nLes Oiseaux (1963), Alfred Hitchcock. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’56','','publish','open','open','','1h2456','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13877',0,'post','',0), (13878,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nDe nouveau, Bécassine avec l\'index de la main gauche levé. \n\n\nVoix Off et In\n---\n\nque pour faire miroiter le lieu \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’00','','publish','open','open','','1h2500','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13878',0,'post','',0), (13879,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nSurexposé, saturé en tons bleus : presque indistinguable. \n\n\nVoix Off et In\n---\n\nd’une transformation de \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’01','','publish','open','open','','1h2501','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13879',0,'post','',0), (13880,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nDe nouveau, personne portant un turban, montrant les paumes et plaçant une main sur la paume de l\'autre d’un mouvement lent.\nBab\'Aziz, le prince qui contemplait son âme (2005), Nacer Khémir.\n\n\nVoix Off et In\n---\n\nla réalité. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h25’04','','publish','open','open','','1h2504','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13880',0,'post','',0), (13881,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nDe nouveau, visage d\'un homme appuyé contre une vitre reflétant son image. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’10','','publish','open','open','','1h2510','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13881',0,'post','',0), (13882,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nDe nouveau, plage de roche surplombant la mer, avec une maison en ruine à côté. Deux hommes marchant entre des bateaux échoués sur la plage. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’13','','publish','open','open','','1h2513','','','2023-11-09 08:53:52','2023-11-09 07:53:52','',0,'https://localhost/?p=13882',0,'post','',0), (13883,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nDe nouveau, groupe d\'hommes courant dans la rue, puis faisant irruption à travers la porte d\'une maison située dans une ruelle. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’17','','publish','open','open','','1h2517','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13883',0,'post','',0), (13884,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nDe nouveau, enfant sur une route poussant d\'une main une bobine rouge avec une pellicule.\nReel-Unreel (2011), Francis Alÿs.\n\n\nVoix Off et In\n---\n\nIl doit y avoir une révolution. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h25’22','','publish','open','open','','1h2522','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13884',0,'post','',0), (13885,1,'2023-09-26 09:19:32','2023-09-26 07:19:32','Images\n---\n\nNoir, avec l\'inscription « Parole et Image »\napparaissant. En traces de détrempe bleue et bleu clair, « Parole » et « Image », en rouge « et ».\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nThe River I (1997), Ketil Bjornstad & David Darling.\n\n\nÉcrits\n---\n\n','1h25’29','','publish','open','open','','1h2529','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13885',0,'post','',0), (13886,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','Images\n---\n\nHomme en pleurs soulevant un cadavre du sol. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’32','','publish','open','open','','1h2532','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13886',0,'post','',0), (13887,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','Images\n---\n\nPhotographie d\'une statue représentant probablement le Christ. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’36','','publish','open','open','','1h2536','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13887',0,'post','',0), (13888,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nLorsque je me parle à moi même, je parle la parole d\'un autre. Que je me parle à moi-même. D\'un autre. Que je me parle à moi-même. (Anne Marie Miéville).\n\nGodard, avec une voix d’outre tombe :\nEt si même rien ne devait être comme nous l\'avions espéré, cela ne changerait rien à nos espérances. Les espérances resteraient, l\'utopie serait nécessaire. Plus tard aussi les espérances s’embraseraient de nombreuses fois, étouffées par l\'ennemi plus fort, et elles se réveilleraient sans cesse. Et le domaine des espérances serait plus vaste que de notre temps. Il s\'étendrait sur tous les continents : le besoin de contradiction, de résistance ne diminuera jamais, de même que le passé était immutable, de même les espérances resteraient immuables, et ceux qui un jour alors que nous étions jeunes avaient nourri l’ [toux] ardent espoir. Et si même rien ne devait être comme nous l\'avions espéré, cela ne changerait rien aux espérances.\nL’Esthétique de la résistance (1978 - 81), Peter Weiss.\n\n\nBande Son\n---\n\nId. et puis silence.\n\n\nÉcrits\n---\n\n','1h25’37','','publish','open','open','','1h2537','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13888',0,'post','',0), (13889,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','Images\n---\n\nEntrée du danseur cachant sa vieillesse sous un masque, et dansant jusqu\'à en mourir.\nLe masque, Le Plaisir (1952), Max Ophüls.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nDas Buch der Klange I - XII (1999), I, Hans Otte.\n\n\nÉcrits\n---\n\n','1h26’58','','publish','open','open','','1h2658','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13889',0,'post','',0), (13890,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h27’58','','publish','open','open','','1h2758','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13890',0,'post','',0), (13891,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nDas Buch der Klange I - XII, V (1999), Hans Otte.\n\n\nÉcrits\n---\n\nC 2018 CASA AZUL FILMS\nC 2015 ECRAN Noir. productions\n','1h28’03','','publish','open','open','','1h2803','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13891',0,'post','',0), (13892,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','0’0’’','','publish','open','open','','00','','','2023-11-09 09:27:26','2023-11-09 08:27:26','',0,'https://localhost/?p=13892',0,'post','',0), (13893,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','02’55’’','','publish','open','open','','0255-2','','','2023-11-09 09:16:58','2023-11-09 08:16:58','',0,'https://localhost/?p=13893',0,'post','',0), (13894,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','51’57’’','','publish','open','open','','5157-2','','','2023-11-09 09:19:01','2023-11-09 08:19:01','',0,'https://localhost/?p=13894',0,'post','',0), (13895,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','1h22’43’’','','publish','open','open','','1h2243-2','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13895',0,'post','',0), (13896,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','1h24’00’’','','publish','open','open','','1h2400-2','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13896',0,'post','',0), (13897,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','11’48’’','','publish','open','open','','1148-2','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13897',0,'post','',0), (13898,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','20’28’’','','publish','open','open','','2028-2','','','2023-11-09 08:53:53','2023-11-09 07:53:53','',0,'https://localhost/?p=13898',0,'post','',0), (13899,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','33’02’’','','publish','open','open','','3302-2','','','2023-11-09 08:53:54','2023-11-09 07:53:54','',0,'https://localhost/?p=13899',0,'post','',0), (13900,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','48’16’’','','publish','open','open','','4816-2','','','2023-11-09 08:53:54','2023-11-09 07:53:54','',0,'https://localhost/?p=13900',0,'post','',0), (13901,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','55’33’’','','publish','open','open','','5533-2','','','2023-11-09 08:53:54','2023-11-09 07:53:54','',0,'https://localhost/?p=13901',0,'post','',0), (13902,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','1h04’42’’','','publish','open','open','','1h0442-2','','','2023-11-09 08:53:54','2023-11-09 07:53:54','',0,'https://localhost/?p=13902',0,'post','',0), (13903,1,'2023-09-26 09:19:33','2023-09-26 07:19:33','','1h17’40’’','','publish','open','open','','1h1740-2','','','2023-11-09 08:53:54','2023-11-09 07:53:54','',0,'https://localhost/?p=13903',0,'post','',0), (13904,1,'2023-09-26 09:19:34','2023-09-26 07:19:34','','1h18’13’’','','publish','open','open','','1h1813-2','','','2023-11-09 08:53:54','2023-11-09 07:53:54','',0,'https://localhost/?p=13904',0,'post','',0), (13905,1,'2023-09-26 13:47:23','2023-09-26 11:47:23','Images\n---\n\nNoir.\n\nVoix Off et In\n---\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\nAladin magic lamp, le Messie, The crusades, Bonaparte, frères de guerre, Salammbô, Méditerranée, E. Saïd, S. Luste Boulbina, M. Koldenitzky, Nous, les dernières vacances, Djamila, Voyage à Tunis, Collier perdu de la colombe, Kanchelli, Khalled abou Khalled, gare centrale, Ici et ailleurs, la saison des hommes, Alexandre Dumas, Muezzin, P Mizraki, Mendelssohn, A. Macke, Tamaout, Détention secrète','1h23’40','','inherit','closed','closed','','13857-autosave-v1','','','2023-09-26 13:47:23','2023-09-26 11:47:23','',13857,'https://localhost/?p=13905',0,'revision','',0), (13907,1,'2023-09-26 14:08:36','2023-09-26 12:08:36','','02’55’’','','publish','closed','closed','','0255-3','','','2023-11-09 09:17:10','2023-11-09 08:17:10','',0,'https://localhost/?p=13907',0,'post','',0), (13908,1,'2023-09-26 14:08:27','2023-09-26 12:08:27','','Brouillon créé le 26 September 2023 à 12h08','','inherit','closed','closed','','13907-revision-v1','','','2023-09-26 14:08:27','2023-09-26 12:08:27','',13907,'https://localhost/?p=13908',0,'revision','',0), (13909,1,'2023-09-26 14:08:36','2023-09-26 12:08:36','','02’55’’','','inherit','closed','closed','','13907-revision-v1','','','2023-09-26 14:08:36','2023-09-26 12:08:36','',13907,'https://localhost/?p=13909',0,'revision','',0), (13910,1,'2023-09-26 14:09:01','2023-09-26 12:09:01','','51’57’’','','publish','closed','closed','','5157-3','','','2023-09-26 14:09:02','2023-09-26 12:09:02','',0,'https://localhost/?p=13910',0,'post','',0), (13911,1,'2023-09-26 14:08:52','2023-09-26 12:08:52','','Brouillon créé le 26 September 2023 à 12h08','','inherit','closed','closed','','13910-revision-v1','','','2023-09-26 14:08:52','2023-09-26 12:08:52','',13910,'https://localhost/?p=13911',0,'revision','',0), (13912,1,'2023-09-26 14:09:01','2023-09-26 12:09:01','','51’57’’','','inherit','closed','closed','','13910-revision-v1','','','2023-09-26 14:09:01','2023-09-26 12:09:01','',13910,'https://localhost/?p=13912',0,'revision','',0), (13913,1,'2023-09-26 18:41:45','0000-00-00 00:00:00','','Accueil','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13913',1,'nav_menu_item','',0), (13914,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13914',1,'nav_menu_item','',0), (13915,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13915',1,'nav_menu_item','',0), (13916,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13916',1,'nav_menu_item','',0), (13917,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13917',1,'nav_menu_item','',0), (13918,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13918',1,'nav_menu_item','',0), (13919,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13919',1,'nav_menu_item','',0), (13920,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13920',1,'nav_menu_item','',0), (13921,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13921',1,'nav_menu_item','',0), (13922,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13922',1,'nav_menu_item','',0), (13923,1,'2023-09-26 18:41:45','0000-00-00 00:00:00',' ','','','draft','closed','closed','','','','','2023-09-26 18:41:45','0000-00-00 00:00:00','',0,'https://localhost/?p=13923',1,'nav_menu_item','',0), (13924,1,'2023-09-26 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société de distribution Kino Lorber.\n\nVoix Off et In\n---\n\nBande Son\n---\n\nÉcrits\n---','0’02','','inherit','open','open','','','','','2023-10-23 06:56:11','2023-10-23 04:56:11','',13193,'https://localhost/?p=13927',0,'revision','',0), (13931,1,'2023-10-23 10:58:41','2023-10-23 08:58:41','\n

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Quisque in suscipit nunc, nec tempor urna. Nam posuere pellentesque gravida. Donec elementum arcu vel pretium euismod. Vivamus congue ullamcorper augue, quis condimentum felis blandit eget. Nunc egestas malesuada metus, eu condimentum ex convallis et. Cras ligula ante, egestas cursus finibus eu, porta nec ex. Praesent quis volutpat mi, vel tempus enim. Duis luctus nunc ligula, non faucibus odio aliquet eget. Suspendisse lobortis augue sed tempor fermentum. Nulla dapibus tristique nunc vel dapibus. Sed suscipit maximus arcu, in vulputate dui iaculis a. Integer ultrices ipsum non lobortis lacinia. Curabitur porta facilisis maximus. Proin eleifend mi a orci iaculis, eget lobortis urna pharetra. Aenean pharetra hendrerit magna, in dapibus justo ornare vel.

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Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia curae; Nullam velit nibh, facilisis non est eu, luctus finibus felis. Phasellus iaculis pellentesque mi et commodo. Aliquam sapien lorem, ultrices sit amet varius sed, faucibus vel mauris. Donec ac tristique lorem. Aenean cursus, erat sed blandit volutpat, lorem velit consectetur odio, quis iaculis libero justo vel velit. Sed non nibh eu augue molestie aliquet nec vitae augue.

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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam sit amet blandit lorem. Donec luctus finibus metus cursus imperdiet. Etiam faucibus nibh varius velit eleifend tincidunt at in massa. Nam congue vestibulum posuere. Morbi molestie vel mi non imperdiet. Nulla interdum, neque in eleifend consequat, lectus augue pulvinar felis, vel dapibus velit nisl quis urna. Aenean pharetra faucibus metus. Sed et eros eros. Duis vitae eleifend felis. Interdum et malesuada fames ac ante ipsum primis in faucibus. Integer mattis facilisis tortor nec molestie.

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Quisque in suscipit nunc, nec tempor urna. Nam posuere pellentesque gravida. Donec elementum arcu vel pretium euismod. Vivamus congue ullamcorper augue, quis condimentum felis blandit eget. Nunc egestas malesuada metus, eu condimentum ex convallis et. Cras ligula ante, egestas cursus finibus eu, porta nec ex. Praesent quis volutpat mi, vel tempus enim. Duis luctus nunc ligula, non faucibus odio aliquet eget. Suspendisse lobortis augue sed tempor fermentum. Nulla dapibus tristique nunc vel dapibus. Sed suscipit maximus arcu, in vulputate dui iaculis a. Integer ultrices ipsum non lobortis lacinia. Curabitur porta facilisis maximus. Proin eleifend mi a orci iaculis, eget lobortis urna pharetra. Aenean pharetra hendrerit magna, in dapibus justo ornare vel.

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Quisque nunc diam, consequat sit amet nibh et, venenatis cursus nibh. Vivamus pellentesque tellus eu consequat scelerisque. Quisque blandit tellus non leo egestas, at tincidunt nisl tincidunt. Quisque vitae ligula risus. Nam fermentum quam feugiat tortor bibendum ultricies. Maecenas sagittis orci metus, ac malesuada purus consequat eget. Sed ac consectetur nisl, a iaculis augue.

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Vestibulum ante ipsum primis in faucibus orci luctus et ultrices posuere cubilia curae; Nullam velit nibh, facilisis non est eu, luctus finibus felis. Phasellus iaculis pellentesque mi et commodo. Aliquam sapien lorem, ultrices sit amet varius sed, faucibus vel mauris. Donec ac tristique lorem. Aenean cursus, erat sed blandit volutpat, lorem velit consectetur odio, quis iaculis libero justo vel velit. Sed non nibh eu augue molestie aliquet nec vitae augue.

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Pellentesque et posuere nisl. Etiam at tellus vel nisi suscipit mattis efficitur ut justo. Aliquam tempor aliquam enim vel molestie. Sed elementum odio erat, nec dictum turpis viverra non. Cras id nisi sed odio dignissim aliquet. Duis est mi, accumsan ac molestie at, porta nec augue. Aliquam dapibus mattis aliquet. Integer sed libero massa. Duis pharetra nunc vitae ornare aliquet. Fusce a finibus felis, eget facilisis quam. Sed convallis nisl a gravida dictum. Pellentesque ut massa nisl. Sed blandit mi nisi, nec pretium ex dapibus a. Aenean pellentesque tellus sed fermentum bibendum. Etiam nec libero eget orci iaculis facilisis nec ac elit. Fusce blandit velit vel cursus porta.

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Qui sommes-nous ?

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Texte suggéré : L’adresse de notre site est : https://localhost.

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Commentaires

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Texte suggéré : Quand vous laissez un commentaire sur notre site, les données inscrites dans le formulaire de commentaire, ainsi que votre adresse IP et l’agent utilisateur de votre navigateur sont collectés pour nous aider à la détection des commentaires indésirables.

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Une chaîne anonymisée créée à partir de votre adresse e-mail (également appelée hash) peut être envoyée au service Gravatar pour vérifier si vous utilisez ce dernier. Les clauses de confidentialité du service Gravatar sont disponibles ici : https://automattic.com/privacy/. Après validation de votre commentaire, votre photo de profil sera visible publiquement à coté de votre commentaire.

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Médias

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Texte suggéré : Si vous téléversez des images sur le site, nous vous conseillons d’éviter de téléverser des images contenant des données EXIF de coordonnées GPS. Les personnes visitant votre site peuvent télécharger et extraire des données de localisation depuis ces images.

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Cookies

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Texte suggéré : Si vous déposez un commentaire sur notre site, il vous sera proposé d’enregistrer votre nom, adresse e-mail et site dans des cookies. C’est uniquement pour votre confort afin de ne pas avoir à saisir ces informations si vous déposez un autre commentaire plus tard. Ces cookies expirent au bout d’un an.

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Si vous vous rendez sur la page de connexion, un cookie temporaire sera créé afin de déterminer si votre navigateur accepte les cookies. Il ne contient pas de données personnelles et sera supprimé automatiquement à la fermeture de votre navigateur.

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Lorsque vous vous connecterez, nous mettrons en place un certain nombre de cookies pour enregistrer vos informations de connexion et vos préférences d’écran. La durée de vie d’un cookie de connexion est de deux jours, celle d’un cookie d’option d’écran est d’un an. Si vous cochez « Se souvenir de moi », votre cookie de connexion sera conservé pendant deux semaines. Si vous vous déconnectez de votre compte, le cookie de connexion sera effacé.

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En modifiant ou en publiant une publication, un cookie supplémentaire sera enregistré dans votre navigateur. Ce cookie ne comprend aucune donnée personnelle. Il indique simplement l’ID de la publication que vous venez de modifier. Il expire au bout d’un jour.

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Contenu embarqué depuis d’autres sites

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Texte suggéré : Les articles de ce site peuvent inclure des contenus intégrés (par exemple des vidéos, images, articles…). Le contenu intégré depuis d’autres sites se comporte de la même manière que si le visiteur se rendait sur cet autre site.

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Ces sites web pourraient collecter des données sur vous, utiliser des cookies, embarquer des outils de suivis tiers, suivre vos interactions avec ces contenus embarqués si vous disposez d’un compte connecté sur leur site web.

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Utilisation et transmission de vos données personnelles

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Texte suggéré : Si vous demandez une réinitialisation de votre mot de passe, votre adresse IP sera incluse dans l’e-mail de réinitialisation.

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Durées de stockage de vos données

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Texte suggéré : Si vous laissez un commentaire, le commentaire et ses métadonnées sont conservés indéfiniment. Cela permet de reconnaître et approuver automatiquement les commentaires suivants au lieu de les laisser dans la file de modération.

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Pour les comptes qui s’inscrivent sur notre site (le cas échéant), nous stockons également les données personnelles indiquées dans leur profil. Tous les comptes peuvent voir, modifier ou supprimer leurs informations personnelles à tout moment (à l’exception de leur identifiant). Les gestionnaires du site peuvent aussi voir et modifier ces informations.

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Les droits que vous avez sur vos données

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Texte suggéré : Si vous avez un compte ou si vous avez laissé des commentaires sur le site, vous pouvez demander à recevoir un fichier contenant toutes les données personnelles que nous possédons à votre sujet, incluant celles que vous nous avez fournies. Vous pouvez également demander la suppression des données personnelles vous concernant. Cela ne prend pas en compte les données stockées à des fins administratives, légales ou pour des raisons de sécurité.

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Où vos données sont envoyées

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Texte suggéré : Les commentaires des visiteurs peuvent être vérifiés à l’aide d’un service automatisé de détection des commentaires indésirables.

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In elementum libero eu quam finibus interdum. In interdum ex at velit dignissim, vel luctus nulla cursus. Ut sodales dui ac blandit consectetur. Aenean porttitor velit non nibh mollis, porta semper turpis consectetur. Sed a dignissim sem, eget varius purus. Nullam mollis vitae nulla id eleifend. Cras at hendrerit est, sed pretium tortor. Donec vitae odio sit amet sapien ultrices ullamcorper. Integer fringilla consequat nisl, sed dignissim purus cursus et.

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In hac habitasse platea dictumst. In mattis turpis odio, id fermentum justo scelerisque eget. Sed nisi justo, dictum eu euismod eget, porttitor a ligula. Nunc mollis molestie quam, sit amet mollis nisi aliquam dictum. In dignissim sapien libero, quis faucibus erat laoreet id. Morbi aliquam placerat nulla eu vehicula. Duis elementum magna lorem, a aliquet mi feugiat sed. Ut est metus, consequat at volutpat vitae, finibus ut enim. Duis porttitor orci non volutpat feugiat. Vivamus tincidunt metus vel eros malesuada, ut luctus nulla commodo. In in sollicitudin odio. Donec in est ut tortor pharetra elementum eget non risus.

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In elementum libero eu quam finibus interdum. In interdum ex at velit dignissim, vel luctus nulla cursus. Ut sodales dui ac blandit consectetur. Aenean porttitor velit non nibh mollis, porta semper turpis consectetur. Sed a dignissim sem, eget varius purus. Nullam mollis vitae nulla id eleifend. Cras at hendrerit est, sed pretium tortor. Donec vitae odio sit amet sapien ultrices ullamcorper. Integer fringilla consequat nisl, sed dignissim purus cursus et.

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In hac habitasse platea dictumst. In mattis turpis odio, id fermentum justo scelerisque eget. Sed nisi justo, dictum eu euismod eget, porttitor a ligula. Nunc mollis molestie quam, sit amet mollis nisi aliquam dictum. In dignissim sapien libero, quis faucibus erat laoreet id. Morbi aliquam placerat nulla eu vehicula. Duis elementum magna lorem, a aliquet mi feugiat sed. Ut est metus, consequat at volutpat vitae, finibus ut enim. Duis porttitor orci non volutpat feugiat. Vivamus tincidunt metus vel eros malesuada, ut luctus nulla commodo. In in sollicitudin odio. Donec in est ut tortor pharetra elementum eget non risus.

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godard, christ, noir, les oubliés, flamme

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godard, christ, noir, les oubliés, flamme

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Dans le cadre de ses recherches, Letizia Lusuardi, doctorante à l’ED 267 Arts&Médias (UMR THALIM) de l’Université Sorbonne-Nouvelle à Paris et à l’Université IULM à Milan, a réalisé en 2023 un travail d’identification et de partition de Le Livre d’Image (2018), dernier film de Jean-Luc Godard, composé de citations d’archives (found-footage) provenant de films, de peintures, de programmes télévisés, de photographies, de livres ou de compositions musicales.

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La partition, découpant le film en séquences temporelles, prend la forme d’un tableau où chaque moment du film est décrit selon quatre catégories: les images, les écrits, les pistes musicales et enfin les voix off. Ce modèle est repris du travail sur Histoire(s) du cinéma (1989-99) réalisé et publié sur un site internet en 2006 en open access par Céline Scemama, en collaboration avec l\'Université Panthéon Sorbonne.

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Outre l’accès libre à la partition du film, cette publication sur site internet permet aux utilisateurs référencés de compléter le travail d\'identification, ou de suggérer des modifications (environ 80% des œuvres citées sont pour l’instant identifiées). Ceci répond à une volonté d\'encourager les pratiques d\'interaction et de science participative.

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Ce site, développé selon les principes F.A.I.R., est hébergé par la TGIR huma-Num, dans un but de partage et de pérennisation des données de la recherche. Il a été développé en collaboration avec Amal Guha, ingénieur de recherches CNRS, Philippe Agbati, étudiant en informatique à l’IUT Paris Rives de Seine de l’Université Paris-Descartes et stagiaire auprès du laboratoire THALIM, et Valentin Le Moign, pour le collectif Figures Libres, en charge de la conception graphique et du suivi de développement.

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Ce projet a pu être réalisé grâce au financement reçu en 2023 à la suite d\'un appel à projets en Humanités Numériques - Science & Société de la Direction de la Recherche, de la Valorisation, et des Etudes Doctorales (DiRVED) de l’Université Sorbonne-Nouvelle, et grâce au soutien de l’unité mixte de recherche 7172 THALIM (Théorie et histoire des arts et des littératures de la modernité).

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Who is this man ?\nScott Walker : 30th Century Man (2007), Stephen Kijak.\n\nBande Son\n---\n\nCossacks Are (2006), Scott Walker.\n\nÉcrits\n---\n\nje vais rajouter un contenu ','02’11','','inherit','open','open','','','','','2023-10-26 10:13:37','2023-10-26 08:13:37','',13215,'https://localhost/?p=13952',0,'revision','',0), (13954,1,'2023-11-07 09:18:46','2023-11-07 08:18:46','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nC’est que pour ne pas faire caca \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','02’31','','draft','open','open','','','','','2023-11-09 08:53:15','2023-11-09 07:53:15','',0,'https://localhost/?p=13954',0,'post','draft-revision',13216), (13955,1,'2023-11-07 09:19:02','2023-11-07 08:19:02','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nLes maîtres du m\nDevraient se méf\nPrécisément parc\n','0’26','','draft','open','open','','','','','2023-11-09 08:53:14','2023-11-09 07:53:14','',0,'https://localhost/?p=13955',0,'post','draft-revision',13198), (13965,1,'2023-11-09 08:33:15','2023-11-09 07:33:15','Images\n---\n\nSurexposé et saturé : pellicule entraînée par une bobine en rotation.\nNotre caméra analytique (2015), Yervant Gianikian et Angela Ricci Lucchi.\n\nVoix Off et In\n---\n\nScott Walker in 2006, Orpheus has returned from the underworld. What happened on his long long journey ? Who is this man ?\nScott Walker : 30th Century Man (2007), Stephen Kijak.\n\nBande Son\n---\n\nCossacks Are (2006), Scott Walker.\n\nÉcrits\n---','02’11','','inherit','closed','closed','','13215-revision-v1','','','2023-11-09 08:33:15','2023-11-09 07:33:15','',13215,'https://localhost/?p=13965',0,'revision','',0), (13966,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nNoir.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nBrusquement : silence.\n\nÉcrits\n---\n\nWild Bunch\nVentes internationales\n','1h28’08','','inherit','closed','closed','','13190-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13190,'https://localhost/?p=13966',0,'revision','',0), (13967,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nLogos des distributeurs :\nArte, RTS, CINEFORUM, Loterie Romande, FONDATION JAN MICHALSKI POUR L\'ÉCRITURE ET LA LITTÉRATURE,\nSNAP ORAZ VE REIN,\nConfédération suisse, Département fédéral de l\'intérieur DFI, Office fédéral de la culture OFC\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\nÉcrits\n---\n\n','1h28’15','','inherit','closed','closed','','13191-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13191,'https://localhost/?p=13967',0,'revision','',0), (13968,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\n\n\n\nÉcrits\n---\n\n\n\n','0’00','','inherit','closed','closed','','13192-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13192,'https://localhost/?p=13968',0,'revision','',0), (13969,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nLogo de la société de distribution Kino Lorber.\n\nVoix Off et In\n---\n\nBande Son\n---\n\nÉcrits\n---','0’02','','inherit','closed','closed','','13193-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13193,'https://localhost/?p=13969',0,'revision','',0), (13970,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\n\n\n\nÉcrits\n---\n\n\n\n','0’10','','inherit','closed','closed','','13194-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13194,'https://localhost/?p=13970',0,'revision','',0), (13971,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nPalme d\'Or avec inscrit en-dessous « Festival de Cannes 2018 Spécial ». \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nBip sonore \n\n\nÉcrits\n---\n\n\n\n','0\'13','','inherit','closed','closed','','13195-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13195,'https://localhost/?p=13971',0,'revision','',0), (13972,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','0’18','','inherit','closed','closed','','13196-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13196,'https://localhost/?p=13972',0,'revision','',0), (13973,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nDétail de la main.\nSan Giovanni Battista (1508 - 1513), Léonard de Vinci.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','0’23','','inherit','closed','closed','','13197-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13197,'https://localhost/?p=13973',0,'revision','',0), (13974,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nLes maîtres du m\nDevraient se méf\nPrécisément parc\n','0’26','','inherit','closed','closed','','13955-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13955,'https://localhost/?p=13974',0,'revision','',0), (13975,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\ns du monde\nSe méfier de Bécassine,\nParce qu’elle se tait.\nLes enfants humiliés, Georges Bernanos (1949).\n','0’30','','inherit','closed','closed','','13199-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13199,'https://localhost/?p=13975',0,'revision','',0), (13976,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','0’35','','inherit','closed','closed','','13200-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13200,'https://localhost/?p=13976',0,'revision','',0), (13977,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nMains de Jean-Luc Godard, au travail à la table de montage, avec une pellicule.\nKing Lear (1987), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIl y a les 5 doigts, les 5 sens, les 5 parties du monde, oui les 5 doigts de la fée. Mais tous ensemble ils composent la main.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','0’41','','inherit','closed','closed','','13201-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13201,'https://localhost/?p=13977',0,'revision','',0), (13978,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nDétail de La Main, Alberto Giacometti (1947) allant vers le haut.\nHistoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et début du Quintette avec piano, Op. 18 - I. (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\nL’image\n','01’17','','inherit','closed','closed','','13203-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13203,'https://localhost/?p=13978',0,'revision','',0), (13979,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nMains de personne enchaînée allant vers le bas et touchant le sol.\nLe Procès de Jeanne d’Arc (1961), Robert Bresson. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nviendra\n','01’23','','inherit','closed','closed','','13204-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13204,'https://localhost/?p=13979',0,'revision','',0), (13980,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nMain levée vers le haut.\nGare Centrale (1958), Youssef Chahine.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nOh ! Temps\n','01’29','','inherit','closed','closed','','13205-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13205,'https://localhost/?p=13980',0,'revision','',0), (13981,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nPersonne coupant en deux les yeux d’une dame avec un rasoir.\nUn chien andalou (1929), Luis Bunuel.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','01’40','','inherit','closed','closed','','13206-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13206,'https://localhost/?p=13981',0,'revision','',0), (13982,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nArchive s et morale.\nPhrase citée dans Histoire (s) du cinéma (1988 - 98), Jean-Luc Godard.\n','01’43','','inherit','closed','closed','','13207-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13207,'https://localhost/?p=13982',0,'revision','',0), (13983,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nSaturé : maisons avec des arbres. Détail d’un tableau d’André Derain.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nQuintette avec piano, Op. 18 - I (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\nCasa Azul Films\n','01’48','','inherit','closed','closed','','13208-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13208,'https://localhost/?p=13983',0,'revision','',0), (13984,1,'2023-11-09 08:49:51','2023-11-09 07:49:51','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nEcran noir production \n \n En surimpression, écrit à la main : \n Mitra Farahani (présidente de la société). \n\n','01’53','','inherit','closed','closed','','13209-revision-v1','','','2023-11-09 08:49:51','2023-11-09 07:49:51','',13209,'https://localhost/?p=13984',0,'revision','',0), (13985,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nSaturé et surexposé : fragments de pellicule sur fond blanc.\nHistoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','01’55','','inherit','closed','closed','','13210-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13210,'https://localhost/?p=13985',0,'revision','',0), (13986,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nTableau avec femmes dans la rue entre des maisons. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','01’58','','inherit','closed','closed','','13211-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13211,'https://localhost/?p=13986',0,'revision','',0), (13987,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\n« Le Livre d’ » écrit à la main à la peinture à l’huile rouge, et « image » écrit en blanc sur fond noir et bleu foncé, toujours coloré à la peinture à l’huile, avec une applique de couleur épaisse et très visible.\n\n\nVoix Off et In\n---\n\nBon, va me chercher les livres. On va jeter un coup d\'œil.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\nC\'est que pour ne pas faire caca, il aurait fallu. Extrait de Pour en finir avec le jugement de Dieu (1948), Antonin Artaud.\n','02’00','','inherit','closed','closed','','13212-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13212,'https://localhost/?p=13987',0,'revision','',0), (13988,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','02’06','','inherit','closed','closed','','13213-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13213,'https://localhost/?p=13988',0,'revision','',0), (13989,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nImage et Parole \n\n','02’08','','inherit','closed','closed','','13214-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13214,'https://localhost/?p=13989',0,'revision','',0), (13990,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nC’est que pour ne pas faire caca \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','02’31','','inherit','closed','closed','','13954-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13954,'https://localhost/?p=13990',0,'revision','',0), (13991,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nHomme (avec une casquette de marin) visant dans une caméra (probablement photographie de Friedrich Wilhelm Murnau).\nHistoire (s) du cinéma, 1b (1988 - 98) Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nil aurait fallu qu\'on.\nPour en finir avec le jugement de Dieu (1948), Antonin Artaud.\n\n\nBande Son\n---\n\nCossacks Are (2006), Scott Walker.\n\n\nÉcrits\n---\n\nTabou\n','02’34','','inherit','closed','closed','','13217-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13217,'https://localhost/?p=13991',0,'revision','',0), (13992,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nCouverture du livre de C. F. Ramuz, Les signes parmi nous.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','02’38','','inherit','closed','closed','','13218-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13218,'https://localhost/?p=13992',0,'revision','',0), (13993,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCue, Scott Walker (2006).\n\n\nÉcrits\n---\n\nLes prophètes\n','02’42','','inherit','closed','closed','','13219-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13219,'https://localhost/?p=13993',0,'revision','',0), (13994,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nHomme sautant une épée à la main sur un autre homme.\nHamlet (1964), Grigori Kozintsev.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','02’46','','inherit','closed','closed','','13220-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13220,'https://localhost/?p=13994',0,'revision','',0), (13995,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','02’47','','inherit','closed','closed','','13221-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13221,'https://localhost/?p=13995',0,'revision','',0), (13996,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nHomme en assassinant un autre à coups d’épée, puis sautant d’un mur, imitant un oiseau.\nHamlet (1948), Laurence Olivier.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCri du coq. (Logo de Pathé).\n\n\nÉcrits\n---\n\n','02’48','','inherit','closed','closed','','13222-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13222,'https://localhost/?p=13996',0,'revision','',0), (13997,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nPetite enfant à la tête levée et aux mains ouvertes.\nMiracle en Alabama (1962), Arthur Penn. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','02’51','','inherit','closed','closed','','13223-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13223,'https://localhost/?p=13997',0,'revision','',0), (13998,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - IV. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n1\nREMAKES\n','02’55','','inherit','closed','closed','','13224-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13224,'https://localhost/?p=13998',0,'revision','',0), (13999,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nExplosion d’une bombe atomique. \n\n\nVoix Off et In\n---\n\nécrit dans une nuit d’orage \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','03’00','','inherit','closed','closed','','13225-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13225,'https://localhost/?p=13999',0,'revision','',0), (14000,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nFemme aidant un homme à s’éloigner d’une maison.\nEn quatrième vitesse [Kiss Me Deadly] (1955), Robert Aldrich.\n\n\nVoix Off et In\n---\n\nles affaires spéciales de police marchent de front avec\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','03’04','','inherit','closed','closed','','13226-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13226,'https://localhost/?p=14000',0,'revision','',0), (14001,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nLogo représentant un atome. \n\n\nVoix Off et In\n---\n\nles mesures les plus générales de la politique. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','03’08','','inherit','closed','closed','','13227-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13227,'https://localhost/?p=14001',0,'revision','',0), (14002,1,'2023-11-09 08:49:52','2023-11-09 07:49:52','Images\n---\n\nFemme aidant un homme à s’éloigner d’une maison sur une plage.\nEn quatrième vitesse [Kiss Me Deadly] (1955), Robert Aldrich.\n\n\nVoix Off et In\n---\n\nLes fautes morales s’y confondent avec les crimes d’État.\nHistoire de la Révolution française (1893 - 98), Jules Michelet.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','03’12','','inherit','closed','closed','','13228-revision-v1','','','2023-11-09 08:49:52','2023-11-09 07:49:52','',13228,'https://localhost/?p=14002',0,'revision','',0), (14003,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nVassili Semionovitch Grossman écrivant au tableau. \n\n\nVoix Off et In\n---\n\nC’est évidemment là, et évidemment le coloris aussi que les peintres en tiraient. La forme, le dessin, les gros axes, les cadrages, les directions, le mouvement (Pierre Guyotat). \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','03’17','','inherit','closed','closed','','13229-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13229,'https://localhost/?p=14003',0,'revision','',0), (14004,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nOn accomplirait l’acte rédempteur, si l’on pourrait conduire la critique jusqu’à la mort volontaire, sagement désespérée, de notre penser / parler.\nLe langage (1906), Fritz Mauthner.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','03’24','','inherit','closed','closed','','13230-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13230,'https://localhost/?p=14004',0,'revision','',0), (14005,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n1 Remakes\n','03’37','','inherit','closed','closed','','13231-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13231,'https://localhost/?p=14005',0,'revision','',0), (14006,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nFemmes sortant d’un taxi ouvert par un concierge, homme lisant un papier.\nAllemagne neuf zéro (1997), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\ngarder l’apparence de la vie\n(Jean-Luc Godard).\n\nComme le cinéma aussi, il faut que tout soit,\n\n\nBande Son\n---\n\nId. e Cue (2006), Scott Walker.\n\n\nÉcrits\n---\n\n','03’42','','inherit','closed','closed','','13232-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13232,'https://localhost/?p=14006',0,'revision','',0), (14007,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nAu ralenti, et plus tard accéléré : deux dames accompagnées à une voiture par un concierge sous un parapluie.\nLe dernier des hommes (1924), Friedrich Wilhelm Murnau.\n\n\nVoix Off et In\n---\n\nil faut que tout parle. (Pierre Guyotat).\n\n\nBande Son\n---\n\nSilence, puis moteur de voiture, et pas sur le sol accompagnés de rires de femmes.\nMon histoire n’est pas encore écrite (2017), Jacqueline Gozland.\n\n\nÉcrits\n---\n\n','04’04','','inherit','closed','closed','','13233-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13233,'https://localhost/?p=14007',0,'revision','',0), (14008,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','04’27','','inherit','closed','closed','','13234-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13234,'https://localhost/?p=14008',0,'revision','',0), (14009,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nHomme parlant avec une femme.\nJohnny Guitar (1954), Nicholas Ray.\n\n\nVoix Off et In\n---\n\nJohnny : Don’t go away.\nVienna : I haven’t moved.\n\n\nBande Son\n---\n\nBande son de Johnny Guitar (1954), Nicholas Ray.\n\n\nÉcrits\n---\n\n','04’29','','inherit','closed','closed','','13235-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13235,'https://localhost/?p=14009',0,'revision','',0), (14010,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nJohnny : Tell me something nice. \n Vienna : Sure, what do you want to hear ? \n Johnny : Lie to me. Tell me all these years you’ve waited \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','04’36','','inherit','closed','closed','','13236-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13236,'https://localhost/?p=14010',0,'revision','',0), (14011,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nHomme parlant avec une femme.\nJohnny Guitar (1954), Nicholas Ray.\n\n\nVoix Off et In\n---\n\nVienna : All those years I’ve waited …\nJohnny : Tell me you would have died if I hadn’t come back.\nVienna : I would\'ve died if you hadn’t come back.\nJohnny : Tell me you still love me like I love you.\nVienna : I still …\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','04’48','','inherit','closed','closed','','13237-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13237,'https://localhost/?p=14011',0,'revision','',0), (14012,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n- Dites des mensonges. \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','05’05','','inherit','closed','closed','','13238-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13238,'https://localhost/?p=14012',0,'revision','',0), (14013,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nHomme parlant avec une femme.\nLe petit soldat (1947), Jean-Luc Godard.\n\nVoix Off et In\n---\n\nque vous n’êtes pas triste que je parte.\n- Je ne suis pas triste que vous partiez. Je ne suis pas amoureuse de vous. Je ne vous rejoindrai pas au Brésil, je ne vous embrasse pas tendrement.\n\n\nBande Son\n---\n\nId. et piano.\n\n\nÉcrits\n---\n\n','05’10','','inherit','closed','closed','','13239-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13239,'https://localhost/?p=14013',0,'revision','',0), (14014,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nJe ne vous embrasse pas tendrement.\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','05’38','','inherit','closed','closed','','13240-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13240,'https://localhost/?p=14014',0,'revision','',0), (14015,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nHomme parlant avec une femme.\nLe petit soldat (1947), Jean-Luc Godard.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','05’45','','inherit','closed','closed','','13241-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13241,'https://localhost/?p=14015',0,'revision','',0), (14016,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','05’50','','inherit','closed','closed','','13242-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13242,'https://localhost/?p=14016',0,'revision','',0), (14017,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nAdolescents faisant des exercices militaires sous la supervision de soldats.\nLiban, guerres et hommes (1975), Frédéric Laffont.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','05’55','','inherit','closed','closed','','13243-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13243,'https://localhost/?p=14017',0,'revision','',0), (14018,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','05’59','','inherit','closed','closed','','13244-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13244,'https://localhost/?p=14018',0,'revision','',0), (14019,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nAdolescents faisant des exercices militaires sous la supervision de soldats.\nLiban, guerres et hommes (1975), Frédéric Laffont.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','06’00','','inherit','closed','closed','','13245-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13245,'https://localhost/?p=14019',0,'revision','',0), (14020,1,'2023-11-09 08:49:53','2023-11-09 07:49:53','Images\n---\n\nMilitaires en rang observés par un commandant.\nLiban, guerres et hommes (1975), Frédéric Laffont.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','06’03','','inherit','closed','closed','','13246-revision-v1','','','2023-11-09 08:49:53','2023-11-09 07:49:53','',13246,'https://localhost/?p=14020',0,'revision','',0), (14021,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nJeunes gens marchant à la manière de chiens, entourés de soldats les nourrissant.\nSalò o le centoventi giornate di Sodoma (1976), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nAboiements et halètements de chiens.\n\n\nÉcrits\n---\n\n','06’07','','inherit','closed','closed','','13247-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13247,'https://localhost/?p=14021',0,'revision','',0), (14022,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n- Mangia, sù ! \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','06’17','','inherit','closed','closed','','13248-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13248,'https://localhost/?p=14022',0,'revision','',0), (14023,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n1 Remakes \n\n','06’28','','inherit','closed','closed','','13249-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13249,'https://localhost/?p=14023',0,'revision','',0), (14024,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nSoldats djihadistes tirant à la mitraillette.\nTimbuktu (2014), Abderrahmane Sissako.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nMitraillette.\n\n\nÉcrits\n---\n\n','06’31','','inherit','closed','closed','','13250-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13250,'https://localhost/?p=14024',0,'revision','',0), (14025,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nBlanc \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','06’33','','inherit','closed','closed','','13251-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13251,'https://localhost/?p=14025',0,'revision','',0), (14026,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nSoldats djihadistes tirant à la mitraillette.\nTimbuktu (2014), Abderrahmane Sissako.\n\nVoix Off et In\n---\n\nBruit de manipulation d\'une arme.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','06’37','','inherit','closed','closed','','13252-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13252,'https://localhost/?p=14026',0,'revision','',0), (14027,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nSoldats déplaçant des cadavres et soignant des femmes torturées.\nVrai faux passeport (2006), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nLes américains s’efforcent de réanimer cette combattante\n\n\nBande Son\n---\n\nBande son de Vrai faux passeport (2006), Jean-Luc Godard.\n\n\nÉcrits\n---\n\n','06’44','','inherit','closed','closed','','13253-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13253,'https://localhost/?p=14027',0,'revision','',0), (14028,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','07’05','','inherit','closed','closed','','13254-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13254,'https://localhost/?p=14028',0,'revision','',0), (14029,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nHélicoptère.\nLa Chute du faucon noir (2001), Ridley Scott.\n\n\nVoix Off et In\n---\n\npour sans doute l’interroger. Qu’en tireront-ils ? (fois 2)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','07’08','','inherit','closed','closed','','13255-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13255,'https://localhost/?p=14029',0,'revision','',0), (14030,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nSoldats déplaçant des cadavres et soignant des femmes torturées. Vrai faux passeport (2006), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nDes insultes, des chants communistes ou simplement des cris de douleur.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nPatrie\n','07’13','','inherit','closed','closed','','13256-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13256,'https://localhost/?p=14030',0,'revision','',0), (14031,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nSoldat menaçant une femme et un enfant avec une carabine.\nLes carabiniers (1963), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nFaites la partir. Pas dans la cuisine. Mettez-vous sur la chaise ! Tournez-vous !\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','07’17','','inherit','closed','closed','','13257-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13257,'https://localhost/?p=14031',0,'revision','',0), (14032,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','07’43','','inherit','closed','closed','','13258-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13258,'https://localhost/?p=14032',0,'revision','',0), (14033,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nEnfant sur une pelouse écoutant de la musique. Homme apprenant à nager à une femme.\nLes hommes les dimanches (1930), Robert Siodmak et Edgar George Ulmer.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nBande son de Les hommes les dimanches (1930), Robert Siodmak et Edgar George Ulmer.\n\nÉcrits\n---\n\n','07’44','','inherit','closed','closed','','13259-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13259,'https://localhost/?p=14033',0,'revision','',0), (14034,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nDeux hommes avec un scooter suivant deux femmes qui se promenant dans la rue.\nBlue jeans (1957), Jacques Rozier.\n\n\nVoix Off et In\n---\n\nAlors on se promène ? Vous n’avez pas peur toutes seules ? Vous habitez chez vos parents ? Alors vous habitez chez papa et maman ?\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','07’51','','inherit','closed','closed','','13260-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13260,'https://localhost/?p=14034',0,'revision','',0), (14035,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nChez papa et maman ? \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','08’09','','inherit','closed','closed','','13261-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13261,'https://localhost/?p=14035',0,'revision','',0), (14036,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nAvion de guerre \n orné d’un dessin de dents. Documentaire de la guerre civile en Chine. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','08’12','','inherit','closed','closed','','13262-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13262,'https://localhost/?p=14036',0,'revision','',0), (14037,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nRequin émergeant de l\'eau, la gueule grande ouverte.\nLes dents de la mer (1975), Steven Spielberg.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','08’13','','inherit','closed','closed','','13263-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13263,'https://localhost/?p=14037',0,'revision','',0), (14038,1,'2023-11-09 08:49:54','2023-11-09 07:49:54','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n1 \n REMAKES \n\n','08’14','','inherit','closed','closed','','13264-revision-v1','','','2023-11-09 08:49:54','2023-11-09 07:49:54','',13264,'https://localhost/?p=14038',0,'revision','',0), (14039,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nEmpilement de cadavres.\nNuit et brouillard (1956), Alain Resnais.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','08’16','','inherit','closed','closed','','13265-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13265,'https://localhost/?p=14039',0,'revision','',0), (14040,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nHomme tuant un cheval.\nLe sang des bêtes (1949), Georges Franju,.\n\n\nVoix Off et In\n---\n\nIl est presque impossible d’abolir\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','08’19','','inherit','closed','closed','','13266-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13266,'https://localhost/?p=14040',0,'revision','',0), (14041,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nla réciprocité entre les hommes.\nLa violence est une forme.\nLa violence et le sacré, (1972), René Girard\n\n\nBande Son\n---\n\nId. e Cue (2006), Scott Walker.\n\n\nÉcrits\n---\n\nL’une part la décision et\ndécision, c’est : se tenir\nêtre et le non-être @ et il y\nde l’être, le primat incor\n\n(Vladimir Ilitch Lénine).\n','08’24','','inherit','closed','closed','','13267-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13267,'https://localhost/?p=14041',0,'revision','',0), (14042,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nHibou, fondu avec un homme battant des paupières et les frottant successivement.\nLa Grève (1925), Sergueï Eisenstein. Histoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCue (2006), Scott Walker.\n\n\nÉcrits\n---\n\n','08’31','','inherit','closed','closed','','13268-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13268,'https://localhost/?p=14042',0,'revision','',0), (14043,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','08’36','','inherit','closed','closed','','13269-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13269,'https://localhost/?p=14043',0,'revision','',0), (14044,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nHommes essayant de prendre la fuite et se faisant tirer dessus. Certains meurent. Hommes lançant dans la mer des prisonniers attachés.\nPaisà (1946), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nAccadeva nell’inverno del 1944. All’inizio della primavera la guerra era finita.\n\n\nBande Son\n---\n\nMitraillette, personnes tombant dans l\'eau.\n\n\nÉcrits\n---\n\n','08’43','','inherit','closed','closed','','13270-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13270,'https://localhost/?p=14044',0,'revision','',0), (14045,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nSurexposé : djihadistes tirant sur des hommes, et les lançant à la mer. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','09’06','','inherit','closed','closed','','13271-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13271,'https://localhost/?p=14045',0,'revision','',0), (14046,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nSurexposé et saturé en tons rouges : mer. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','09’13','','inherit','closed','closed','','13272-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13272,'https://localhost/?p=14046',0,'revision','',0), (14047,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nUn homme et une femme traversant en courant le corridor de Vasari à Florence.\nPaisà (1946), Roberto Rossellini.\n\nEn surimpression, La belle et la bête (1946), Jean Cocteau.\n\n\nVoix Off et In\n---\n\nS’il vous plaît (fois 7)\n\n\nBande Son\n---\n\nRessac de vagues.\n\n\nÉcrits\n---\n\n','09’15','','inherit','closed','closed','','13273-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13273,'https://localhost/?p=14047',0,'revision','',0), (14048,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nDevenir immortelle ne vous intéresse vraiment pas ?\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\nRIM (AK) ES\n','09’23','','inherit','closed','closed','','13274-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13274,'https://localhost/?p=14048',0,'revision','',0), (14049,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nHomme se jettant à la mer pour sauver une femme voulant se suicider.\nVertigo (1958), Alfred Hitchcock.\n\n\nVoix Off et In\n---\n\n- Immortelle, quoi ça sert ?\n- On m’a dit que tout le monde en avait envie.\n- Qu’est ce que je vais devenir si je meurs pas ? La vie va s’arrêter\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’27','','inherit','closed','closed','','13275-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13275,'https://localhost/?p=14049',0,'revision','',0), (14050,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nje ne suis pas comme vous. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','09’44','','inherit','closed','closed','','13276-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13276,'https://localhost/?p=14050',0,'revision','',0), (14051,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nSurexposé et au ralenti : homme transportant le corps d’une femme ayant risqué de se noyer.\nVertigo (1958), Alfred Hitchcock.\n\n\nVoix Off et In\n---\n\n- Fière, et orgueilleuse avec ça.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’47','','inherit','closed','closed','','13277-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13277,'https://localhost/?p=14051',0,'revision','',0), (14052,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nFemme à la plage et homme naigeant dans la mer.\nFemme au corbeau (1929), Frank Borzage.\n\nVoix Off et In\n---\n\n- Oui, fière, si je me compare.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’49','','inherit','closed','closed','','13278-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13278,'https://localhost/?p=14052',0,'revision','',0), (14053,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nCaméraman assis sur une dolly.\nSilence ! On tourne (2001), Youssef Chahine.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’56','','inherit','closed','closed','','13279-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13279,'https://localhost/?p=14053',0,'revision','',0), (14054,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nVisage d’une femme.\nL’Atalante (1934), Jean Vigo, au ralenti et superposé à l’image d’un homme.\n\n\nVoix Off et In\n---\n\nEt humble, si je me considère.\n- Vous me l\'avez déjà dit.\n- Oui, mais je ne savais pas que c\'était vous. Je croyais que c\'était Simon qui était là.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','09’58','','inherit','closed','closed','','13280-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13280,'https://localhost/?p=14054',0,'revision','',0), (14055,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nHomme déposant une femme par terre au bord d’un lac.\nHélas pour moi (1993), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nC’est notre première dispute, et je t’aime.\nHélas pour moi (1993), Jean-Luc Godard.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','10’12','','inherit','closed','closed','','13281-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13281,'https://localhost/?p=14055',0,'revision','',0), (14056,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nDeux personnes marchant à quatre pattes sur le sol au milieu de l\'eau.\nLa furie du désir [Ruby Gentry] (1952), King Vidor.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','10’19','','inherit','closed','closed','','13282-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13282,'https://localhost/?p=14056',0,'revision','',0), (14057,1,'2023-11-09 08:49:55','2023-11-09 07:49:55','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nQuintette avec piano (1944), Op. 18 - I (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','10’25','','inherit','closed','closed','','13283-revision-v1','','','2023-11-09 08:49:55','2023-11-09 07:49:55','',13283,'https://localhost/?p=14057',0,'revision','',0), (14058,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nImages d’archives : signature de l\'armistice de la Seconde Guerre mondiale le 8 mai 1945. En noir et blanc, puis en couleurs.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','10’27','','inherit','closed','closed','','13284-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13284,'https://localhost/?p=14058',0,'revision','',0), (14059,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','10’37','','inherit','closed','closed','','13285-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13285,'https://localhost/?p=14059',0,'revision','',0), (14060,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nImages d’archives de la chaîne de télévision francaise Planète : folle fêtant, drapeau Etatsunien à la main.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','10’39','','inherit','closed','closed','','13286-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13286,'https://localhost/?p=14060',0,'revision','',0), (14061,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nAssignat de 25 sols. (Papier monnaie fiduciaire d’échange, instaurée sous la Révolution française par la loi du 4 janvier 1792). \n\n\nVoix Off et In\n---\n\nOn a signé, ah signé, assigné, assigné, assignats. (Jean-Luc Godard) \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','10’41','','inherit','closed','closed','','13287-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13287,'https://localhost/?p=14061',0,'revision','',0), (14062,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nVous vous souvenez de José. républicain espagnol ? Avec les communistes j\'irai jusqu\'à la mort.\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','10’55','','inherit','closed','closed','','13288-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13288,'https://localhost/?p=14062',0,'revision','',0), (14063,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nHommes posant un livre sur la tête d’un homme allongé et plaçant le bout de l\'index et du majeur sur sa couverture.\nIvan le terrible (1944), Sergej Ejzenstejn. Liberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nAvec les communistes j\'irai jusqu\'à la mort mais je ne ferai pas un pas de plus.\nL’Espoir (1937), André Malraux.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','11’00','','inherit','closed','closed','','13289-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13289,'https://localhost/?p=14063',0,'revision','',0), (14064,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nEnfants jouant du violon.\nLes enfants jouent à la Russie (1993), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nOrchestre.\n\n\nÉcrits\n---\n\n','11’21','','inherit','closed','closed','','13290-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13290,'https://localhost/?p=14064',0,'revision','',0), (14065,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nPhotographie d’Inès Armand, femme politique communiste. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','11’26','','inherit','closed','closed','','13291-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13291,'https://localhost/?p=14065',0,'revision','',0), (14066,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nAvec des couleurs surexposées et saturées : groupe de personnes avec drapeaux et armes.\nLa liberté guidant le peuple (1830), Eugène Delacroix.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','11’30','','inherit','closed','closed','','13292-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13292,'https://localhost/?p=14066',0,'revision','',0), (14067,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nEn noir et blanc et surexposé : groupe de personnes avec drapeaux et armes.\nLa liberté guidant le peuple (1830), Eugène Delacroix.\n\nVoix Off et In\n---\n\nLes aventures. Encore un rouge. Dernier, le rouge.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','11’32','','inherit','closed','closed','','13293-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13293,'https://localhost/?p=14067',0,'revision','',0), (14068,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nAlternance en clignotant de photos en couleur d’Hitler, et d’une dame marchant, un enfant dans les bras.\nAngèle (1934), Marcel Pagnol.\n\n\nVoix Off et In\n---\n\n- C’est lui qui a commencé, et c’est la vérité.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','11’35','','inherit','closed','closed','','13294-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13294,'https://localhost/?p=14068',0,'revision','',0), (14069,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nTais-toi Cassandre ! \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','11’40','','inherit','closed','closed','','13295-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13295,'https://localhost/?p=14069',0,'revision','',0), (14070,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nFemme pleurant.\nLes larmes de Freya (1900), Anne-Marie Zylberman.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','11’42','','inherit','closed','closed','','13296-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13296,'https://localhost/?p=14070',0,'revision','',0), (14071,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nMains tournées vers la lumière.\nFragment de tableau (1588), Anonyme, École de Fontainebleau.\nUne main sous un sein, une autre main joignant l’index au pouce.\nHistoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard,.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','11’45','','inherit','closed','closed','','13297-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13297,'https://localhost/?p=14071',0,'revision','',0), (14072,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n2 \n LES SOIRÉES DE \n ST. PÉTERSBOURG (Joseph de Maistre, 1821) \n\n','11’48','','inherit','closed','closed','','13298-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13298,'https://localhost/?p=14072',0,'revision','',0), (14073,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nJeune fille dansant à un bal.\nGuerre et paix (1967), Sergueï Bondartchouk.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nInstruments à cordes : bande son de Guerre et paix (1967), Sergueï Bondartchouk.\n\n\nÉcrits\n---\n\n','11’53','','inherit','closed','closed','','13299-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13299,'https://localhost/?p=14073',0,'revision','',0), (14074,1,'2023-11-09 08:49:56','2023-11-09 07:49:56','Images\n---\n\nSoldats à cheval, pendant une bataille.\nGuerre et paix (1967), Sergueï Bondartchouk.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence et Piano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','11’55','','inherit','closed','closed','','13300-revision-v1','','','2023-11-09 08:49:56','2023-11-09 07:49:56','',13300,'https://localhost/?p=14074',0,'revision','',0), (14075,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nSurexposé, puis perturbé par des scintillements, des taches noires ou des taches blanches surexposées : nobles entrant dans une salle de bal.\nGuerre et paix (1967), Sergueï Bondartchouk.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nEntrance of Tsar Alexander (Polonaise) : bande son du film Guerre et paix (1967), Sergueï Bondartchouk.\n\n\nÉcrits\n---\n\n','12’06','','inherit','closed','closed','','13301-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13301,'https://localhost/?p=14075',0,'revision','',0), (14076,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','12’45','','inherit','closed','closed','','13302-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13302,'https://localhost/?p=14076',0,'revision','',0), (14077,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nEnfants luttant à coups de bâton.\nLes enfants de la guerre (1976), Jocelyne Saab.\n\n\nVoix Off et In\n---\n\nLa guerre est là. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','12’47','','inherit','closed','closed','','13303-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13303,'https://localhost/?p=14077',0,'revision','',0), (14078,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nFemme allongée sur le dos devant un homme regardant la mer.\nNotre musique (2004), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- La voyez-vous, Péguy, dit-elle.\n- Il n’y a pas de morts.\n- Rien n’est aussi commode qu\'un texte.\n- Il y a seulement\n- Et rien n’est aussi commode qu\'un mot dans un texte.\n\n\nBande Son\n---\n\nRessac de vagues.\n\n\nÉcrits\n---\n\n','13’03','','inherit','closed','closed','','13304-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13304,'https://localhost/?p=14078',0,'revision','',0), (14079,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nNous n\'avions que du livre à mettre dans du livre. \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','13’13','','inherit','closed','closed','','13305-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13305,'https://localhost/?p=14079',0,'revision','',0), (14080,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nSurexposé : bateaux naviguant en mer. \n\n\nVoix Off et In\n---\n\nQue serait-ce quand il faut dans un livre, dans du livre, mettre de la réalité ? Et au deuxième degré quand il faut, dans la réalité, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’17','','inherit','closed','closed','','13306-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13306,'https://localhost/?p=14080',0,'revision','',0), (14081,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nCannon visant une voiture.\nDe l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nmettre de la réalité.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','13’29','','inherit','closed','closed','','13307-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13307,'https://localhost/?p=14081',0,'revision','',0), (14082,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nVoiture militaire passant devant une folle. \n\n\nVoix Off et In\n---\n\n\n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’34','','inherit','closed','closed','','13309-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13309,'https://localhost/?p=14082',0,'revision','',0), (14083,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nNoir. En alternance : femme se posant la main sur la tête.\nLe silence de la mer (1949), Jean-Pierre Melville.\n\n\nVoix Off et In\n---\n\nLe soir tombe, les vacances finissent.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','13’36','','inherit','closed','closed','','13310-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13310,'https://localhost/?p=14083',0,'revision','',0), (14084,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nHomme torturé au chalumeau.\nRoma città aperta (1945), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nIl me faut une journée pour faire l\'histoire d\'une seconde.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','13’43','','inherit','closed','closed','','13311-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13311,'https://localhost/?p=14084',0,'revision','',0), (14085,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’46','','inherit','closed','closed','','13312-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13312,'https://localhost/?p=14085',0,'revision','',0), (14086,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nDétail surexposé : Reporter, et ombre d’un soldat au fusil. \n\n\nVoix Off et In\n---\n\nIl me faut une année pour faire l\'histoire d\'une minute. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’51','','inherit','closed','closed','','13313-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13313,'https://localhost/?p=14086',0,'revision','',0), (14087,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nReporter, et ombre d’un soldat au fusil. \n\n\nVoix Off et In\n---\n\nIl me faut une vie pour faire l\'histoire d\'une heure. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','13’57','','inherit','closed','closed','','13314-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13314,'https://localhost/?p=14087',0,'revision','',0), (14088,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nIl me faut une éternité pour faire l\'histoire d\'un jour. (Julie Delpy).\nClio, dialogue de l’histoire et de l’âme païenne (1912), Charles Péguy.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','14’05','','inherit','closed','closed','','13315-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13315,'https://localhost/?p=14088',0,'revision','',0), (14089,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nHélas pour moi (1993), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Au revoir Ludovic, vous allez à la guerre ?\n- Oui madame Donadieu.\n\n\nBande Son\n---\n\nAu violon : bande son d’Hélas pour moi (1993), Jean-Luc Godard.\n\n\nÉcrits\n---\n\n','14’08','','inherit','closed','closed','','13316-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13316,'https://localhost/?p=14089',0,'revision','',0), (14090,1,'2023-11-09 08:49:57','2023-11-09 07:49:57','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','14’25','','inherit','closed','closed','','13317-revision-v1','','','2023-11-09 08:49:57','2023-11-09 07:49:57','',13317,'https://localhost/?p=14090',0,'revision','',0), (14091,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nHomme lançant une lance dans le dos d\'un autre homme.\nLes Nibelungen. La mort de Siegfried (1924), Fritz Lang.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. puis silence.\n\n\nÉcrits\n---\n\n','14’28','','inherit','closed','closed','','13318-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13318,'https://localhost/?p=14091',0,'revision','',0), (14092,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nDjihadistes tuant d’une une voiture des gens dans la rue.\nIci et ailleurs (1976), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','14’32','','inherit','closed','closed','','13319-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13319,'https://localhost/?p=14092',0,'revision','',0), (14093,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nHomme transpercé par un javelot.\nLe testament d\'Orphée (1960), Jean Cocteau.\n\n\nVoix Off et In\n---\n\nQuel horreur (fois 3)\n\n\nBande Son\n---\n\nMitraillette, voitures.\n\n\nÉcrits\n---\n\n','14’35','','inherit','closed','closed','','13320-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13320,'https://localhost/?p=14093',0,'revision','',0), (14094,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','14’42','','inherit','closed','closed','','13321-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13321,'https://localhost/?p=14094',0,'revision','',0), (14095,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nMaison en flammes. \n\n\nVoix Off et In\n---\n\nC\'est à Saint Petersburg \n\n\nBande Son\n---\n\nViolon. \n\n\nÉcrits\n---\n\n\n\n','14’45','','inherit','closed','closed','','13322-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13322,'https://localhost/?p=14095',0,'revision','',0), (14096,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nNobles habillés pour une fête de carnaval. Guerre et paix (1967), Sergueï Bondartchouk.\n\n\nVoix Off et In\n---\n\nque de Maistre écrivait les soirées... A la veille de la bataille de la Moskova, il écrivait : « Les fléaux, les malheurs, les divisions, les tortures sont la punition de la méchanceté de l’homme corrompu par le péché. Le bourreau est la pierre angulaire de la société @ l’exécuteur de l’expiation divine.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','14’51','','inherit','closed','closed','','13323-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13323,'https://localhost/?p=14096',0,'revision','',0), (14097,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nPhoto d’une voiture avec militaires. \n\n\nVoix Off et In\n---\n\nC\'est lui \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','15’17','','inherit','closed','closed','','13324-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13324,'https://localhost/?p=14097',0,'revision','',0), (14098,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nMontage en surimpression : photo d’une comtesse. My Official Wife (1926), Paul L. Stein.\n\n\nVoix Off et In\n---\n\nqui nous renvoie à notre juge naturel... Sa mission est sacrée.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','15’19','','inherit','closed','closed','','13325-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13325,'https://localhost/?p=14098',0,'revision','',0), (14099,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','15’22','','inherit','closed','closed','','13326-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13326,'https://localhost/?p=14099',0,'revision','',0), (14100,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nMilitaires sur un champ de bataille, explosions.\nGuerre et paix (1956), King Vidor.\n\n\nVoix Off et In\n---\n\nLe ciel ne peut être apaisé que par le sang. L’innocent peut payer pour le coupable. (Jean Luc Godard).\nLes soirées de Saint-Pétersbourg (1821), Joseph de Maistre.\n\n\nBande Son\n---\n\nId. et batterie\n\n\nÉcrits\n---\n\n','15’26','','inherit','closed','closed','','13327-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13327,'https://localhost/?p=14100',0,'revision','',0), (14101,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nEn noir et blanc : homme traînant un chargement.\nLes paumés de la mendicité [Ladoni] (1994), Artur Aristakisyan.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence, puis Concerto pour Violoncelle et cordes : part II. Longing (2008), Dobrinka Tabakova.\n\n\nÉcrits\n---\n\n','15’33','','inherit','closed','closed','','13328-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13328,'https://localhost/?p=14101',0,'revision','',0), (14102,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nPhoto du tombeau de Rosa Luxemburg.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','16’02','','inherit','closed','closed','','13329-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13329,'https://localhost/?p=14102',0,'revision','',0), (14103,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nEn superposition : soldats tirant une femme à la bouche ouverte.\nLa Chanteuse de café (ou au gant) (1878), Edgar Degas. Histoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','16’09','','inherit','closed','closed','','13330-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13330,'https://localhost/?p=14103',0,'revision','',0), (14104,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nCheval dans un cimetière. Documentaire Shoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','16’12','','inherit','closed','closed','','13331-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13331,'https://localhost/?p=14104',0,'revision','',0), (14105,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nFemme gisant sur le dos, devant un homme regardant la mer.\nNotre musique (2004), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVagues et cris de mouettes.\n\n\nÉcrits\n---\n\n','16’18','','inherit','closed','closed','','13332-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13332,'https://localhost/?p=14105',0,'revision','',0), (14106,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','16’50','','inherit','closed','closed','','13333-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13333,'https://localhost/?p=14106',0,'revision','',0), (14107,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nDétail saturé et surexposée : photographie d’une femme à terre, blessée, un chien mort à ses côtés.\nHistoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','16’54','','inherit','closed','closed','','13334-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13334,'https://localhost/?p=14107',0,'revision','',0), (14108,1,'2023-11-09 08:49:58','2023-11-09 07:49:58','Images\n---\n\nSaturé, puis pris depuis le toit d\'un réservoir : soldats traversant une rivière, les armes au-dessus de la tête. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','16’56','','inherit','closed','closed','','13335-revision-v1','','','2023-11-09 08:49:58','2023-11-09 07:49:58','',13335,'https://localhost/?p=14108',0,'revision','',0), (14109,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','17’05','','inherit','closed','closed','','13336-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13336,'https://localhost/?p=14109',0,'revision','',0), (14110,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nTableau représentant Joseph de Maistre, père de la philosophie contre-révolutionnaire, et critique important des idées des Lumières. \n\n\nVoix Off et In\n---\n\nAu cours de la soirée, le comte Joseph de Maistre grand croix de l\'ordre de saint Maurice et de Lazare, continua… \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','17’08','','inherit','closed','closed','','13337-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13337,'https://localhost/?p=14110',0,'revision','',0), (14111,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nSaturé : bombardements aériens. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nExplosions et avions. \n\n\nÉcrits\n---\n\n\n\n','17’16','','inherit','closed','closed','','13338-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13338,'https://localhost/?p=14111',0,'revision','',0), (14112,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nVoyage dans la steppe à l’arrière d’un camion : une femme et un enfant, la tête recouverte d’un foulard @ sur la route poussiéreuse, l’ombre d’autres camions passant dans la perpendiculaire à l’horizon.\nAlenka (1961), Boris Barnet. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nConcerto pour Violoncelle et cordes : part II. Longing (2008), Dobrinka Tabakova.\n\n\nÉcrits\n---\n\nLa terre\n','17’27','','inherit','closed','closed','','13339-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13339,'https://localhost/?p=14112',0,'revision','',0), (14113,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nFemme poursuivie et attaquée par un groupe d\'hommes.\nLes Contes de la lune vague après la pluie (1953), Kenji Mizoguchi.\n\n\nVoix Off et In\n---\n\ncontinua ses phrases les plus folles. Ainsi s’accomplit sans cesse la grande loi de la destruction des êtres vivants. La terre entière continuellement imbibée de sang n’est qu’un autel immense où tout ce qui vit\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','17’33','','inherit','closed','closed','','13340-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13340,'https://localhost/?p=14113',0,'revision','',0), (14114,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nFemmes traversant une ville détruite dont les bâtiments s\'effondrent devant elles.\nHistoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\ndoit être immolé, sans fin, sans mesure @\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','17’56','','inherit','closed','closed','','13341-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13341,'https://localhost/?p=14114',0,'revision','',0), (14115,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nEn couleur : femme au bord d\'une route, le visage défiguré par des coups.\nIci et ailleurs (1976), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nOù tout ce qui vit doit être immolé, sans fin, sans mesure, sans relâche jusqu\'à la consommation des choses, jusqu\'à l\'extinction du mal.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','18’02','','inherit','closed','closed','','13342-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13342,'https://localhost/?p=14115',0,'revision','',0), (14116,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nVoitures de police djihadistes défilant dans les rues, avec des drapeaux noirs. \n\n\nVoix Off et In\n---\n\nD’ici un mois, les brigades allaient devoir quitter le pays. Une fois de plus, nous comprîmes à quel point \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’15','','inherit','closed','closed','','13343-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13343,'https://localhost/?p=14116',0,'revision','',0), (14117,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nVoiture avec des soldats armés de fusils passant au milieu d\'une rue avec des gens autour. \n\n\nVoix Off et In\n---\n\nnous n’avions pu imaginer que la guerre finisse sans que nous remportions la victoire. La guerre est donc divine en elle-même. \n \n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’19','','inherit','closed','closed','','13344-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13344,'https://localhost/?p=14117',0,'revision','',0), (14118,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLa guerre, la guerre est donc divine en elle-même, parce que c\'est une loi du monde. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nDélivrance \n\n','18’28','','inherit','closed','closed','','13345-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13345,'https://localhost/?p=14118',0,'revision','',0), (14119,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nPhotos d\'avions de chasse en vol. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’35','','inherit','closed','closed','','13346-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13346,'https://localhost/?p=14119',0,'revision','',0), (14120,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nSaturé : bombes et explosions. \n\n\nVoix Off et In\n---\n\nQui pourrait douter que la mort trouvée dans les combats n’est de grand privilège et qui pourrait croire que les victimes de cet épouvantable \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’37','','inherit','closed','closed','','13347-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13347,'https://localhost/?p=14120',0,'revision','',0), (14121,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nPhoto d\'une petite fille demandant désespérément de l\'aide à un soldat. \n\n\nVoix Off et In\n---\n\njugement aient versé leur sang en vain. La guerre est donc divine dans la gloire mystérieuse qui l\'environne, et dans l\'attrait non moins \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','18’47','','inherit','closed','closed','','13348-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13348,'https://localhost/?p=14121',0,'revision','',0), (14122,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\ninexplicable qui nous y porte. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','19’07','','inherit','closed','closed','','13349-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13349,'https://localhost/?p=14122',0,'revision','',0), (14123,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nEnfants jouant à la guerre. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','19’11','','inherit','closed','closed','','13350-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13350,'https://localhost/?p=14123',0,'revision','',0), (14124,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nSaturé : voiture passant avec un drapeau étasunien. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','19’21','','inherit','closed','closed','','13351-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13351,'https://localhost/?p=14124',0,'revision','',0), (14125,1,'2023-11-09 08:49:59','2023-11-09 07:49:59','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','19’24','','inherit','closed','closed','','13352-revision-v1','','','2023-11-09 08:49:59','2023-11-09 07:49:59','',13352,'https://localhost/?p=14125',0,'revision','',0), (14126,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nFemme militaire.\nLa chute de Berlin (1950), Mikhaïl Tchiaoureli.\n\n\nVoix Off et In\n---\n\nEn fin de soirée, encore ces mots de représentants de la diplomatie française\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’26','','inherit','closed','closed','','13353-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13353,'https://localhost/?p=14126',0,'revision','',0), (14127,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nà Saint-Petersburg.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’33','','inherit','closed','closed','','13354-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13354,'https://localhost/?p=14127',0,'revision','',0), (14128,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nAu ralenti : politiciens débattant dans une assemblée.\nNapoléon (1927), Abel Gance.\n\n\nVoix Off et In\n---\n\nEn fin de soirée, encore ces mots de la diplomatie française à Saint-Petersburg.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’36','','inherit','closed','closed','','13355-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13355,'https://localhost/?p=14128',0,'revision','',0), (14129,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nDétail : homme et femme pleurant.\nAdam et Ève chassés du paradis (1424 - 1425), Masaccio.\n\n\nVoix Off et In\n---\n\nMais c’est précisément parce que la révolution qui s’y passe est le comble de l’absurdité et de la corruption morale... (Jean-Luc Godard).\nSoirées de Saint-Pétersbourg (1821), Joseph de Maistre.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’43','','inherit','closed','closed','','13356-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13356,'https://localhost/?p=14129',0,'revision','',0), (14130,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nChien.\nAdieu au langage (2014), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’49','','inherit','closed','closed','','13357-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13357,'https://localhost/?p=14130',0,'revision','',0), (14131,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nHomme en voiture roulant très vite.\nDr. Mabuse, le joueur (1922), Fritz Lang.\n\n\nVoix Off et In\n---\n\net Malraux dira plus simplement transformer notre apocalypse en armée ou crever, c’est tout. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','19’57','','inherit','closed','closed','','13358-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13358,'https://localhost/?p=14131',0,'revision','',0), (14132,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nTransformer notre apocalypse en armée \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','20’07','','inherit','closed','closed','','13359-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13359,'https://localhost/?p=14132',0,'revision','',0), (14133,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nSaturé et en tons verts et jaunes : canard attaqué par un crocodile, et tentant de s\'échapper.\n\n\nVoix Off et In\n---\n\nou crever, c’est tout.\nL’espoir (1937), André Malraux.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','20’09','','inherit','closed','closed','','13360-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13360,'https://localhost/?p=14133',0,'revision','',0), (14134,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nLapin touché par un coup de feu.\nLa règle du jeu (1939), Jean Renoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCoup de feu.\n\n\nÉcrits\n---\n\n','20’13','','inherit','closed','closed','','13361-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13361,'https://localhost/?p=14134',0,'revision','',0), (14135,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nPhotos de trois indiens à cheval au bord d\'une rivière, dans un quartier industrialisé.\nNotre musique (2004), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nLaissez-moi seul. Tout seul, vous entendez ? Je ne demande rien à personne moi.\nAllô Berlin ? Ici Paris ! (1931), Julien Duvivier.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','20’21','','inherit','closed','closed','','13362-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13362,'https://localhost/?p=14135',0,'revision','',0), (14136,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nRangée de personnes pendues ensemble.\nShoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','20’26','','inherit','closed','closed','','13363-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13363,'https://localhost/?p=14136',0,'revision','',0), (14137,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n3.\nCES FLEURS ENTRE LES RAILS,\nDANS LE VENT CONFUS\nDES VOYAGES\n\n(Joseph Maria Rilke).\n','20’28','','inherit','closed','closed','','13364-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13364,'https://localhost/?p=14137',0,'revision','',0), (14138,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nPetite fille sur le quai regardant le passage d\'un train.\nMadeline + Train = Sheer Delight, Vidéo sur youtube .\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano.\n\n\nÉcrits\n---\n\n','20’41','','inherit','closed','closed','','13365-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13365,'https://localhost/?p=14138',0,'revision','',0), (14139,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nEn négatif et passé en noir et blanc : train à vapeur passant.\nVisual essays : origins of film (1983), Al Razutis.\n\n\nVoix Off et In\n---\n\n- What’s coming ?\n- A train.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','20’42','','inherit','closed','closed','','13366-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13366,'https://localhost/?p=14139',0,'revision','',0), (14140,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nImages du 19ème siècle : passagers montant dans un train. \n\n\nVoix Off et In\n---\n\n- Oh is gonna arrive the train ? \n - Yeah \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','20’45','','inherit','closed','closed','','13367-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13367,'https://localhost/?p=14140',0,'revision','',0), (14141,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n- Here he comes ! \n - We are gonna be safe, let\'s go back \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','20’59','','inherit','closed','closed','','13368-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13368,'https://localhost/?p=14141',0,'revision','',0), (14142,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nEn négatif, passé en noir et blanc, clignotant sur les images originales : train à vapeur passant.\nThe edge (2010), Alekseï Outchitel.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nTrain en approche.\n\n\nÉcrits\n---\n\n','21’03','','inherit','closed','closed','','13369-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13369,'https://localhost/?p=14142',0,'revision','',0), (14143,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n- Oooh\nMadeline + Train = Sheer Delight, Vidéo sur youtube.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','21’05','','inherit','closed','closed','','13370-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13370,'https://localhost/?p=14143',0,'revision','',0), (14144,1,'2023-11-09 08:50:00','2023-11-09 07:50:00','Images\n---\n\nSaturé : fleurs. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','21’07','','inherit','closed','closed','','13371-revision-v1','','','2023-11-09 08:50:00','2023-11-09 07:50:00','',13371,'https://localhost/?p=14144',0,'revision','',0), (14145,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nHommes jetant des pierres sur un train venant de passer.\nHélas pour moi (1993), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- lui jette la première pierre !\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','21’09','','inherit','closed','closed','','13372-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13372,'https://localhost/?p=14145',0,'revision','',0), (14146,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','21’14','','inherit','closed','closed','','13373-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13373,'https://localhost/?p=14146',0,'revision','',0), (14147,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nPassagers d\'un train s\'installant dans leurs cabines avant le départ.\nBerlin express (1948), Jacques Tourneur.\n\n\nVoix Off et In\n---\n\nCompartment B, Lucienne Mirbeau, birthplace Lyon France, occupation secretary. Compartment C, Herr Otto Franzen, birthplace, Frankfurt, Germany. Once a German industrialist, now a dealer in scrap iron. Compartment D, unoccupied, but being held for a person of importance. Compartment E, James Sterling of Liverpool, former occupation, soldier, present occupation, school teacher. Lieutenant Maxim Kiroshilov, birthplace Moskow, defender of Stalingrad, now military aide, Russian occupation authorities. Compartment F, Hneu Perrault, Paris, once a member of the French Underground, now a man of commerce.\nCompartment G, Hans Schmidt, birthplace Munich, occupation\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','21’19','','inherit','closed','closed','','13374-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13374,'https://localhost/?p=14147',0,'revision','',0), (14148,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','22’27','','inherit','closed','closed','','13375-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13375,'https://localhost/?p=14148',0,'revision','',0), (14149,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nTrain à vapeur en approche traversant un bois sous la neige.\nThe edge (2010), Alekseï Outchitel.\n\n\nVoix Off et In\n---\n\nIl était environ neuf heures du matin\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','22’30','','inherit','closed','closed','','13376-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13376,'https://localhost/?p=14149',0,'revision','',0), (14150,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nEn couleurs : gens poursuivant un train en partance.\nThe edge (2010), Alekseï Outchitel.\n\n\nVoix Off et In\n---\n\nc’était à la fin de novembre, par un temps de dégel. Le train de Varsovie filait à toute vapeur vers Petersburg.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','22’38','','inherit','closed','closed','','13377-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13377,'https://localhost/?p=14150',0,'revision','',0), (14151,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nSuresposé et passé en noir et blanc : Femmes nues au sauna.\nThe edge (2010), Alekseï Outchitel.\n\n\nVoix Off et In\n---\n\nL’humidité et la brume étaient telles que le jour avait peine à percer.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','22’42','','inherit','closed','closed','','13378-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13378,'https://localhost/?p=14151',0,'revision','',0), (14152,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nDeux enfants devant un train en partance.\nPaysage dans le brouillard (1988), Theo Angelopoulos.\n\n\nVoix Off et In\n---\n\nÀ dix pas à droite et à gauche de la voie, on distinguait malaisément quoi que ce fût par les fenêtres du wagon. (Jean Luc Godard).\nL’idiot (1962), Fiodor Dostoïevski.\n\n\nBande Son\n---\n\nId. puis trains et foule dans une gare.\n\n\nÉcrits\n---\n\n','22’51','','inherit','closed','closed','','13379-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13379,'https://localhost/?p=14152',0,'revision','',0), (14153,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nQuand un siècle \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','23’23','','inherit','closed','closed','','13380-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13380,'https://localhost/?p=14153',0,'revision','',0), (14154,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nPhoto d\'une femme en robe rose. \n\n\nVoix Off et In\n---\n\nse dissout lentement dans le siècle suivant \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','23’28','','inherit','closed','closed','','13381-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13381,'https://localhost/?p=14154',0,'revision','',0), (14155,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nEnfants photographiant un canard.\nHistoires du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nquelques individus transforment les moyens de survie anciens en moyens nouveaux. Ce sont ces derniers que nous appelons arts.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','23’34','','inherit','closed','closed','','13382-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13382,'https://localhost/?p=14155',0,'revision','',0), (14156,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nPhoto de Louis-Ferdinand Céline. \n\n\nVoix Off et In\n---\n\nLa seule chose qui survit à une époque \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','23’44','','inherit','closed','closed','','13383-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13383,'https://localhost/?p=14156',0,'revision','',0), (14157,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nSurexposé : maisons blanches cubiques. \n\n\nVoix Off et In\n---\n\nc\'est la forme d\'art qu\'elle s\'est créée. Aucune activité ne deviendra un art \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','23’50','','inherit','closed','closed','','13384-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13384,'https://localhost/?p=14157',0,'revision','',0), (14158,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nSaturé : personnes assises à des tables en terrasse d\'un bar. \n\n\nVoix Off et In\n---\n\navant que son époque ne soit terminée. Ensuite \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','23’56','','inherit','closed','closed','','13385-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13385,'https://localhost/?p=14158',0,'revision','',0), (14159,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nFragment surexposé.\nLouis IX, dit Saint Louis, Roi de France (1844), Emile Signol.\n\n\nVoix Off et In\n---\n\ncet art disparaîtra. (Jean Luc Godard).\nPour une métahistoire du film (printemps 1997), Hollis Frampton, « Trafic », n. 21.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nLe roi Saint Louis\n','24’00','','inherit','closed','closed','','13386-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13386,'https://localhost/?p=14159',0,'revision','',0), (14160,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nFemme traversant un train bondé.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n- C’est pire que dans le métro.\n- Pardon, laissez passer.\n- Merde alors, vous pouvez pas rester à votre place non ?\n\n\nBande Son\n---\n\nDas Buch der Klange I - XII, V (1999), Hans Otte.\n\n\nÉcrits\n---\n\n','24’05','','inherit','closed','closed','','13387-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13387,'https://localhost/?p=14160',0,'revision','',0), (14161,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nTrain prenant un virage. \n\n\nVoix Off et In\n---\n\n- Suivez - moi Monsieur. \n - Décidément vous dormez \n - Oui, oui je dors. C’est très curieux. \n - Enfin madame, mais expliquerez-vous ? \n \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','24’46','','inherit','closed','closed','','13388-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13388,'https://localhost/?p=14161',0,'revision','',0), (14162,1,'2023-11-09 08:50:01','2023-11-09 07:50:01','Images\n---\n\nCadavres le long de voies ferrées.\nNuit et Brouillard (1956), Alain Resnais.\n\n\nVoix Off et In\n---\n\n- Rien. Si vous dormez, si vous rêvez, acceptez vos rêves. C\'est le rôle du dormeur.\nOrphée (1950), Jean Cocteau.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','25’02','','inherit','closed','closed','','13389-revision-v1','','','2023-11-09 08:50:01','2023-11-09 07:50:01','',13389,'https://localhost/?p=14162',0,'revision','',0), (14163,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nCouple dans un train regardant par la fenêtre.\nFilm socialisme (2010), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nElle était devenue terrible, la langue de Goethe, quand on l\'entendait dans la nuit des petites gares russes. (Jean Luc Godard).\nVie et destin (1930), Vasiliĭ Semenovich Grossman.\n\nFemme [traduction du dialecte tunisien]:\nOn la décrit toujours comme quelque chose de surnaturel. Mais c\'est quelque chose qui ne se ressent pas. Une fois, je me suis heurté à une voiture de police. Après une explosion. J\'ai couru, je suis tombée. J\'ai senti ma tête se cogner contre le sol. J\'ai eu un malaise. Je n\'ai pas pensé à la mort. Non. Moi. C\'est MOI qui est en train de mourir.\n\nHomme (traduction du dialecte tunisien):\nJe te souhaite la sûreté.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','25’08','','inherit','closed','closed','','13390-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13390,'https://localhost/?p=14163',0,'revision','',0), (14164,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nFemme marchant et trébuchant parmi des soldats campant par terre après une catastrophe ferroviaire en Inde.\nLa Croisée des destins [Bhowani Junction] (1956), George Cukor.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nNombreuses personnes parlant et criant.\n\n\nÉcrits\n---\n\n','25’53','','inherit','closed','closed','','13391-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13391,'https://localhost/?p=14164',0,'revision','',0), (14165,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nHomme aidant une femme à sortir par la fenêtre d\'un wagon de train.\nLe Mécano de la General [The General] (1927), Buster Keaton.\n\n\nVoix Off et In\n---\n\nNous voulons voyager, sans vapeur, et sans voile, faites, pour égayer l’ennui de nos prisons, passer sur nos esprits tendus comme une toile, vos souvenirs avec leur cadre d’horizon. (Julie Delpy).\n« Le voyage », Les Fleurs du mal (1857), Charles Baudelaire.\nHistoires du cinéma 2a (1989 - 1999), Jean-Luc Godard.\n\n\nBande Son\n---\n\nSilence et Le Clavier bien tempéré 1, BWV 846 - 869 (1722), Johann Sebastian Bach.\n\n\nÉcrits\n---\n\n','26’00','','inherit','closed','closed','','13392-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13392,'https://localhost/?p=14165',0,'revision','',0), (14166,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nTrain en Afrique avec autour des femmes et hommes vendant des fruits et vêtements dans un marché. Enfants suivant un train qui s’éloigne.\nLes routes de l’impossible (2007), Tony Comiti, France 5.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPersonnes parlant et criant. En arrière-plan sonore : tambours.\n\n\nÉcrits\n---\n\n','26’30','','inherit','closed','closed','','13393-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13393,'https://localhost/?p=14166',0,'revision','',0), (14167,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nHomme et femme mangeant assis sur les sièges d\'un train.\nManon (1949), Henri-Georges Clouzot.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','26’46','','inherit','closed','closed','','13394-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13394,'https://localhost/?p=14167',0,'revision','',0), (14168,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nPassagers dans un wagon.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nAccordéon.\n\n\nÉcrits\n---\n\n','26’48','','inherit','closed','closed','','13395-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13395,'https://localhost/?p=14168',0,'revision','',0), (14169,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nHomme parlant de manière animée à une femme dans un train.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSifflement de la vapeur s\'échappant d\'un train.\n\n\nÉcrits\n---\n\n','26’50','','inherit','closed','closed','','13396-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13396,'https://localhost/?p=14169',0,'revision','',0), (14170,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nPassagers à l\'intérieur d\'une voiture.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nAccordéon, voix de personnes qui discutent.\n\n\nÉcrits\n---\n\n','26’53','','inherit','closed','closed','','13397-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13397,'https://localhost/?p=14170',0,'revision','',0), (14171,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nGroupe de personnes à l\'intérieur d\'une voiture, jouant de l\'accordéon.\nManon (1949), Henri-Georges Clouzot.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','26’55','','inherit','closed','closed','','13398-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13398,'https://localhost/?p=14171',0,'revision','',0), (14172,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLes voix de la séquence précédente continuent \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','26’56','','inherit','closed','closed','','13399-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13399,'https://localhost/?p=14172',0,'revision','',0), (14173,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nTrain passant au ralenti avec un drapeau nazi. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence et train passant. \n\n\nÉcrits\n---\n\n\n\n','27’00','','inherit','closed','closed','','13400-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13400,'https://localhost/?p=14173',0,'revision','',0), (14174,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nTrain traversant lentement un marché en Chine.\nShanghai Express (1932), Josef von Sternberg.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','27’05','','inherit','closed','closed','','13401-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13401,'https://localhost/?p=14174',0,'revision','',0), (14175,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nSaturé : fleurs.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nRising Grace (2016), Wolfgang Muthspiel.\n\n\nÉcrits\n---\n\n','27’07','','inherit','closed','closed','','13402-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13402,'https://localhost/?p=14175',0,'revision','',0), (14176,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\nSous les yeux de l’occident.\nUnder Western Eyes (1911), Joseph Conrad.\n','27’17','','inherit','closed','closed','','13403-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13403,'https://localhost/?p=14176',0,'revision','',0), (14177,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nPersonne en tuant une autre dans un train.\nShanghai Express (1932), Josef von Sternberg.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVapeur s\'échappant d\'un train.\n\n\nÉcrits\n---\n\n','27’19','','inherit','closed','closed','','13404-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13404,'https://localhost/?p=14177',0,'revision','',0), (14178,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nSoldat tirant sur d\'autres soldats, au-delà d\'une barricade.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nTirs de pistolets et mitraillettes.\n\n\nÉcrits\n---\n\n','27’23','','inherit','closed','closed','','13405-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13405,'https://localhost/?p=14178',0,'revision','',0), (14179,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nAu ralenti : homme et femme passant dans le couloir d\'un train.\n\nTerror by night (1946), Roy William Neill.\n\nVoix Off et In\n---\n\nMais enfin dites-moi pourquoi vous avez fait de l’espionnage ?\n- J\'en sais rien.\n- Vous avez accepté ?\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','27’25','','inherit','closed','closed','','13406-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13406,'https://localhost/?p=14179',0,'revision','',0), (14180,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n- D’entrer dans son organisation ? Non Michel.\nMais même chez les communistes l’agent compte plus que tout le reste.\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','27’36','','inherit','closed','closed','','13407-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13407,'https://localhost/?p=14180',0,'revision','',0), (14181,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nVapeur sortant d\'un train prenant un virage.\nTerror by night (1946), Roy William Neill.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSifflet, puis passage d\'un train.\n\n\nÉcrits\n---\n\n','27’45','','inherit','closed','closed','','13408-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13408,'https://localhost/?p=14181',0,'revision','',0), (14182,1,'2023-11-09 08:50:02','2023-11-09 07:50:02','Images\n---\n\nHomme regardant une femme boire, au restaurant d\'un train.\nTerror by night (1946), Roy William Neill.\n\n\nVoix Off et In\n---\n\nDeux discours prononcés par George Steiner et Cornelius Castoriadis se chevauchent :\nSteiner : Il fera exactement la même chose que les autres, ce que les autres lui ont appris.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','27’50','','inherit','closed','closed','','13409-revision-v1','','','2023-11-09 08:50:02','2023-11-09 07:50:02','',13409,'https://localhost/?p=14182',0,'revision','',0), (14183,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nEnfant regardant par la fenêtre d\'un train des wagons militaires transportant des réservoirs.\nLe silence (1963), Ingmar Bergman.\n\n\nVoix Off et In\n---\n\nPour qu\'il y ait vraiment des individus, il faut que la collectivité bouge, et pour que la collectivité bouge il fera exactement la même chose que les autres, ce que les autres\nCastoriadis : Quelque chose a surgi de barbare. Quelque chose d’immense lumière qui a accentué les beaux mystères de la vie\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','27’54','','inherit','closed','closed','','13410-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13410,'https://localhost/?p=14183',0,'revision','',0), (14184,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nAu ralenti : femme dans le vagons d’un train.\nTerror by night (1946), Roy William Neill.\n\n\nVoix Off et In\n---\n\n- Come va a New York ? Va bene ?\n- Non ci si arricchisce\n- Che importa questo ? Si può star bene senza arricchire\n\n\nBande Son\n---\n\nTrain.\n\n\nÉcrits\n---\n\n','28’11','','inherit','closed','closed','','13411-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13411,'https://localhost/?p=14184',0,'revision','',0), (14185,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nHommes parlant en regardant par la fenêtre d\'un train.\nSicilia ! (1998), Jean-Marie Straub et Danièle Huillet.\n\n\nVoix Off et In\n---\n\n- Non avresti fatto che il tuo dovere.\n- Naturalmente !\n- I tipi così sono sempre da fermare.\n- Effettivamente, non si sa mai.\n- Ogni morto di fame è un uomo pericoloso.\n- Come no, capace di tutto.\n- Di rubare.\n- Questo va da sé.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','28’14','','inherit','closed','closed','','13412-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13412,'https://localhost/?p=14185',0,'revision','',0), (14186,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nFemme entrant dans un wagon de train, hommes se retournant pour la regarder.\nJohnny Guitar (1954), Nicholas Ray.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nImage The Fog Dirappearing (2016), Tord Gustavsen.\n\n\nÉcrits\n---\n\n','28’35','','inherit','closed','closed','','13413-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13413,'https://localhost/?p=14186',0,'revision','',0), (14187,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','29’03','','inherit','closed','closed','','13414-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13414,'https://localhost/?p=14187',0,'revision','',0), (14188,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nCheval et cavalier au galop, derrière un train.\nTurksib (1921), Viktor Alexandrovitch Turin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','29’07','','inherit','closed','closed','','13415-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13415,'https://localhost/?p=14188',0,'revision','',0), (14189,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nHomme passant la main sur un vinyle et écoutant la musique qui s\'en dégage.\nL’Atalante (1934), Jean Vigo.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence et Concerto Grosso No. 4 (1988), Alfred Schnittke.\n\n\nÉcrits\n---\n\n','29’10','','inherit','closed','closed','','13416-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13416,'https://localhost/?p=14189',0,'revision','',0), (14190,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nCheval et cavalier au galop, le long d’un train.\nTurksib (1921), Viktor Alexandrovitch Turin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','29’16','','inherit','closed','closed','','13417-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13417,'https://localhost/?p=14190',0,'revision','',0), (14191,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','29’22','','inherit','closed','closed','','13418-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13418,'https://localhost/?p=14191',0,'revision','',0), (14192,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nChameau reniflant les rails d\'un train, train traversant une prairie déserte.\nTurksib (1921), Viktor Alexandrovitch Turin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nThe Fog Disappearing (2016), Tord Gustavsen.\n\n\nÉcrits\n---\n\n','29’24','','inherit','closed','closed','','13419-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13419,'https://localhost/?p=14192',0,'revision','',0), (14193,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nPaysage vu d\'un train. \n\n\nVoix Off et In\n---\n\nj\'avoue qu\'avant d\'embarquer à bord \n\n\nBande Son\n---\n\nVoix masculine accompagnée au piano. \n\n\nÉcrits\n---\n\n\n\n','29’31','','inherit','closed','closed','','13420-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13420,'https://localhost/?p=14193',0,'revision','',0), (14194,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nSaturé et surexposé : train avançant. \n\n\nVoix Off et In\n---\n\nde ce vieux \n piano \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','29’36','','inherit','closed','closed','','13421-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13421,'https://localhost/?p=14194',0,'revision','',0), (14195,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nMontage en superposition : rose.\nAllemagne 90 neuf zéro (1991), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nj\'ai scruté la météo\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','29’39','','inherit','closed','closed','','13422-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13422,'https://localhost/?p=14195',0,'revision','',0), (14196,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nPassage du métro. Superposé : femme semblant avoir été heurtée par un train.\nLiberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nj\'ai longtemps flâné\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','29’42','','inherit','closed','closed','','13423-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13423,'https://localhost/?p=14196',0,'revision','',0), (14197,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nDessin : femme vue de dos.\nLiberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','29’45','','inherit','closed','closed','','13424-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13424,'https://localhost/?p=14197',0,'revision','',0), (14198,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nEux tous\n\n\nBande Son\n---\n\nFratres pour 12 violoncelles (1977), Arvo Pärt.\n\n\nÉcrits\n---\n\n','29’50','','inherit','closed','closed','','13425-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13425,'https://localhost/?p=14198',0,'revision','',0), (14199,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nHommes saluant joyeusement des deux mains, depuis un train.\nLes Deux Fedor (1959), Marlen Khoutsiev.\n\n\nVoix Off et In\n---\n\nenfilés sur le fond\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','29’53','','inherit','closed','closed','','13426-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13426,'https://localhost/?p=14199',0,'revision','',0), (14200,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nFemmes courant.\nLes Deux Fedor (1959), Marlen Khoutsiev.\n\n\nVoix Off et In\n---\n\nDu vert luxuriant.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','29’57','','inherit','closed','closed','','13427-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13427,'https://localhost/?p=14200',0,'revision','',0), (14201,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nSaturé : paysage vu depuis la fenêtre d’un train. \n\n\nVoix Off et In\n---\n\nDe l’été. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’00','','inherit','closed','closed','','13428-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13428,'https://localhost/?p=14201',0,'revision','',0), (14202,1,'2023-11-09 08:50:03','2023-11-09 07:50:03','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’03','','inherit','closed','closed','','13429-revision-v1','','','2023-11-09 08:50:03','2023-11-09 07:50:03','',13429,'https://localhost/?p=14202',0,'revision','',0), (14203,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nHomme courant le long d\'un train.\nWild boys on the road (1933), William A. Wellman. Liberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nEt l’embrasement\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’04','','inherit','closed','closed','','13430-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13430,'https://localhost/?p=14203',0,'revision','',0), (14204,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nAu ralenti : homme s\'approchant d\'une femme assise dans une grange devant un brasier.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’06','','inherit','closed','closed','','13431-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13431,'https://localhost/?p=14204',0,'revision','',0), (14205,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nFoule d\'hommes se pressant pour monter dans un train.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\nRoyal\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’07','','inherit','closed','closed','','13432-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13432,'https://localhost/?p=14205',0,'revision','',0), (14206,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nSaturé : trains miniatures passant sur une ligne de chemin de fer. Toccata for Toy Trains (1957), Charles and Ray Eames.\n\n\nVoix Off et In\n---\n\nde l\'automne.\n- Et la ruine de l’hiver\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’10','','inherit','closed','closed','','13433-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13433,'https://localhost/?p=14206',0,'revision','',0), (14207,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\navant que ne fleurisse \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’15','','inherit','closed','closed','','13434-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13434,'https://localhost/?p=14207',0,'revision','',0), (14208,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nFille faisant de l\'escrime devant un projecteur montrant une cathédrale gothique. En montage clignotant : cameraman sur un dolly. \n\n\nVoix Off et In\n---\n\nà nouveau \n le printemps, \n salit maintenant \n un peu noirci \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’19','','inherit','closed','closed','','13435-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13435,'https://localhost/?p=14208',0,'revision','',0), (14209,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nHomme se traînant le long d\'une voie ferrée.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nTrain en approche.\n\n\nÉcrits\n---\n\n','30’30','','inherit','closed','closed','','13436-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13436,'https://localhost/?p=14209',0,'revision','',0), (14210,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','30’33','','inherit','closed','closed','','13437-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13437,'https://localhost/?p=14210',0,'revision','',0), (14211,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nHomme se traînant le long d\'une voie ferrée, et essayant de ne pas être écrasé par un train en approche.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’36','','inherit','closed','closed','','13438-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13438,'https://localhost/?p=14211',0,'revision','',0), (14212,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\npar le temps.\n\n\nBande Son\n---\n\nFratres pour 12 violoncelles (1977), Arvo Pärt.\n\n\nÉcrits\n---\n\n','30’39','','inherit','closed','closed','','13439-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13439,'https://localhost/?p=14212',0,'revision','',0), (14213,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nHomme évanoui et écrasé par un train.\nWild boys on the road (1933), William A. Wellman.\n\n\nVoix Off et In\n---\n\n\nToujours serein\n\n\nBande Son\n---\n\nTrain en approche, cris.\n\n\nÉcrits\n---\n\n','30’41','','inherit','closed','closed','','13440-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13440,'https://localhost/?p=14213',0,'revision','',0), (14214,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','30’45','','inherit','closed','closed','','13441-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13441,'https://localhost/?p=14214',0,'revision','',0), (14215,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nFemme arrachant ses boucles d\'oreilles en perle, horrifiée.\nAu bord de la mer bleue (1937), Boris Barnet.\n\n\nVoix Off et In\n---\n\n… des sentinelles. Non.\n- Comme s\'ils défendaient\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','30’47','','inherit','closed','closed','','13442-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13442,'https://localhost/?p=14215',0,'revision','',0), (14216,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nPerles tombant.\nAu bord de la mer bleue (1937), Boris Barnet.\nEnchaînement avec un montage clignotant : cadavres le long d\'une voie ferrée.\nNuit et brouillard (1956), Alain Resnais.\n\n\nVoix Off et In\n---\n\nde leurs énormes et monolithiques\n\n\nBande Son\n---\n\nFratres pour 12 violoncelles (1977), Arvo Pärt.\n\n\nÉcrits\n---\n\n','31’01','','inherit','closed','closed','','13443-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13443,'https://localhost/?p=14216',0,'revision','',0), (14217,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nMontage clignotant : sous des cadavres longeant les rails d\'un train, folle dans une église du tableau.\nL\'église Ludwigskirche à Munich (1908), Wassily Kandinsky.\n\n\nVoix Off et In\n---\n\nLes vivants contre les morts.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','31’09','','inherit','closed','closed','','13444-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13444,'https://localhost/?p=14217',0,'revision','',0), (14218,1,'2023-11-09 08:50:04','2023-11-09 07:50:04','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nTous. \n Les ossements. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','31’18','','inherit','closed','closed','','13445-revision-v1','','','2023-11-09 08:50:04','2023-11-09 07:50:04','',13445,'https://localhost/?p=14218',0,'revision','',0), (14219,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nFemmes et hommes autour d\'une table, plaçant leurs mains en cercle lors d\'une séance de spiritisme. Anna Karénine (1948), Julien Duvivier.\n\n\nVoix Off et In\n---\n\nAvant que ne fleurissent\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','31’21','','inherit','closed','closed','','13446-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13446,'https://localhost/?p=14219',0,'revision','',0), (14220,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nà nouveau le printemps \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','31’26','','inherit','closed','closed','','13447-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13447,'https://localhost/?p=14220',0,'revision','',0), (14221,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nTrain passant dans le blizzard et personnes marchant sous la neige et dans le vent.\nAnna Karénine (1948), Julien Duvivier.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et train passant.\n\n\nÉcrits\n---\n\n','31’28','','inherit','closed','closed','','13448-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13448,'https://localhost/?p=14221',0,'revision','',0), (14222,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nEn superposition, et en alternance : dessin d\'un mort.\nLes désastres de la guerre (1815 - 20), Francisco Goya.\n\nPuis montage clignotant : personne levant un fusil vers le ciel, femme juive.\n\n\nVoix Off et In\n---\n\nEux tous, profilés sur le fond du vert luxuriant de l’été, et l\'embrasement royal de l’automne, et la ruine de l’hiver,\n\n\nBande Son\n---\n\nFratres pour 12 violoncelles (1977), Arvo Pärt et silence.\n\n\nÉcrits\n---\n\n','31’43','','inherit','closed','closed','','13449-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13449,'https://localhost/?p=14222',0,'revision','',0), (14223,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nAu ralenti, saturé : voie ferrée parcourue par un train.\nAprès le feu (2010), Jacques Perconte.\n\n\nVoix Off et In\n---\n\navant que ne fleurisse à nouveau le printemps. Eux tous.\nSépulture Sud, in Idylle au désert et autres nouvelles (1985), William Faulkner. Grandeur et décadence d\'un petit commerce de cinéma (1986), Jean-Luc Godard.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','32’09','','inherit','closed','closed','','13450-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13450,'https://localhost/?p=14223',0,'revision','',0), (14224,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nHomme saluant une femme le regardant par la fenêtre d\'un train, et poursuivant le train qui s’éloigne.\nLe plaisir (1938), Max Ophüls.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence et Das Buch der Klange I - XII, V (1999), Hans Otte.\n\n\nÉcrits\n---\n\n','32’23','','inherit','closed','closed','','13451-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13451,'https://localhost/?p=14224',0,'revision','',0), (14225,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nPellicule passant dans un projecteur.\nDeux fois cinquante ans de cinéma français (1995), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','32’51','','inherit','closed','closed','','13452-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13452,'https://localhost/?p=14225',0,'revision','',0), (14226,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n \n\n\nÉcrits\n---\n\n\n\n','33’02','','inherit','closed','closed','','13453-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13453,'https://localhost/?p=14226',0,'revision','',0), (14227,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n4 \n L’ESPRIT DES LOIS \n\n','33’05','','inherit','closed','closed','','13454-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13454,'https://localhost/?p=14227',0,'revision','',0), (14228,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nActeurs incarnant au théâtre des soldats intimant à la population qui manifeste de se disperser. Soldats déposant les armes et s\'unissant au peuple. La Commune (Paris, 1971) (2000), Peter Watkins.\n\n\nVoix Off et In\n---\n\nÉcartez - vous. Première sommation, nous allons faire usage de la force. Deuxième et dernière sommation, nous allons faire usage de la force. Dispersez-vous.\n\n\nBande Son\n---\n\nPersonnes protestant et criant.\nThree Little Nocturnes, II Allegro appassionata (2005), Hans Abrahamsen.\n\n\nÉcrits\n---\n\n','33’08','','inherit','closed','closed','','13455-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13455,'https://localhost/?p=14228',0,'revision','',0), (14229,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nHommes derrière une barricade attaqués par des soldats.\nVendémiaire (1918), Louis Feuillade.\nHistoire (s) du cinéma 3b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- La situation de tous, dans cette heure fatale et dans ce lieu inexorable, avait comme résultat et comme sommet. Les Misérables (1862), Victor Hugo.\n- Le drapeau\n\n\nBande Son\n---\n\nBreit-sehr frisch und straff (1939), Paul Hindemith.\n\n\nÉcrits\n---\n\n','34’08','','inherit','closed','closed','','13456-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13456,'https://localhost/?p=14229',0,'revision','',0), (14230,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nPhotographie d’Arthur Rimbaud.\n\n\nVoix Off et In\n---\n\n- la mélancolie suprême d’Enjolras. Les Misérables (1862), Victor Hugo.\n- Le drapeau va au paysage infâme\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','34’20','','inherit','closed','closed','','13457-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13457,'https://localhost/?p=14230',0,'revision','',0), (14231,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nFemme tout en blanc se dirigeant vers un écran puis reculant de peur, les mains en l\'air.\nLe Mystère des roches de Kador (1912), Léonce Perret. Histoire (s) du cinéma 2a (1988 - 89), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\net notre patois étouffe le\ntambour. Arthur Rimbaud,\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','34’30','','inherit','closed','closed','','13458-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13458,'https://localhost/?p=14231',0,'revision','',0), (14232,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\ndémocratie. (Jean Luc Godard). Les Illuminations. Démocratie (1854), Arthur Rimbaud.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nTERRORISM CONSIDERED\nas one of the\nFINE ARTS\n','34’36','','inherit','closed','closed','','13459-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13459,'https://localhost/?p=14232',0,'revision','',0), (14233,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nDissonance Films \n\n','34’38','','inherit','closed','closed','','13460-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13460,'https://localhost/?p=14233',0,'revision','',0), (14234,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nFemme supliant un homme jettant un bébé par la fenêtre.\nHistoire (s) du cinéma, (1988 - 89), Jean-Luc Godard.\n\nVoix Off et In\n---\n\nAprès une révolution dans la révolution (Philippe Sollers).\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nEnd Lo Sung\n','34’41','','inherit','closed','closed','','13461-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13461,'https://localhost/?p=14234',0,'revision','',0), (14235,1,'2023-11-09 08:50:05','2023-11-09 07:50:05','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nAu violon \n\n\nÉcrits\n---\n\n\n\n','34’44','','inherit','closed','closed','','13462-revision-v1','','','2023-11-09 08:50:05','2023-11-09 07:50:05','',13462,'https://localhost/?p=14235',0,'revision','',0), (14236,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nSaturé : torero transperçant un taureau à coups d’épée. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','34’48','','inherit','closed','closed','','13463-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13463,'https://localhost/?p=14236',0,'revision','',0), (14237,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nAu ralenti : homme courant et criant en faisant claquer ses poignets ensemble.\nLa terre (1930), Alexandre Dovjenko. Histoire (s) du cinéma 2a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVoix masculine, accompagnée à la guitare : chant russe.\nLa chasse aux loups (1977), Vladimir Vissotsky.\n\n\nÉcrits\n---\n\n','34’49','','inherit','closed','closed','','13464-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13464,'https://localhost/?p=14237',0,'revision','',0), (14238,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','35’12','','inherit','closed','closed','','13465-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13465,'https://localhost/?p=14238',0,'revision','',0), (14239,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nSurexposé : photographie d’un buste de Montesquieu.\n\n\nVoix Off et In\n---\n\nSi je pouvais faire en sorte que ceux qui commandent augmentassent leur connaissances sur ce qu’ils doivent prescrire, et que ceux qui obéissent trouvassent un nouveau plaisir à obéir. L’esprit des lois (1748), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','35’14','','inherit','closed','closed','','13466-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13466,'https://localhost/?p=14239',0,'revision','',0), (14240,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nEnfants en Asie faisant un exercice militaire. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVoix d\'enfants chantant et criant ensemble. \n\n\nÉcrits\n---\n\n\n\n','35’26','','inherit','closed','closed','','13467-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13467,'https://localhost/?p=14240',0,'revision','',0), (14241,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nSurexposé : personnes marchant courbées et vacillantes le long d\'un couloir.\nAlphaville (1965), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nJe me croirais le plus heureux des hommes.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','35’31','','inherit','closed','closed','','13468-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13468,'https://localhost/?p=14241',0,'revision','',0), (14242,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nJe me croirais le plus heureux des mortels. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','35’37','','inherit','closed','closed','','13469-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13469,'https://localhost/?p=14242',0,'revision','',0), (14243,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nSaturé et surexposé : pellicule d’aspect usée et déchirée.\nNotre caméra analytique (2015), Yervant Gianikian et Angela Ricci Lucchi.\n\n\nVoix Off et In\n---\n\nJe me croirais le plus heureux des mortels, si je pouvais faire que les hommes\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','35’40','','inherit','closed','closed','','13470-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13470,'https://localhost/?p=14243',0,'revision','',0), (14244,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nCouverture des volumes de l\'Esprit des lois (1748), Montesquieu.\n\n\nVoix Off et In\n---\n\npuissent se guérir de leurs préjugés.\nL’esprit des lois (1748), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','35’50','','inherit','closed','closed','','13471-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13471,'https://localhost/?p=14244',0,'revision','',0), (14245,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nSaturé : visage d’un homme de profil allumant une cigarette.\nDétective (1985), Jean-Luc Godard. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nJ\'appelle ici préjugés,\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','35’54','','inherit','closed','closed','','13472-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13472,'https://localhost/?p=14245',0,'revision','',0), (14246,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nMontage superposé : main tenant une bougie.\nIvan le terrible (1944 - 46), Sergueï Eisenstein. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nnon pas\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','35’56','','inherit','closed','closed','','13473-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13473,'https://localhost/?p=14246',0,'revision','',0), (14247,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nce qui fait qu\'on ignore de certaines choses, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','35’59','','inherit','closed','closed','','13474-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13474,'https://localhost/?p=14247',0,'revision','',0), (14248,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nSurexposé : buste de Montesquieu.\n\n\nVoix Off et In\n---\n\nmais ce qui fait qu\'on s\'ignore soi-même. (Jean Luc Godard)\nL’esprit des lois (1748), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’00','','inherit','closed','closed','','13475-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13475,'https://localhost/?p=14248',0,'revision','',0), (14249,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nCouteau planté sur une surface noire.\nAu cœur de l\'orage (1948), Jean-Paul Le Chanois.\n\n\nVoix Off et In\n---\n\nE arrivato Zampanò ! è arrivato Zampanò !\n\n\nBande Son\n---\n\nTambours.\n\n\nÉcrits\n---\n\n','36’02','','inherit','closed','closed','','13476-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13476,'https://localhost/?p=14249',0,'revision','',0), (14250,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nAu ralenti : deux clowns parmi une foule de gens.\nLa Strada (1954), Federico Fellini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','36’13','','inherit','closed','closed','','13477-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13477,'https://localhost/?p=14250',0,'revision','',0), (14251,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nFemme au bord d\'une rivière.\nPastorales Tahitiennes (1893), Paul Gauguin. Alternant, en montage clignotant : homme l’observant à travers une vitre.\nLe Pré de Béjine (1935 - 37), Sergueï Eisenstein. En alternance : femme en blanc des Pastorales tahitiennes (1892), Paul Gauguin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’18','','inherit','closed','closed','','13478-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13478,'https://localhost/?p=14251',0,'revision','',0), (14252,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nSaturé : homme et femme marchant entre des voitures en feu.\nWeekend (1967), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nC’est qu’il n’est pas\n\n\nBande Son\n---\n\nChoral pour orgue, BWV 721 (« Aie pitié de moi Seigneur ») (1704), Johann Sebastian Bach.\n\n\nÉcrits\n---\n\n','36’22','','inherit','closed','closed','','13479-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13479,'https://localhost/?p=14252',0,'revision','',0), (14253,1,'2023-11-09 08:50:06','2023-11-09 07:50:06','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nplus permis à un gouvernement \n qu’à un individu d’être un assassin. C’est que l’Europe est solidaire \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','36’27','','inherit','closed','closed','','13480-revision-v1','','','2023-11-09 08:50:06','2023-11-09 07:50:06','',13480,'https://localhost/?p=14253',0,'revision','',0), (14254,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nFemmes décapitant un homme.\nJudith tranchant la tête d’Holopherne (1620), Artemisia Gentileschi.\n\n\nVoix Off et In\n---\n\nc’est que tout ce qui se fait en Europe\nest fait par l’Europe\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’32','','inherit','closed','closed','','13481-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13481,'https://localhost/?p=14254',0,'revision','',0), (14255,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nHomme pillant un cadavre. \n\n\nVoix Off et In\n---\n\nc’est que \n s’il existe un gouvernement \n de bêtes fauves \n il doit être traité \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','35’34','','inherit','closed','closed','','13482-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13482,'https://localhost/?p=14255',0,'revision','',0), (14256,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nHomme regardant à travers une caméra. En superposition : cadavre d’homme dans la rue. \n\n\nVoix Off et In\n---\n\nen bête fauve \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','36’41','','inherit','closed','closed','','13483-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13483,'https://localhost/?p=14256',0,'revision','',0), (14257,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nHomme conduisant une voiture à toute vitesse.\nDr. Mabuse, le joueur (1922), Fritz Lang.\n\nEn superposition : dessin d\'homme. Combats (1915), Ernst Ludwig Kirchner. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nc’est qu’à l’heure qu’il est, tout près de nous là, sous nos yeux on massacre\non incendie\non pille\non extermine\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’44','','inherit','closed','closed','','13484-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13484,'https://localhost/?p=14257',0,'revision','',0), (14258,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\non égorge les pères et les mères \n on vend les petites filles et les petits garçons \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','36’49','','inherit','closed','closed','','13485-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13485,'https://localhost/?p=14258',0,'revision','',0), (14259,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nFemme avec une tache rouge à la place de son sexe se trouvant situé à la hauteur de la bouche d’un Saturne dont le croquis se superpose au dessin en clignotement léger comme une flamme qui va s’éteindre, avec une femme portant une torche et au bras levé.\nLady Macbeth somnambule (1781 - 84), Johann Heinrich Füssli. Histoire (s) du cinéma 3a, Jean-Luc Godard (1889 - 99)\n\n\nVoix Off et In\n---\n\non vend les petites filles et les petits garçons\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’52','','inherit','closed','closed','','13486-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13486,'https://localhost/?p=14259',0,'revision','',0), (14260,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nLady Macbeth id. clignotement id. avec deux corps pendus à un arbre, des taches rouges à la place du sexe et l’un en morceaux accrochés à l’arbre : des bras tranchés et attachés d’une corde à une branche, le corps pendu par les jambes et la tête plantée dans une branche.\nBel exploit, avec des morts (dans la série des Désastres de la guerre, n. 39 (1810 - 1815), Francisco de Goya. Histoire (s) du cinéma 3a (1889 - 99), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nc’est que les enfants trop petits\npour être vendus\non les fend d’un coup de sabre\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’55','','inherit','closed','closed','','13487-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13487,'https://localhost/?p=14260',0,'revision','',0), (14261,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nGoya id. Clignotant : enfant errant dans une ville.\nAllemagne année zéro (1948), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nc’est qu’on brûle les familles dans les maisons\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','36’58','','inherit','closed','closed','','13488-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13488,'https://localhost/?p=14261',0,'revision','',0), (14262,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nEnfant errant dans une ville.\nAllemagne année zéro (1948), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','37’03','','inherit','closed','closed','','13489-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13489,'https://localhost/?p=14262',0,'revision','',0), (14263,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nId.. Rossellini. En surimpression : homme avec une tête au bout d’un pique.\nGravure des Disparates (1821 - 24), Francisco de Goya. Histoire (s) du cinéma 3a (1889 - 99), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nde sorte qu’aux vivants qui leur ont envoyé le carnage\nles morts envoient la peste, ce qui est bien fait\nnous apprenons aux gouvernements d’Europe\nceci :\nc’est qu’on ouvre les femmes grosses\npour leur tuer les enfants dans les entrailles\n\n\nBande Son\n---\n\nChoral pour orgue, BWV 721 (« Aie pitié de moi Seigneur ») (1704), Johann Sebastian Bach.\n\n\nÉcrits\n---\n\nLes signes parmi nous.\n','37’09','','inherit','closed','closed','','13490-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13490,'https://localhost/?p=14263',0,'revision','',0), (14264,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nc’est qu’il y a dans les places publiques\ndes tas de squelettes. (Jean-Luc Godard)\nPour la Serbie (1876), Victor Hugo.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’25','','inherit','closed','closed','','13491-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13491,'https://localhost/?p=14264',0,'revision','',0), (14265,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nChat noir descendant les escaliers au ralenti.\nDe l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nLe sort de la France\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','37’27','','inherit','closed','closed','','13492-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13492,'https://localhost/?p=14265',0,'revision','',0), (14266,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nSurexposé : homme se traînant péniblement vers une chaise.\nDocteur Jerry et Mister Love (1963), Jerry Lewis.\n\n\nVoix Off et In\n---\n\nSuivait celui de l’Amérique. Comme dans les contes romantiques allemandes, le chat\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’29','','inherit','closed','closed','','13493-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13493,'https://localhost/?p=14266',0,'revision','',0), (14267,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nqui éprouve à son tour les amours \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','37’37','','inherit','closed','closed','','13494-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13494,'https://localhost/?p=14267',0,'revision','',0), (14268,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nPieds marchant au milieu de l\'eau.\nLa couleur de la grenade (1968), Sergei Parajanov.\n\n\nVoix Off et In\n---\n\net les ambitions de son maître et les rend dérisoires.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’42','','inherit','closed','closed','','13495-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13495,'https://localhost/?p=14268',0,'revision','',0), (14269,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nPieds marchant dans la rue.\nLes Olvidados (1950), Luis Buñuel.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCloche d’enterrement.\n\n\nÉcrits\n---\n\n','37’44','','inherit','closed','closed','','13496-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13496,'https://localhost/?p=14269',0,'revision','',0), (14270,1,'2023-11-09 08:50:07','2023-11-09 07:50:07','Images\n---\n\nPhotographie de Marilyn Monroe.\nHistoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','37’46','','inherit','closed','closed','','13497-revision-v1','','','2023-11-09 08:50:07','2023-11-09 07:50:07','',13497,'https://localhost/?p=14270',0,'revision','',0), (14271,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nHomme et jeune femme sous la pluie.\nLe premier maître (1965), Andreï Kontchalovski. De l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’47','','inherit','closed','closed','','13498-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13498,'https://localhost/?p=14271',0,'revision','',0), (14272,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nVisage de femme aux mains jointes dans un geste de prière. En tons rouges :\ndétail de la fresque de la coupole San Antonio de la Florida (1798), Francisco Goya. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','37’50','','inherit','closed','closed','','13499-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13499,'https://localhost/?p=14272',0,'revision','',0), (14273,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nJean-Luc Godard posant les mains sur un exemplaire de De la certitude (1951), Ludwig Wittgenstein, puis les retirant. En dessous, un autre livre de la Pléiade. Sur un bureau, clés et marqueurs. À côté, JLG / JLG (1995), Jean-Luc Godard. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','37’51','','inherit','closed','closed','','13500-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13500,'https://localhost/?p=14273',0,'revision','',0), (14274,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nIris : détail, un visage.\nJudith et Holopherne (1820 - 23), Francisco de Goya. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Pourquoi Sarajevo ?\n- On dit deux cents villages brûlés\nil n’y en a que quatre vingt dix neuf\nce que vous appelez la peste\nn’est que le typhus\ntoutes les femmes n’ont pas été violées\n\n\nBande Son\n---\n\nCloche d’enterrement et silence.\n\n\nÉcrits\n---\n\nDes ténèbres\n','37’59','','inherit','closed','closed','','13501-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13501,'https://localhost/?p=14274',0,'revision','',0), (14275,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\ntoutes les filles n’ont pas été vendues \n quelques-unes ont échappé \n on a châtré les prisonniers \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','38’10','','inherit','closed','closed','','13502-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13502,'https://localhost/?p=14275',0,'revision','',0), (14276,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nDétail du visage d\'une femme.\nBalcon (1868), Edouard Manet. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nmais on leur a aussi coupé la tête…\n- Parce que la Palestine\n-... à la pointe d’une baïonnette. (Jean-Luc Godard)\nPour la Serbie (1876), Victor Hugo.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nJe sais à quoi tu penses\n','38’15','','inherit','closed','closed','','13503-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13503,'https://localhost/?p=14276',0,'revision','',0), (14277,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nEt cetera, et cetera. (Jean-Luc Godard) \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','38’27','','inherit','closed','closed','','13504-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13504,'https://localhost/?p=14277',0,'revision','',0), (14278,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nQuatrièmes de couverture des exemplaires des volumes de l\'Esprit des lois (1748), Montesquieu.\n\n\nVoix Off et In\n---\n\nC\'est en cherchant à instruire les hommes, que l\'on peut pratiquer cette vertu générale qui comprend l\'amour de tous. L\'homme …\nque l\'on peut pratiquer cette vertu générale qui comprend l\'amour de tous.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','38’31','','inherit','closed','closed','','13505-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13505,'https://localhost/?p=14278',0,'revision','',0), (14279,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nHommes encagoulés de blanc sur le toit d\'une voiture avec une croix en bois sur le coffre. \n\n\nVoix Off et In\n---\n\nL\'homme, l’homme \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','38’58','','inherit','closed','closed','','13506-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13506,'https://localhost/?p=14279',0,'revision','',0), (14280,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nAu ralenti : homme ouvrant un canif avec sa main.\nM le maudit (1931), Fritz Lang. Histoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\ncet être flexible, se pliant dans la société\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','39’00','','inherit','closed','closed','','13507-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13507,'https://localhost/?p=14280',0,'revision','',0), (14281,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nHomme tenant un appareil photo. \n\n\nVoix Off et In\n---\n\naux pensées \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','39’07','','inherit','closed','closed','','13508-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13508,'https://localhost/?p=14281',0,'revision','',0), (14282,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nFemme mourant dans les bras d\'un homme et s\'effondrant sur le sol.\n\n\nVoix Off et In\n---\n\net aux impressions des autres, est également capable de comprendre sa propre nature. lorsqu\'on la lui montre, et d\'en perdre jusqu\'au sentiment lorsqu\'on la lui dérobe. (Jean-Luc Godard).\nL’esprit des lois (1748), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','39’09','','inherit','closed','closed','','13509-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13509,'https://localhost/?p=14282',0,'revision','',0), (14283,1,'2023-11-09 08:50:08','2023-11-09 07:50:08','Images\n---\n\nHomme poussant un autre homme au sol.\nFrancesco, giullare di dio (1950), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','39’30','','inherit','closed','closed','','13510-revision-v1','','','2023-11-09 08:50:08','2023-11-09 07:50:08','',13510,'https://localhost/?p=14283',0,'revision','',0), (14284,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nPhotographie d\'un réalisateur regardant à travers une caméra \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','39’39','','inherit','closed','closed','','13511-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13511,'https://localhost/?p=14284',0,'revision','',0), (14285,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nSaturé et ouverture iris entourée de noir : mains d\'une femme avec des ciseaux coupant une pellicule. \n\n\nVoix Off et In\n---\n\n- Books ? \n - Yeah, in the last barrel \n - Books \n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','39’46','','inherit','closed','closed','','13512-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13512,'https://localhost/?p=14285',0,'revision','',0), (14286,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nHomme trouvant un livre et le lisant, pendant que d\'autres enfants et adultes l\'entourent avec intérêt.\nVers sa destinée (1939), John Ford.\n\n\nVoix Off et In\n---\n\n- That\'s law.\n- Law, I know that book was about somethin’.\n- Hardly a thumb mark on it either.\n- No sir. We took mighty good care of it. Reckon you can read it, sir ?\n- I expect I could make heads or tails out of it, if I set my mind to it.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','39’48','','inherit','closed','closed','','13513-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13513,'https://localhost/?p=14286',0,'revision','',0), (14287,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','40’07','','inherit','closed','closed','','13514-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13514,'https://localhost/?p=14287',0,'revision','',0), (14288,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nHomme allongé, les jambes contre un arbre, un livre à la main.\nVers sa destinée (1939), John Ford.\n\n\nVoix Off et In\n---\n\nA bas le roi !\nIl a dix femmes dans son lit pour y passer de folles nuits. A Bas le roi !\nVive la loi ! Vive la loi !\nVive le roi ! Peut contenter d’une traite. A bas la loi !\nChanson paillarde républicaine.\n\nBande Son\n---\n\nAccordéon, voix féminine.\n\n\nÉcrits\n---\n\n','40’10','','inherit','closed','closed','','13515-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13515,'https://localhost/?p=14288',0,'revision','',0), (14289,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nHomme en menaçant et poussant un autre dans des escaliers.\nLe Chaos (2007), Youssef Chahine.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','40’32','','inherit','closed','closed','','13516-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13516,'https://localhost/?p=14289',0,'revision','',0), (14290,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','40’36','','inherit','closed','closed','','13517-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13517,'https://localhost/?p=14290',0,'revision','',0), (14291,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nAu ralenti : homme souriant, les dents découvertes.\nFreaks (1939), Tod Browning. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','40’39','','inherit','closed','closed','','13518-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13518,'https://localhost/?p=14291',0,'revision','',0), (14292,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nFemme nue, homme lui léchant l’anus.\nExtrait d’un film pornographique.\nHistoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','40’44','','inherit','closed','closed','','13519-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13519,'https://localhost/?p=14292',0,'revision','',0), (14293,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nHomme riant, et se couvrant la bouche avec la main.\nFreaks (1939), Tod Browning. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et Arcadiana, Op. 12 : IV. Et … (tango mortale) (1994), Thomas Adès.\n\n\nÉcrits\n---\n\n','40’51','','inherit','closed','closed','','13520-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13520,'https://localhost/?p=14293',0,'revision','',0), (14294,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nSurexposé, en noir et blanc : François Truffaut.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nArcadiana, Op. 12 : IV. Et … (tango mortale) (1994), Thomas Adès.\n\nÉcrits\n---\n\n','40’57','','inherit','closed','closed','','13521-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13521,'https://localhost/?p=14294',0,'revision','',0), (14295,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nSurexposé, en noir et blanc : Jacques Rivette. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’00','','inherit','closed','closed','','13522-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13522,'https://localhost/?p=14295',0,'revision','',0), (14296,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nSurexposé, en noir et blanc : Eric Rohmer. \n\n\nVoix Off et In\n---\n\nOn sent que l’on tombera. Doit tomber. \n Va tomber. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’04','','inherit','closed','closed','','13523-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13523,'https://localhost/?p=14296',0,'revision','',0), (14297,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nle secret et la loi \n\n','41’08','','inherit','closed','closed','','13524-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13524,'https://localhost/?p=14297',0,'revision','',0), (14298,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nSaturé : femme attachée à un poteau, et brûlée vive.\nJeanne au bûcher (1954) Roberto Rossellini. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','41’16','','inherit','closed','closed','','13525-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13525,'https://localhost/?p=14298',0,'revision','',0), (14299,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’30','','inherit','closed','closed','','13526-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13526,'https://localhost/?p=14299',0,'revision','',0), (14300,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nHomme marchant sous un arbre.\n\n\nVoix Off et In\n---\n\nQu’est-ce que cela fait ? Tout est grâce. Je crois qu’il est mort presque aussitôt. (Jean-Luc Godard).\nJournal d\'un curé de campagne (1951), Robert Bresson.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','41’32','','inherit','closed','closed','','13527-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13527,'https://localhost/?p=14300',0,'revision','',0), (14301,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nChars traversant une forêt. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’37','','inherit','closed','closed','','13528-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13528,'https://localhost/?p=14301',0,'revision','',0), (14302,1,'2023-11-09 08:50:09','2023-11-09 07:50:09','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','41’41','','inherit','closed','closed','','13529-revision-v1','','','2023-11-09 08:50:09','2023-11-09 07:50:09','',13529,'https://localhost/?p=14302',0,'revision','',0), (14303,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nHommes courbés à genoux ponçant un parquet.\nLes Raboteurs de parquet (1875), Gustave Caillebotte.\n\n\nVoix Off et In\n---\n\nUn homme que la justice a retranché du nombre des vivants\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','41’43','','inherit','closed','closed','','13530-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13530,'https://localhost/?p=14303',0,'revision','',0), (14304,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nHomme marchant derrière les barreaux d\'une prison.\nLa faux coupable (1956), Alfred Hitchcock.\n\n\nVoix Off et In\n---\n\nappartient au Parquet. Le Parquet est souverain @\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','41’47','','inherit','closed','closed','','13531-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13531,'https://localhost/?p=14304',0,'revision','',0), (14305,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nil ne dépend de personne, il ne relève que de sa conscience. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','41’54','','inherit','closed','closed','','13532-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13532,'https://localhost/?p=14305',0,'revision','',0), (14306,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nHomme serrant les poings.\nLe faux coupable (1956), Alfred Hitchcock.\n\n\nVoix Off et In\n---\n\nLa prison appartient au Parquet\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’00','','inherit','closed','closed','','13533-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13533,'https://localhost/?p=14306',0,'revision','',0), (14307,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nil en est \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','42’03','','inherit','closed','closed','','13534-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13534,'https://localhost/?p=14307',0,'revision','',0), (14308,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nJuge enjoinant à une femme de garder le silence.\nJour de colère (1943), Carl Theodor Dreyer.\n\n\nVoix Off et In\n---\n\nle maître absolu. (Jean-Luc Godard)\nScènes de la vie parisienne (1820), Honoré Balzac.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’06','','inherit','closed','closed','','13535-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13535,'https://localhost/?p=14308',0,'revision','',0), (14309,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nHomme marchant dans un long couloir obscure.\nLa dame de Shanghai (1948), Orson Welles. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Ils ont vite été relâchés dans la nature.\n- Les Clanton et les Mclaury ont payé leur caution. C’est la loi. C’est la même pour eux que pour toi ou moi.\n- Alors il y a quelque chose qui cloche dans la loi.\nWyatt Earp (1994), Lawrence Kasdan.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n- Tais toi !\n','42’10','','inherit','closed','closed','','13536-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13536,'https://localhost/?p=14309',0,'revision','',0), (14310,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nInsight (2002), Dobrinka Tabakova.\n\n\nÉcrits\n---\n\n','42’22','','inherit','closed','closed','','13537-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13537,'https://localhost/?p=14310',0,'revision','',0), (14311,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nSaturé : hommes marchant en rang, les mains au-dessus de la tête. En arrière-plan : fumée d’incendie.\nTout va bien (1972), Jean Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’23','','inherit','closed','closed','','13538-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13538,'https://localhost/?p=14311',0,'revision','',0), (14312,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nAu ralenti : homme désignant de la main un point hors-champ.\nAlexandre Nevski (1938), Sergueï Eisenstein et Dmitri Vassiliev.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’32','','inherit','closed','closed','','13539-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13539,'https://localhost/?p=14312',0,'revision','',0), (14313,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','42’39','','inherit','closed','closed','','13540-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13540,'https://localhost/?p=14313',0,'revision','',0), (14314,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nPrisonnier nu, assis et recroquevillé.\nEau argentée, Syrie autoportrait (2014), Ossama Mohammad et Wiam Simav Bedirxan.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’44','','inherit','closed','closed','','13541-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13541,'https://localhost/?p=14314',0,'revision','',0), (14315,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nFemme avec un foulard autour de la bouche et du nez regardant à travers les barreaux.\nTout va bien (1972), Jean Luc Godard. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’52','','inherit','closed','closed','','13542-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13542,'https://localhost/?p=14315',0,'revision','',0), (14316,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nPrisonnier d\'un camp de concentration regardant à travers la fenêtre d’un train.\nNuit et brouillard (1956), Alain Resnais. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','42’57','','inherit','closed','closed','','13543-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13543,'https://localhost/?p=14316',0,'revision','',0), (14317,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nSoldats. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','42’59','','inherit','closed','closed','','13544-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13544,'https://localhost/?p=14317',0,'revision','',0), (14318,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nManifestation appelant à la grève générale diffusée par la programme télévisé français C\'est dans l\'air.\n\nVoix Off et In\n---\n\nGrève générale,\nJusqu’au retrait total. (2x)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','43’00','','inherit','closed','closed','','13545-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13545,'https://localhost/?p=14318',0,'revision','',0), (14319,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nHomme dans l\'obscurité, le menton appuyé sur la paume de la main.\nFantômas (1913), Louis Feuillade. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Et toujours le même slogan, et la même connerie.\n\nTous ensemble, tous ensemble !\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','43’04','','inherit','closed','closed','','13546-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13546,'https://localhost/?p=14319',0,'revision','',0), (14320,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nBlanc\n\n\nVoix Off et In\n---\n\nGrève générale !\nTous ensemble, tous ensemble !\nIl faut que ça continue, il faut que ça continue pour faire céder ce gouvernement. (Discours de François Ruffin)\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nla société\nest fondée\nsur un crime\nen commun\nLa violence et le sacré (1972), René Girard.\n','43’13','','inherit','closed','closed','','13547-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13547,'https://localhost/?p=14320',0,'revision','',0), (14321,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nHomme recourbé, la tête posée sur un bloc de bois, condamné à mort, puis décapité. Le procès de Charles I (1963), Guy Lessertisseur.\n\n\nVoix Off et In\n---\n\nSouvenez-vous ! (Sigmund Freud)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','43’20','','inherit','closed','closed','','13548-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13548,'https://localhost/?p=14321',0,'revision','',0), (14322,1,'2023-11-09 08:50:10','2023-11-09 07:50:10','Images\n---\n\nAu ralenti : personnes dans le procès de Nuremberg (1945 - 46). \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','43’35','','inherit','closed','closed','','13549-revision-v1','','','2023-11-09 08:50:10','2023-11-09 07:50:10','',13549,'https://localhost/?p=14322',0,'revision','',0), (14323,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nInsight (2002), Dobrinka Tabakova.\n\n\nÉcrits\n---\n\n','43’46','','inherit','closed','closed','','13550-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13550,'https://localhost/?p=14323',0,'revision','',0), (14324,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nSaturé et surexposé : femme et fleurs géantes.\nLa Fée Libellule (1908), Georges Méliès. Histoire (s) du cinéma 2a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','43’50','','inherit','closed','closed','','13551-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13551,'https://localhost/?p=14324',0,'revision','',0), (14325,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nPhotographie de Marilyne Monroe. Iris et clignotant : corbeaux s’envolant. Les Oiseaux (1963), Alfred Hitchcock. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nDevenue adulte, la jeune femme se méfiant de la liberté exagérée, dont le mot souvent répété pourrait faire craindre les excès, tout comme elle sera hostile à la république\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','44’04','','inherit','closed','closed','','13552-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13552,'https://localhost/?p=14325',0,'revision','',0), (14326,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','44’12','','inherit','closed','closed','','13553-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13553,'https://localhost/?p=14326',0,'revision','',0), (14327,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nBanc de montage. Puis en surimpression : détail de Gabrielle d\'Estrées et une de ses sœurs (1594), Anonyme, École Française.\n\nLa bobine est aussi grande que le buste de la femme et sa pointe ressemble presque à celle du sein de la femme. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nnon par principe, mais parce que l\'Europe\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','44’13','','inherit','closed','closed','','13554-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13554,'https://localhost/?p=14327',0,'revision','',0), (14328,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nHommes prononçant un discours devant une foule, à la fin du XVII siècle.\n\n\nVoix Off et In\n---\n\nn\'a pas les vertus nécessaires. (Jean-Luc Godard).\nMémoire de la reine Hortense (1831), Hortense de Beauharnais.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','44’16','','inherit','closed','closed','','13555-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13555,'https://localhost/?p=14328',0,'revision','',0), (14329,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nPlusieurs personnes dansant dans une salle. This Country\'s Going to War, Duck soup (1933), Leo McCarey.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nBande son de This Country\'s Going to War, Duck soup (1933), Leo McCarey. Et voix qui chantent.\n\n\nÉcrits\n---\n\n','44’21','','inherit','closed','closed','','13556-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13556,'https://localhost/?p=14329',0,'revision','',0), (14330,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLes rebels, c’est vous ? Vous vous insurgez contre l’ordre \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nt \n\n','44’24','','inherit','closed','closed','','13557-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13557,'https://localhost/?p=14330',0,'revision','',0), (14331,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nChat se retournant, l’air terrifié. Cartoon de Tex Avery. En surimpression : texte.\nHistoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Non, contre les privilèges !\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\nmontage\ninter\ndit /\npar\nandré\nbazin\n','44’28','','inherit','closed','closed','','13558-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13558,'https://localhost/?p=14331',0,'revision','',0), (14332,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nAdolescent parlant à une caméra, habillé en soldat avec un foulard sur la tête.\n\n\nVoix Off et In\n---\n\nDevant nous de la République\nL\'étendard …\n(réécriture de La Marseillaise, paroles de l’Abbé René Charles de Lusson)\n\n\nBande Son\n---\n\nVoix masculine chantant La Marseillaise.\n\n\nÉcrits\n---\n\nEt je vous invite à égorger les mécréants\n','44’34','','inherit','closed','closed','','13559-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13559,'https://localhost/?p=14332',0,'revision','',0), (14333,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nAdolescent tirant avec une arme à feu sur un autre dans les couloirs d\'une école.\nElephant (2003), Gus Van Sant.\n\n\nVoix Off et In\n---\n\nla sensation mentale qu’il éprouvait depuis quelques temps, se transforma en un tourbillon de ténèbres\n\n\nBande Son\n---\n\nCoup de mitraillette.\n\n\nÉcrits\n---\n\n','44’37','','inherit','closed','closed','','13560-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13560,'https://localhost/?p=14333',0,'revision','',0), (14334,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLes pauvres gens, ceux pour qui j’avais \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','44’41','','inherit','closed','closed','','13561-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13561,'https://localhost/?p=14334',0,'revision','',0), (14335,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nAu ralenti : femme grimpant dans un wagon de marchandises d\'un train du documentaire Shoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\nVoix Off et In\n---\n\nJe les préfère [les pauvres]\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','44’44','','inherit','closed','closed','','13562-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13562,'https://localhost/?p=14335',0,'revision','',0), (14336,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nDessin : femme, homme et deux enfants manipulant une lanterne magique.\nHistoire (s) du cinéma 3b (1988 - 98), Jean-Luc Godard.\n\nVoix Off et In\n---\n\nmais uniquement parce qu\'ils sont les vaincus. (Jean-Luc Godard)\nLes Conquérants (1928), André Malraux.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','44’50','','inherit','closed','closed','','13563-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13563,'https://localhost/?p=14336',0,'revision','',0), (14337,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nGris \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','44’55','','inherit','closed','closed','','13564-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13564,'https://localhost/?p=14337',0,'revision','',0), (14338,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nHomme avec un chapeau mexicain et une moustache, l\'air en colère.\nViva Villa ! (1934), Jack Conway.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\n\n\nÉcrits\n---\n\n','44’56','','inherit','closed','closed','','13565-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13565,'https://localhost/?p=14338',0,'revision','',0), (14339,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nAu ralenti : Cavaliers passant au-dessus d’un jeune homme enterré jusqu’aux épaules.\nQue Viva Mexico ! (1931 - 1979), Sergueï Eisenstein.\n\n\nVoix Off et In\n---\n\n[Bruit d\'une voiture qui freine et accélère]\nEt bien des fois abandonné cet ouvrage\n\n\nBande Son\n---\n\nFreinage et accélération de la voiture.\n\n\nÉcrits\n---\n\n','44’58','','inherit','closed','closed','','13566-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13566,'https://localhost/?p=14339',0,'revision','',0), (14340,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nHomme passant la main à travers le feu d’une cheminée.\nLes visiteurs du soir (1942), Marcel Carné.\n\n\nVoix Off et In\n---\n\nJe suivais mon objet sans former de dessein @ je ne connaissais ni les règles\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','45’06','','inherit','closed','closed','','13567-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13567,'https://localhost/?p=14340',0,'revision','',0), (14341,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nni les exceptions. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','45’15','','inherit','closed','closed','','13568-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13568,'https://localhost/?p=14341',0,'revision','',0), (14342,1,'2023-11-09 08:50:11','2023-11-09 07:50:11','Images\n---\n\nPaysage de jour, paisible.\nJLG / JLG (1995), Jean-Luc Godard.\n\nEn alternance : homme à cheval semblant mort, battu par le vent.\nNan of the Music Mountain (1917), G. H. Melford. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nJe ne trouvais la vérité que pour la perdre. (Jean-Luc Godard).\nL’Esprit des lois (1887), Montesquieu.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’16','','inherit','closed','closed','','13569-revision-v1','','','2023-11-09 08:50:11','2023-11-09 07:50:11','',13569,'https://localhost/?p=14342',0,'revision','',0), (14343,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nIl n’y a que de traits noir. Histoire de l’art, « L’art moderne », I, (1921), Elie Faure,.\nHistoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’19','','inherit','closed','closed','','13570-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13570,'https://localhost/?p=14343',0,'revision','',0), (14344,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nSaturé et surexposé en tons rouges : flammes et fumée s\'élevant à l\'horizon. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nViolons. Sergei Sergeyevich Prokofiev. \n\n\nÉcrits\n---\n\n\n\n','45’21','','inherit','closed','closed','','13571-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13571,'https://localhost/?p=14344',0,'revision','',0), (14345,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','45’28','','inherit','closed','closed','','13572-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13572,'https://localhost/?p=14345',0,'revision','',0), (14346,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nCouverture du livre de science-fiction.\nLa fin du A (1984), A. E. Van Vogt.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’30','','inherit','closed','closed','','13573-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13573,'https://localhost/?p=14346',0,'revision','',0), (14347,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nÉcoliers aux bras croisés, l\'air sérieux.\nLuis Buñuel (1932), Las Hurdes. Liberté et Patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\n- Vous êtes un drôle de pistolet, c\'est ça que vous vouliez dire à la tribune, pourquoi vous ne l’avez pas dit ?\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’37','','inherit','closed','closed','','13574-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13574,'https://localhost/?p=14347',0,'revision','',0), (14348,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nFragment de texte.\n\n\nVoix Off et In\n---\n\n- Je l\'ai dit mais je n\'ai pas su me faire entendre.\n\nEn même temps : Ce qui joue ici, ce n\'est pas seulement cette vision rétrospective des choses qui considère tout le passé comme préparant le fait accompli.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\nplus la pein la la\ndans la boue j\nplus soif la lang\nse referme elle\ndroite à présent c’\nl’image\n\n[je souris encore ce n\'est plus la peine depuis longtemps ce n\'est plus la peine la langue ressort va dans la boue je reste comme ça plus soif la langue rentre la bouche se referme elle doit faire une ligne droite à présent c\'est fait j\'ai fait l\'image], Image (1950), Samuel Beckett. Histoire (s) du cinéma 1a (1988 - 98), Jean-Luc Godard.\n','45’46','','inherit','closed','closed','','13575-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13575,'https://localhost/?p=14348',0,'revision','',0), (14349,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nAu ralenti : foule se pressant et tendant les mains.\nMetropolis (1927), Fritz Lang. Histoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nC’est également une certaine interférence des événements qui embrouille tout. (Jean-Luc Godard).\nGuerre et Paix (1867), Léon Tolstoï.\n\nLes phares, éteignez les phares !\nNuit du carrefour (1932), Jean Renoir.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','45’51','','inherit','closed','closed','','13576-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13576,'https://localhost/?p=14349',0,'revision','',0), (14350,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','46’00','','inherit','closed','closed','','13577-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13577,'https://localhost/?p=14350',0,'revision','',0), (14351,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nFemme au nez en sang se faisant pousser par des policiers et juge parlant animeusement.\nVladimir et Rosa (1971), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nPolitique, ça veut dire quoi politique ?!\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','46’02','','inherit','closed','closed','','13578-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13578,'https://localhost/?p=14351',0,'revision','',0), (14352,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nJuge parlant animeusement.\nVent d’est (1969), Jean-Luc Godard et Jean-Pierre Gorin.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','46’03','','inherit','closed','closed','','13579-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13579,'https://localhost/?p=14352',0,'revision','',0), (14353,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nJuge en hauteur, derrière le banc, dans une salle d\'audience.\nLa terreur et la vertu (1964), Stellio Lorenzi.\n\n\nVoix Off et In\n---\n\nDeux discours solennels prononcés par un homme se chevauchent.\n\nLe dieu des prêtres est différent de l’être suprême. Le véritable prêtre de l’être suprême c’est la nature, son temple, l’univers, son culte, la vertu, ses fêtes, la joie d’un grand peuple rassemblé sous ses yeux pour resserrer les doux nœuds de la fraternité universelle et pour lui présenter l’hommage des cœurs sensibles et pures. Sur le rapport des idées religieuses et morales avec les principes républicains et sur les fêtes nationales (1866), Maximilien de Robespierre.\n\n- Vous devez savoir, si le ressort du gouvernement populaire dans la paix est la vertu. En temps de guerre, le ressort du gouvernement populaire est par nécessité la terreur, mais toujours la vertu,\ncar la vertu sans la terreur est impuissante, mais la terreur sans la vertue est funeste. Sur les principes de morale politique qui doivent guider la Convention nationale dans l’administration intérieure de la République (1794), Maximilien de Robespierre.\n- Tout cela est bel et bon\n\n\nBande Son\n---\n\nApplaudissements.\n\n\nÉcrits\n---\n\n','46’06','','inherit','closed','closed','','13580-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13580,'https://localhost/?p=14353',0,'revision','',0), (14354,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nCouverture d’un exemplaire de De l’Esprit des Lois (1748), Montesquieu.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nApplaudissements.\n\n\nÉcrits\n---\n\n','46’24','','inherit','closed','closed','','13581-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13581,'https://localhost/?p=14354',0,'revision','',0), (14355,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nSurexposé et saturé en tons rouge : photographie des manifestations en Grèce (2015), Alkis Konstantinidis.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','46’27','','inherit','closed','closed','','13582-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13582,'https://localhost/?p=14355',0,'revision','',0), (14356,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nSurexposée et saturé en tons rouges et jaunes : presque illisible. \n\n\nVoix Off et In\n---\n\n- Qu’est-ce qu’elle dit ? J’entends rien ! \n \n\n\nBande Son\n---\n\nId. et vagues \n\n\nÉcrits\n---\n\n\n\n','46’42','','inherit','closed','closed','','13583-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13583,'https://localhost/?p=14356',0,'revision','',0), (14357,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nEn surimpression : défilement d’une pellicule dans un iris. Couple au projecteur.\nLa Prison (1949), Ingmar Bergman. Histoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Elle dit que les pauvres sauveront le monde\nNotre Musique (2004), Jean-Luc Godard.\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','46’52','','inherit','closed','closed','','13584-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13584,'https://localhost/?p=14357',0,'revision','',0), (14358,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','46’59','','inherit','closed','closed','','13585-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13585,'https://localhost/?p=14358',0,'revision','',0), (14359,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nFemme mourant dans les bras d\'une autre femme essayant de parler à un homme devant elle répétant à haute voix ce qu\'il entend.\nNotre Musique (2004), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIls ne demanderont rien en échange. Ils ne savent pas le prix du service rendu. Ils feront cette colossale affaire.\n\n\nBande Son\n---\n\nBrusquement : silence.\n\n\nÉcrits\n---\n\n','47’01','','inherit','closed','closed','','13586-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13586,'https://localhost/?p=14359',0,'revision','',0), (14360,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nEt … \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','47’46','','inherit','closed','closed','','13587-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13587,'https://localhost/?p=14360',0,'revision','',0), (14361,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nFemme effrayée à la vue d\'un monstre, puis s’évanouissant.\nLa belle et la bête (1946), Jean Cocteau. Histoire (s) du cinéma 2b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nOù allez-vous ?\n\n\nBande Son\n---\n\nBande son du film La belle et la bête (1946), Jean Cocteau.\n\n\nÉcrits\n---\n\n','47’50','','inherit','closed','closed','','13588-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13588,'https://localhost/?p=14361',0,'revision','',0), (14362,1,'2023-11-09 08:50:12','2023-11-09 07:50:12','Images\n---\n\nFemme avec bâton à la main et policier avec un chapeau saluant le publique.\nUn drame chez les fantoches (1908), Emile Cohl.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','47’58','','inherit','closed','closed','','13589-revision-v1','','','2023-11-09 08:50:12','2023-11-09 07:50:12','',13589,'https://localhost/?p=14362',0,'revision','',0), (14363,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','48’00','','inherit','closed','closed','','13590-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13590,'https://localhost/?p=14363',0,'revision','',0), (14364,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n5 \n LA RÉGION CENTRALE \n (Michael Snow, 1971) \n\n','48’02','','inherit','closed','closed','','13591-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13591,'https://localhost/?p=14364',0,'revision','',0), (14365,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nSaturé et au ralenti : chemin avec des pierres.\nLa Région Centrale (1971), Michael Snow.\n\n\nVoix Off et In\n---\n\nC’est une brève histoire, que celle de l’extinction en masse des espèces.\nEn bref, le plus gros des dégradations environnementales d’aujourd’hui est le fait de deux groupes. Le milliard le plus riche et le milliard le plus pauvre. Les plus riches détruisent l’environnement global par leur surconsommation rapide des ressources et leur production de déchets. Tandis que les plus pauvres détruisent leurs ressources par nécessité et par absence de choix.\nUne brève histoire de l\'extinction en masse des espèces (2010), Franz J.\nBroswimmer.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','48’16','','inherit','closed','closed','','13592-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13592,'https://localhost/?p=14365',0,'revision','',0), (14366,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nSaturé et surexposé en tons rouges et jaunes : homme assis. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','48’58','','inherit','closed','closed','','13593-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13593,'https://localhost/?p=14366',0,'revision','',0), (14367,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nSaturé et surexposé en tons bleus : presque illisible.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','49’00','','inherit','closed','closed','','13594-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13594,'https://localhost/?p=14367',0,'revision','',0), (14368,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nHomme portant un chapeau haut de forme et tenant une loupe devant son œil.\nDossier Secret [Mr Arkadin] (1955), Orson Welles.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nBande son de Dossier Secret [Mr Arkadin] (1955), Orson Welles.\n\n\nÉcrits\n---\n\n','49’03','','inherit','closed','closed','','13595-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13595,'https://localhost/?p=14368',0,'revision','',0), (14369,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\nHommage\nA la Catalogne\n','49’15','','inherit','closed','closed','','13596-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13596,'https://localhost/?p=14369',0,'revision','',0), (14370,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','49’18','','inherit','closed','closed','','13597-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13597,'https://localhost/?p=14370',0,'revision','',0), (14371,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nHomme tenant d\'une main le revers de sa veste, remonté jusqu\'au cou.\nLa terre (1930), Alexandre Dovjenko.\nLiberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nEt pourtant aimer ceux qui sont capable de faire cela. Etre aimé d\'eux peut-être. Qu\'attendre de plus de l\'amour ? Quelle rage de leur demander encore des comptes. Mais lui aussi parlait lentement. Cet amour ne t\'empêchait pas de coucher avec ce type, alors que tu pensais si nous étions vivants.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','49’24','','inherit','closed','closed','','13598-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13598,'https://localhost/?p=14371',0,'revision','',0), (14372,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nFemme se tenant la main devant la bouche, l\'air perdu et pensif.\nLa terre (1930), Alexandre Dovjenko. Liberté et patrie (2002), Jean-Luc Godard et Anne-Marie Miéville.\n\n\nVoix Off et In\n---\n\nMais nous sommes vivants ! – Vous m\'interrogez avec quelque chose qui n\'est pas vivant en vous et qui cherche en moi quelque chose qui ne peux pas vivre. Cela c’est une souffrance, c\'est l\'angoisse, c\'est l\'attente, lorsque le temps est toujours de trop et que toutefois le temps manque au temps... Dans l’attente le temps qui permet d’attendre se perd pour mieux répondre à l’attente. Et l’attente qui a lieu dans le temps ouvre le temps à l’absence de temps où il n’y a pas lieu d’attendre. (Jean-Luc Godard).\nL’attente, l’oubli (1962), Maurice Blanchot.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','50’03','','inherit','closed','closed','','13599-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13599,'https://localhost/?p=14372',0,'revision','',0), (14373,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nHe oui Ninon, c’est une fille \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','50’58','','inherit','closed','closed','','13600-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13600,'https://localhost/?p=14373',0,'revision','',0), (14374,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nMains d\'un vieil homme tournées vers le haut.\nHistoire (s) du cinéma 1b / 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIl y a les cinq doigts. On accomplirait l’acte rédempteur.\nLa main. (Jean-Luc Godard).\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','51’00','','inherit','closed','closed','','13601-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13601,'https://localhost/?p=14374',0,'revision','',0), (14375,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nDessin de main tournée vers le bas.\nLiberté et patrie, Jean-Luc Godard et Anne-Marie Miéville (2002).\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','51’09','','inherit','closed','closed','','13602-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13602,'https://localhost/?p=14375',0,'revision','',0), (14376,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nMain d\'homme reposant sur une main de femme. La main de femme repose sur une épaule. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','51’12','','inherit','closed','closed','','13603-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13603,'https://localhost/?p=14376',0,'revision','',0), (14377,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nEt un long moment après \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','51’16','','inherit','closed','closed','','13604-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13604,'https://localhost/?p=14377',0,'revision','',0), (14378,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nDessin de Bécassine. Caumery et Pinchon. \n\n\nVoix Off et In\n---\n\nParce que les histoires que l\'on raconte vont moins vite que les actions \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','51’20','','inherit','closed','closed','','13605-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13605,'https://localhost/?p=14378',0,'revision','',0), (14379,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nne s\'accomplissent (Jean-Luc Godard). \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','51’29','','inherit','closed','closed','','13606-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13606,'https://localhost/?p=14379',0,'revision','',0), (14380,1,'2023-11-09 08:50:13','2023-11-09 07:50:13','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','51’32','','inherit','closed','closed','','13607-revision-v1','','','2023-11-09 08:50:13','2023-11-09 07:50:13','',13607,'https://localhost/?p=14380',0,'revision','',0), (14381,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nFemme tenant un trousseau de clés à la main et touchant une clé sur laquelle est écrit « unica ».\nLes Enchaînés, [Notorious] (1946), Alfred Hitchcock. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','51’35','','inherit','closed','closed','','13608-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13608,'https://localhost/?p=14381',0,'revision','',0), (14382,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nLa femme serrant dans ses bras un homme et, derrière sa tête, dérobant une clé d’un trousseau.\nLes Enchaînés, [Notorious] (1946), Alfred Hitchcock. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','51’51','','inherit','closed','closed','','13609-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13609,'https://localhost/?p=14382',0,'revision','',0), (14383,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nSOUS LES YEUX \n DE L’OCCIDENT \n\n','51’57','','inherit','closed','closed','','13610-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13610,'https://localhost/?p=14383',0,'revision','',0), (14384,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nHomme poussé les mains derrière le dos par d\'autres hommes. Images retransmises dans le documentaire\nShoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCris\n\n\nÉcrits\n---\n\n','51’59','','inherit','closed','closed','','13611-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13611,'https://localhost/?p=14384',0,'revision','',0), (14385,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nPetite fille portant un nourrisson sur l\'épaule et, à côté d\'elle, trois autres enfants, habillés de haillons.\nDe l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','52’01','','inherit','closed','closed','','13612-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13612,'https://localhost/?p=14385',0,'revision','',0), (14386,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','52’06','','inherit','closed','closed','','13613-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13613,'https://localhost/?p=14386',0,'revision','',0), (14387,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nDans un roman,\n\n\nBande Son\n---\n\nArpèges à la guitare. Raf Raf (1991), Anouar Brahem.\n\n\nÉcrits\n---\n\nHEUREUSE ARABIE\nL\'Arabie heureuse : souvenirs de voyages en Afrique et en Asie (1860), Alexandre Dumas.\n','52’08','','inherit','closed','closed','','13614-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13614,'https://localhost/?p=14387',0,'revision','',0), (14388,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nSaturé : enfant sur le toit d\'une maison, vu de dos, regardant le reste de la ville.\n\n\nVoix Off et In\n---\n\nDans un roman l\'intérêt, dans le pire des cas, vient du fait que\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','52’10','','inherit','closed','closed','','13615-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13615,'https://localhost/?p=14388',0,'revision','',0), (14389,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\ntrès souvent les situations quelconques \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','52’21','','inherit','closed','closed','','13616-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13616,'https://localhost/?p=14389',0,'revision','',0), (14390,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nFemme tenant à la main une clé.\nMeshes of afternoon (1943), Maya Deren, Alexandr Hackenschmied.\n\n\nVoix Off et In\n---\n\nont un comportement assez\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','52’23','','inherit','closed','closed','','13617-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13617,'https://localhost/?p=14390',0,'revision','',0), (14391,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nproche du pire des cas. \n (Jean-Luc Godard) \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nLES \n PARADIS \n PERDUS \n\n','52’26','','inherit','closed','closed','','13618-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13618,'https://localhost/?p=14391',0,'revision','',0), (14392,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nDessin de soldat avec une épée et un bouclier orné d\'un croissant et d’une étoile. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVoix féminine chantant en arabe. \n\n\nÉcrits\n---\n\n\n\n','52’33','','inherit','closed','closed','','13619-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13619,'https://localhost/?p=14392',0,'revision','',0), (14393,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nArmée avec des lances, des épées et des boucliers en marche.\nConstantinople, Faruk Aksoy, (2012).\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nTaabani Nibniou, Hedi Jouini (1993).\n\n\nÉcrits\n---\n\n','52’35','','inherit','closed','closed','','13620-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13620,'https://localhost/?p=14393',0,'revision','',0), (14394,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nSaturé en tons rouge : homme agenouillé avec un drapeau à la main.\nLe visage de Dieu (2014), Bahram Aloui.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','52’41','','inherit','closed','closed','','13621-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13621,'https://localhost/?p=14394',0,'revision','',0), (14395,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nTourné en noir et blanc et surexposé : photographie de Hosni Moubarak, ancien Président de la République arabe d\'Égypte. \n\n\nVoix Off et In\n---\n\nJe peux mourir tranquille \n (Albert Cossery) \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','52’45','','inherit','closed','closed','','13622-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13622,'https://localhost/?p=14395',0,'revision','',0), (14396,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nHomme parlant à une femme vêtue d\'une tenue traditionnelle arabe.\nLa bandera (1935), Julien Duvivier.\n\n\nVoix Off et In\n---\n\nTe souviens-tu encore comment nous entraînions autrefois notre pensée. Le plus souvent nous partions d\'un rêve. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','52’47','','inherit','closed','closed','','13623-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13623,'https://localhost/?p=14396',0,'revision','',0), (14397,1,'2023-11-09 08:50:14','2023-11-09 07:50:14','Images\n---\n\nJeune homme dormant avec un keffieh. En surimpression : femmes agées dansant et jouant cérémonieusement de la musique autour d\'une jeune femme à la poitrine nue. \n\n\nVoix Off et In\n---\n\nJe me sens toujours très bien les mains dans les poches même si j’ai pas un sou. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','52’54','','inherit','closed','closed','','13624-revision-v1','','','2023-11-09 08:50:14','2023-11-09 07:50:14','',13624,'https://localhost/?p=14397',0,'revision','',0), (14398,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nPhotographie en noir et blanc d’un homme âgé assis avec à côté de lui un âne portant une télévision sur son dos. \n\n\nVoix Off et In\n---\n\nJe me suis toujours senti un fils de roi. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','52’58','','inherit','closed','closed','','13625-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13625,'https://localhost/?p=14398',0,'revision','',0), (14399,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nHomme âgé assis avec à côté de lui un âne portant une télévision sur son dos. \n\n\nVoix Off et In\n---\n\nMais tous les égyptiens se sentent un peu fils de roi. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','53’01','','inherit','closed','closed','','13626-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13626,'https://localhost/?p=14399',0,'revision','',0), (14400,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nSaturé en tous rouge : désert.\nThe Thief of Baghdad (1978), Cline Donner.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nAu violon : musique traditionnelle arabe. Personnes discutant.\n\n\nÉcrits\n---\n\n','53’04','','inherit','closed','closed','','13627-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13627,'https://localhost/?p=14400',0,'revision','',0), (14401,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nSaturé en tons rouge : homme portant de l’encens fumant.\nAladdin\'s magic lamp (1967), Boris Rytsarev.\n\n\nVoix Off et In\n---\n\nL’orient est plus philosophe que l’occident,\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','53’07','','inherit','closed','closed','','13628-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13628,'https://localhost/?p=14401',0,'revision','',0), (14402,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nJeune homme et jeune femme ayant des rapports sexuels la nuit dans une chambre.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\net le moindre vanupieds vous dira de choses extraordinaires\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','53’15','','inherit','closed','closed','','13629-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13629,'https://localhost/?p=14402',0,'revision','',0), (14403,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSur la vie, sur le monde. Et vous entendez chacun est philosophe \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','53’18','','inherit','closed','closed','','13630-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13630,'https://localhost/?p=14403',0,'revision','',0), (14404,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nTrois personnes sur un tapis volant.\nLe voleur de Bagdad (1924), Raoul Walsh.\n\n\nVoix Off et In\n---\n\nParce que il a le temps de réfléchir, de penser, de voir le monde passer\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','53’26','','inherit','closed','closed','','13631-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13631,'https://localhost/?p=14404',0,'revision','',0), (14405,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nArmée romaine devant les murs d\'une ville du Moyen-Orient.\nIl Messia (1975), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nEn occident\n(Albert Cossery)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','53’29','','inherit','closed','closed','','13632-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13632,'https://localhost/?p=14405',0,'revision','',0), (14406,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nCroisés à cheval avec des armures et des drapeaux passant sous les acclamations de la foule.\nThe Crusades (1935), Cecil B DeMille.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence, puis cris d’acclamation.\n\n\nÉcrits\n---\n\n','53’33','','inherit','closed','closed','','13633-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13633,'https://localhost/?p=14406',0,'revision','',0), (14407,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','53’38','','inherit','closed','closed','','13634-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13634,'https://localhost/?p=14407',0,'revision','',0), (14408,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nSaturé : soldats en guerre.\nAdieu Bonaparte (1985), Youssef Chahine.\n\n\nVoix Off et In\n---\n\nArrêtez ! Oh le con.\n- Vous ne savez pas qui vous êtes, vous voyez bien. Le christianisme, c’est le refus de se connaître, c’est la mort du langage.\nDétective (1985), Jean-Luc Godard.\n\n\nBande Son\n---\n\nTirs au pistolet, puis klaxon.\n\n\nÉcrits\n---\n\n','53’41','','inherit','closed','closed','','13635-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13635,'https://localhost/?p=14408',0,'revision','',0), (14409,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nInscriptions en arabe sur fond noir du film Socialisme (2010), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nSilence je vous ai dit.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','53’57','','inherit','closed','closed','','13636-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13636,'https://localhost/?p=14409',0,'revision','',0), (14410,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nAu ralenti : femme se précipitant pour ramasser un tissu et s’en couvrant jusqu\'au nez. \n\n\nVoix Off et In\n---\n\nTout à coup, il aperçut à l’horizon derrière Tunis, comme des brouillards légers, qui se traînaient contre le sol @ \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','54’03','','inherit','closed','closed','','13637-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13637,'https://localhost/?p=14410',0,'revision','',0), (14411,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nSaturé et surexposé : personnages presque invisibles. \n\n\nVoix Off et In\n---\n\npuis ce fut un grand rideau de poudre grise perpendiculairement étalé, et, dans les tourbillons \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','54’15','','inherit','closed','closed','','13638-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13638,'https://localhost/?p=14411',0,'revision','',0), (14412,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nSurexposé, et saturé en tons bleu clair, rouges et verts : navire voguant dans la mer et drapeaux qui flottent dans le vent.\n\n\nVoix Off et In\n---\n\nde cette masse nombreuse,\ndes têtes de dromadaires, des lances,\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','54’24','','inherit','closed','closed','','13639-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13639,'https://localhost/?p=14412',0,'revision','',0), (14413,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nSurexposé, en noir et blanc : mer avec de la vapeur flottant au loin dans l’air. \n\n\nVoix Off et In\n---\n\ndes boucliers parurent. C’était l’armée des Barbares qui s’avançait sur Carthage. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','54’30','','inherit','closed','closed','','13640-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13640,'https://localhost/?p=14413',0,'revision','',0), (14414,1,'2023-11-09 08:50:15','2023-11-09 07:50:15','Images\n---\n\nCaravane dans le désert.\nIl Messia (1975), Roberto Rossellini.\n\n\nVoix Off et In\n---\n\nOh Salammbô.(Jean-Luc Godard).\nSalammbô (1862), Gustave Flaubert.\n\n\nBande Son\n---\n\nAube rouge à Grozny (2000), Anouar Trio Brahem.\n\n\nÉcrits\n---\n\n','54’37','','inherit','closed','closed','','13641-revision-v1','','','2023-11-09 08:50:15','2023-11-09 07:50:15','',13641,'https://localhost/?p=14414',0,'revision','',0), (14415,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','55’07','','inherit','closed','closed','','13642-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13642,'https://localhost/?p=14415',0,'revision','',0), (14416,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nSaturé, au ralenti : deux mains déboutonnant une robe bleue.\nMéditerranée (1963), Jean Daniel Pollet.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','55’11','','inherit','closed','closed','','13643-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13643,'https://localhost/?p=14416',0,'revision','',0), (14417,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nDans l’ombre de l’Occident. \n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nCES FLEURS \n PERDUES \n DANS LE VENT \n\n','55’33','','inherit','closed','closed','','13644-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13644,'https://localhost/?p=14417',0,'revision','',0), (14418,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nSaturé en tons jaunes et rouges : hommes creusant avec des pelles dans le désert. Groupe d\'arabophones essayant d\'embarquer sur un bateau en plein désert.\nLes Baliseurs du désert (1984), Nacer Khémir.\n\n\nVoix Off et In\n---\n\nIl est certain que la représentation, plus particulièrement l’acte de représenter (et donc de réduire) implique presque toujours\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','55’35','','inherit','closed','closed','','13645-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13645,'https://localhost/?p=14418',0,'revision','',0), (14419,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nFemme nue dans dans une réplique miniature de ville du Moyen-Orient, puis capturée par un homme à cheval déguisé en soldat croisé.\nPassion (1982), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nimplique presque toujours une violence envers le sujet de la représentation. (Jean-Luc Godard). Dans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','55’59','','inherit','closed','closed','','13646-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13646,'https://localhost/?p=14419',0,'revision','',0), (14420,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nAu ralenti, saturé de bleu : croisé levant l’épée pour frapper.\nPassion (1982), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIl y a\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','56’02','','inherit','closed','closed','','13647-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13647,'https://localhost/?p=14420',0,'revision','',0), (14421,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nun réel contraste entre la violence de l’acte de représenter et le calme intérieur de la représentation elle-même. (Jean-Luc Godard). Dans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','56’10','','inherit','closed','closed','','13648-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13648,'https://localhost/?p=14421',0,'revision','',0), (14422,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nSaturé : film en couleur pris avec une petite caméra numérique en 2016 d’une ville de bord de mer avec un homme à vélo. Au ralenti : deux enfants cherchant quelque chose entre les rochers, les pieds dans la mer. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence, et vagues. \n\n\nÉcrits\n---\n\n\n\n','56’22','','inherit','closed','closed','','13649-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13649,'https://localhost/?p=14422',0,'revision','',0), (14423,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nFoule de personnes se bousculant dans la rue.\nDe l’origine du XX siècle (2000), Jean. Luc Godard.\n\n\nVoix Off et In\n---\n\nIls sont pris entre “ salamalecs ” et “ charabia ”, et les Arabes n\'intéressent pas “ le monde ”. Les musulmans non plus. Si l\'islam retient politiquement l\'attention, le “ monde arabe ” est d’abord décor et paysage.\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','56’40','','inherit','closed','closed','','13650-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13650,'https://localhost/?p=14423',0,'revision','',0), (14424,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nDeux soldats intimant à une personne de lever les mains et de faire face au mur. \n\n\nVoix Off et In\n---\n\nLe monde arabe s\'il existe en tant que monde n\'est jamais regardé en tant que tel. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','57’09','','inherit','closed','closed','','13651-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13651,'https://localhost/?p=14424',0,'revision','',0), (14425,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nDe nouveau, petite fille portant un bébé sur les épaules, trois autres enfants habillés de haillons à ses côtés.\nDe l’origine du XXI siècle (2000), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nIl est toujours examiné comme un ensemble relativement à un pays du moyen-orient. Dans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’17','','inherit','closed','closed','','13652-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13652,'https://localhost/?p=14425',0,'revision','',0), (14426,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','57’19','','inherit','closed','closed','','13653-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13653,'https://localhost/?p=14426',0,'revision','',0), (14427,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nJeune femme ramant sur un lac, aidée par un jeune homme assis derrière elle.\nLes Dernières vacances, (1947), Roger Leenhardt. Histoire (s) du cinéma 4b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nCes citoyens, ces amants de la patrie, dans l’excès de leur passion, auraient voulu mourir pour elle\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’23','','inherit','closed','closed','','13654-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13654,'https://localhost/?p=14427',0,'revision','',0), (14428,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nSaturé en tons bleus : homme à cheval au milieu d\'un paysage vallonné.\nPaysage et cavalier, aquarelle réalisée au cours du trajet Tanger-Meknès (1832), Eugène Delacroix.\n\n\nVoix Off et In\n---\n\net ils allaient la tuer.\nHistoire de la Révolution française (1847 - 1853), Jules Michelet.\n\nLes défauts\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’33','','inherit','closed','closed','','13655-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13655,'https://localhost/?p=14428',0,'revision','',0), (14429,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nSurexposé : autre aquarelle d’homme au turban à cheval de Eugène Delacroix. \n\n\nVoix Off et In\n---\n\nEt les enjeux \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','57’39','','inherit','closed','closed','','13656-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13656,'https://localhost/?p=14429',0,'revision','',0), (14430,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nFemme étendant du linge, autre femme se lavant au bord d\'un ruisseau.\nFemme qui se lave et sa servante Maures (1854), Eugene Delacroix\nPeinture.\n\n\nVoix Off et In\n---\n\nLes arabes, les arabes peuvent-ils parler. (Jean-Luc Godard). Dans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’42','','inherit','closed','closed','','13657-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13657,'https://localhost/?p=14430',0,'revision','',0), (14431,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nFemme interpellée bruyamment alors qu\'elle traverse une rue dans une ville du Moyen-Orient, puis se retournant.\nDjamila (1958), Youssef Chahine.\n\n\nVoix Off et In\n---\n\nDjamila, Djamila !\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’52','','inherit','closed','closed','','13658-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13658,'https://localhost/?p=14431',0,'revision','',0), (14432,1,'2023-11-09 08:50:16','2023-11-09 07:50:16','Images\n---\n\nJeune homme levant les mains et montrant les paumes, puis plaçant d’un geste lent la main droite sur la paume gauche.\nLes Baliseurs du désert, Nacer Khémir (1984), cité dans Voyage à Tunis (2007), Bruno Moll.\n\n\nVoix Off et In\n---\n\nLes arabes peuvent-ils parler. (Jean-Luc Godard).\nDans l\'ombre de l\'Occident @ les Arabes peuvent-ils parler ? (2014), Edward W. Saïd et Seloua Luste Boulbina.\n\nÀ demi-voix, d’une voix douce et faible disant de grandes choses : d’importantes, d’étonnantes, de profondes et justes choses,\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','57’58','','inherit','closed','closed','','13659-revision-v1','','','2023-11-09 08:50:16','2023-11-09 07:50:16','',13659,'https://localhost/?p=14432',0,'revision','',0), (14433,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nHomme attrapant une colombe et la sortant de sa petite maison accrochée au mur.\nLe collier perdu de la colombe (1991), Nacer Khémir.\n\n\nVoix Off et In\n---\n\nd’une voix douce et faible. La menace du tonnerre, la présence d’absolus dans une voix de rougegorge\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','58’16','','inherit','closed','closed','','13660-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13660,'https://localhost/?p=14433',0,'revision','',0), (14434,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nSaturé : homme et enfant marchant dans le désert.\nBab\'Aziz, le prince qui contemplait son âme (2005), Nacer Khémir, cité dans Voyage à Tunis (2007), Bruno Moll.\n\n\nVoix Off et In\n---\n\ndans le détail fin d’une flûte, et la délicatesse du son pur. Tout le soleil suggérait, au moyen d’un demi-sourire demie voix...\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','58’27','','inherit','closed','closed','','13661-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13661,'https://localhost/?p=14434',0,'revision','',0), (14435,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nHomme se jetant sur une robe posée sur le toit d\'une maison de terre cuite dans une ville du Moyen-Orient.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','58’36','','inherit','closed','closed','','13662-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13662,'https://localhost/?p=14435',0,'revision','',0), (14436,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nSaturé : maisons se reflétant dans l\'eau. \n\n\nVoix Off et In\n---\n\nEt d’une sorte de murmure en français infiniment pur. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','58’44','','inherit','closed','closed','','13663-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13663,'https://localhost/?p=14436',0,'revision','',0), (14437,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nAu ralenti : enfant poussant une roue de voiture.\n\n\nVoix Off et In\n---\n\nQui n’eût saisi les mots, qui l’eût ouï à quelque distance, aurait cru qu’il disait des riens. Et c’étaient des riens pour l’oreille, rassurée. (Julie Delpy).\nÀ propos de Stéphane Mallarmé. À demi-voix (1939), Paul Valery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','58’55','','inherit','closed','closed','','13664-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13664,'https://localhost/?p=14437',0,'revision','',0), (14438,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nTremblant de droite à gauche : ville en ruines avec des soldats cachés, armes à la main.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\n','59’04','','inherit','closed','closed','','13665-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13665,'https://localhost/?p=14438',0,'revision','',0), (14439,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nSurexposé : pinceau projetant de l\'aquarelle sur une feuille de papier. \n\n\nVoix Off et In\n---\n\nMais ce contraste et cette musique cette voix ridant l’air à peine cette puissance chuchotée ces perspectives, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','59’10','','inherit','closed','closed','','13666-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13666,'https://localhost/?p=14439',0,'revision','',0), (14440,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nEnfants jouant dans la rue, autres enfants avec un scooter et un chat.\n\n\nVoix Off et In\n---\n\nces découvertes, ces abîmes et ces manœuvres devinées ce sourire congédiant l’univers. Psaume sur une voix, Autres Rhumbs (1927), Paul Valéry. Histoires du cinéma 4a (1989 - 99), Jean-Luc Godard.\n\n\nBande Son\n---\n\nVoix d’enfants.\n\n\nÉcrits\n---\n\n','59’22','','inherit','closed','closed','','13667-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13667,'https://localhost/?p=14440',0,'revision','',0), (14441,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nJeune femme parlant au téléphone en arabe, observée par un homme au chapeau de prière musulman situé derrière la vitre d’une cabine téléphonique.\nGare Centrale (1958), Youssef Chahine.\n\n\nVoix Off et In\n---\n\nJeune femme [traduction du dialecte égyptien]:\nIl faut que je vois. Il faut que je te vois, tu as été absent pendant quatre ans. Je m\'en fiche. Dis leur n\'importe quoi. Je t\'attendrai à la gare. Mon chéri...\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','59’36','','inherit','closed','closed','','13668-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13668,'https://localhost/?p=14441',0,'revision','',0), (14442,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nVoix d\'un enfant criant [traduction du dialecte palestinien]:\nMonsieur le juge, la guerre a brûlé mes livres !\nHistoires du cinéma 4b (1989 - 99), Jean-Luc Godard.\n\nVoix d’homme récitant un poème du poète palestinien Mahmoud Darwich en arabe [traduction de l’arabe classique]:\nJe t\'ai donné un instant. Et j\'ai passé un moment. Mais ton visage n\'est pas... et ton kohl un maquillage similaire au mascara] est devenu ciment. Et les fusils. J\'ai eu peur de la mort mais j\'ai souris. J\'ai porté la blessure des blessés pour un instant. Oh mon dieu... Je t\'ai cherché sous le palmier. On l\'a traîné...\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','59’57','','inherit','closed','closed','','13669-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13669,'https://localhost/?p=14442',0,'revision','',0), (14443,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nPeut-être \n Que \n Dans \n Mille et un \n Jours \n \n Racontera \n cela \n\n','1h00’03','','inherit','closed','closed','','13670-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13670,'https://localhost/?p=14443',0,'revision','',0), (14444,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nClignotant : deux nouveaux mots s’ajoutent au texte précédemment affiché.\nIci et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nPeut-être\nQue\nDans\nMille et un\nJours\nScheherazade\nRacontera\nCela\nautrement\n','1h00’04','','inherit','closed','closed','','13671-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13671,'https://localhost/?p=14444',0,'revision','',0), (14445,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nPhotographie d\'une personne morte et défigurée, au crâne fendu.\nIci et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h00’09','','inherit','closed','closed','','13672-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13672,'https://localhost/?p=14445',0,'revision','',0), (14446,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nFemme parlant devant un brasier. Main d\'une autre personne s\'approchant et posant l\'index sur sa lèvre inférieure.\nLes silences du passé (1994), Moufida Tlatli.\n\n\nVoix Off et In\n---\n\nVoix d\'un homme parlant en arabe. Ici et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nBande Son\n---\n\nCoups de mitraillette. Ici et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nÉcrits\n---\n\n','1h00’13','','inherit','closed','closed','','13673-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13673,'https://localhost/?p=14446',0,'revision','',0), (14447,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nDe nouveau, personne morte et défigurée au crâne fendu.\nIci et ailleurs (1976), Jean-Luc Godard / Groupe Dziga Vertov.\n\n\nVoix Off et In\n---\n\nId.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h00’22','','inherit','closed','closed','','13674-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13674,'https://localhost/?p=14447',0,'revision','',0), (14448,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nSaturé : cadavres dans un paysage désertique. \n\n\nVoix Off et In\n---\n\nId. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h00’31','','inherit','closed','closed','','13675-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13675,'https://localhost/?p=14448',0,'revision','',0), (14449,1,'2023-11-09 08:50:17','2023-11-09 07:50:17','Images\n---\n\nSaturé en tons bleus : personne nageant dans l\'eau. \n\n\nVoix Off et In\n---\n\nId. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h00’41','','inherit','closed','closed','','13676-revision-v1','','','2023-11-09 08:50:17','2023-11-09 07:50:17','',13676,'https://localhost/?p=14449',0,'revision','',0), (14450,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nSaturée en tons verts et rouges : femmes habillées plongeant dans un fleuve.\nLa saison des hommes (2002), Moufida Tlatli.\n\n\nVoix Off et In\n---\n\nId.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h00’47','','inherit','closed','closed','','13677-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13677,'https://localhost/?p=14450',0,'revision','',0), (14451,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nLivre feuilleté\nL\'Arabie heureuse. Souvenirs de voyages en Afrique et en Asie (1860), Hadji-Abd-El-Hamid Bey, publié par Alexandre Dumas.\n\n\nVoix Off et In\n---\n\nQue n’a-t-on pas écrit la nuit ? pourtant de ce qui fut écrit à partir de ces visions par Holderlin, Rimbaud.\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','1h00’54','','inherit','closed','closed','','13678-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13678,'https://localhost/?p=14451',0,'revision','',0), (14452,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nNous parlions de ce qu’on voit dans un rêve\nNous nous demandions comment, dans l’obscurité totale peuvent surgir parmi nous\n\n\nBande Son\n---\n\nVoix masculine d’un muezzin, en arabe.\nPuis, après à la guitare. Thimar, 6. Uns (1998), Anouar Brahem, John Surman, Dave Holland.\n\n\nÉcrits\n---\n\n','1h01’06','','inherit','closed','closed','','13679-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13679,'https://localhost/?p=14452',0,'revision','',0), (14453,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nSaturé : aquarelle représentant un homme marchant entre des maisons.\nVue dans une ruelle (1914), August Macke.\n\n\nVoix Off et In\n---\n\nde couleurs de telle intensité\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h01’18','','inherit','closed','closed','','13680-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13680,'https://localhost/?p=14453',0,'revision','',0), (14454,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nMains de Godard feuilletant des images, dont un dessin stylisé d’une femme en robe bleue.\nHistoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nElles sont le produit de notre savoir\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h01’20','','inherit','closed','closed','','13681-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13681,'https://localhost/?p=14454',0,'revision','',0), (14455,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nAquarelle de femme en robe.\nHistoire (s) du cinéma 1b (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nconcernant la lumière\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h01’23','','inherit','closed','closed','','13682-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13682,'https://localhost/?p=14455',0,'revision','',0), (14456,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nHomme allongé sur un lit regardant au plafond où des images semblent être projetées.\n\n\nVoix Off et In\n---\n\nLe savoir voit !\n\nLe contrepoint est une discipline de la superposition des lignes mélodiques.\n\n\nBande Son\n---\n\nConcerto pour violon no 2 en mi mineur, Op. 64 (MWV O 14) (1844), Félix Mendelssohn.\n\n\nÉcrits\n---\n\nPASSEPORT\nVERS\nLE RÉEL\n','1h01’25','','inherit','closed','closed','','13683-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13683,'https://localhost/?p=14456',0,'revision','',0), (14457,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLes mélodies n’ont pas besoin d’être identiques \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h01’35','','inherit','closed','closed','','13684-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13684,'https://localhost/?p=14457',0,'revision','',0), (14458,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nAquarelle d\'un âne au milieu des maisons.\nVue sur une mosquée (1914), August Macke.\n\n\nVoix Off et In\n---\n\nnon plus que parentes, étrangères l\'une à l\'autre. Elles ne font pas obstacle à la composition\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h01’44','','inherit','closed','closed','','13685-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13685,'https://localhost/?p=14458',0,'revision','',0), (14459,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nmais il faut les tenir \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h01’49','','inherit','closed','closed','','13686-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13686,'https://localhost/?p=14459',0,'revision','',0), (14460,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nPhotographie d\'un pinceau posé sur une feuille peinte. \n\n\nVoix Off et In\n---\n\ntoutes les deux ensemble et en même temps. Dans l\'harmonie les accords produisent les mélodies. \n\n\nBande Son\n---\n\nId. et silence. \n\n\nÉcrits\n---\n\n\n\n','1h01’53','','inherit','closed','closed','','13687-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13687,'https://localhost/?p=14460',0,'revision','',0), (14461,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nSurexposé et en tons jaunes : trois femmes faisant la vaisselle dans des bacs de fer posés à même le sol.\nTamaout (1970), Marc’o.\n\n\nVoix Off et In\n---\n\nDans le contrepoint ce sont des mélodies elles-mêmes dont dont à l\'inverse résultent les accords. (Jean-Luc Godard).\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h02’07','','inherit','closed','closed','','13688-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13688,'https://localhost/?p=14461',0,'revision','',0), (14462,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','1h02’16','','inherit','closed','closed','','13689-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13689,'https://localhost/?p=14462',0,'revision','',0), (14463,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nTrois filles et un garçon jouant dans une piscine.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h02’21','','inherit','closed','closed','','13690-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13690,'https://localhost/?p=14463',0,'revision','',0), (14464,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nSaturé : soleil couchant sur la mer. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h02’39','','inherit','closed','closed','','13691-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13691,'https://localhost/?p=14464',0,'revision','',0), (14465,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nPiano Quintet, Op. 18 - 4. Largo (1944), Mieczysław Weinberg.\n\n\nÉcrits\n---\n\nHEUREUSE\nARABIE\n\nHasards de l\'Arabie heureuse (2005), Frederic Prokosch.\n','1h02’48','','inherit','closed','closed','','13692-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13692,'https://localhost/?p=14465',0,'revision','',0), (14466,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nSaturé et surexposé : bateau au milieu de la mer et pêcheurs. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h02’55','','inherit','closed','closed','','13693-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13693,'https://localhost/?p=14466',0,'revision','',0), (14467,1,'2023-11-09 08:50:18','2023-11-09 07:50:18','Images\n---\n\nFemme se peingnant les mains de symboles géométriques. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h03’08','','inherit','closed','closed','','13694-revision-v1','','','2023-11-09 08:50:18','2023-11-09 07:50:18','',13694,'https://localhost/?p=14467',0,'revision','',0), (14468,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nSaturé : mer ondulante vue d\'un golfe. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence, puis vagues. \n\n\nÉcrits\n---\n\n\n\n','1h03’09','','inherit','closed','closed','','13695-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13695,'https://localhost/?p=14468',0,'revision','',0), (14469,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. et silence. \n\n\nÉcrits\n---\n\n\n\n','1h03’41','','inherit','closed','closed','','13696-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13696,'https://localhost/?p=14469',0,'revision','',0), (14470,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nJeune femme pleurant sur une plage, hommes chantant en arabe en arrière-plan. La fièvre (2014), Safia Benhaïm.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVoix masculines accompagnées d’instruments à percussions.\n\n\nÉcrits\n---\n\n','1h03’47','','inherit','closed','closed','','13697-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13697,'https://localhost/?p=14470',0,'revision','',0), (14471,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h03’57','','inherit','closed','closed','','13698-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13698,'https://localhost/?p=14471',0,'revision','',0), (14472,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nEn noir et blanc : bris de vitres de voitures.\nDjamila (1958), Youssef Chahine.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nExplosion et vitres cassées.\n\n\nÉcrits\n---\n\n','1h03’58','','inherit','closed','closed','','13699-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13699,'https://localhost/?p=14472',0,'revision','',0), (14473,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nFemme nue s’alongeant sur un homme nu sur un lit.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h04’00','','inherit','closed','closed','','13700-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13700,'https://localhost/?p=14473',0,'revision','',0), (14474,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nFemme embrassant les pieds d\'un homme. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h04’05','','inherit','closed','closed','','13701-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13701,'https://localhost/?p=14474',0,'revision','',0), (14475,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nHomme marchant sur des toits de maisons au moyen-orient.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\nTrès loin, très bas, l’océan … cent millions de vagues.\nElles rampaient vers les côtes invisibles de Dofa,\n\n\nBande Son\n---\n\nId. puis coups de mitraillette.\n\n\nÉcrits\n---\n\n','1h04’07','','inherit','closed','closed','','13702-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13702,'https://localhost/?p=14475',0,'revision','',0), (14476,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nLac et ciel entourés de montagnes. \n\n\nVoix Off et In\n---\n\nsi lentes que, vues d’en haut, d’en plein ciel en ciel, elles ne donnaient qu’à peine l’impression de bouger \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h04’24','','inherit','closed','closed','','13703-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13703,'https://localhost/?p=14476',0,'revision','',0), (14477,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nSaturé : hommes et femmes sur une plage, bateau. \n\n\nVoix Off et In\n---\n\nElles glissaient sur la mer avec l’indolente précision d\'un dessin de Damas \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h04’35','','inherit','closed','closed','','13704-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13704,'https://localhost/?p=14477',0,'revision','',0), (14478,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nqui semble comme un grand réseau blanc sur une feuille\n\n\nBande Son\n---\n\nArpèges à la guitare. Raf Raf (1991), Anouar Brahem.\n\n\nÉcrits\n---\n\nARCHÉOLOGIE\nET PIRATES\n','1h04’42','','inherit','closed','closed','','13705-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13705,'https://localhost/?p=14478',0,'revision','',0), (14479,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nSurexposé et saturé : quatre enfants au milieu de la mer. \n\n\nVoix Off et In\n---\n\nde verre bleu. De place en place, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h04’45','','inherit','closed','closed','','13706-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13706,'https://localhost/?p=14479',0,'revision','',0), (14480,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nPhoto d\'un coucher de soleil sur la mer. \n\n\nVoix Off et In\n---\n\ndans cette transparence, la forme d\'un poisson frémissait puis s\'éclipsait, raie géant peut-être, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h04’52','','inherit','closed','closed','','13707-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13707,'https://localhost/?p=14480',0,'revision','',0), (14481,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nCoucher de soleil sur la mer. \n\n\nVoix Off et In\n---\n\noù requin sur la voie d\'eau plus froide. Vers le nord. S’aplatissait un archipel \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h05’00','','inherit','closed','closed','','13708-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13708,'https://localhost/?p=14481',0,'revision','',0), (14482,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nZoomé : coucher de soleil sur la mer. \n\n\nVoix Off et In\n---\n\ncortège de crocodiles, \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h05’09','','inherit','closed','closed','','13709-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13709,'https://localhost/?p=14482',0,'revision','',0), (14483,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nSurexposé : hommes dans un bateau. \n\n\nVoix Off et In\n---\n\nvers les jardins du sud, vers le nord. Les pirogues s\'aplatissaient. Un archipel posé sur la plaque de verre comme \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h05’16','','inherit','closed','closed','','13710-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13710,'https://localhost/?p=14483',0,'revision','',0), (14484,1,'2023-11-09 08:50:19','2023-11-09 07:50:19','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\ndes moustiques.\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h05’26','','inherit','closed','closed','','13711-revision-v1','','','2023-11-09 08:50:19','2023-11-09 07:50:19','',13711,'https://localhost/?p=14484',0,'revision','',0), (14485,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nSaturé en tons rouge : désert, dunes. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h05’27','','inherit','closed','closed','','13712-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13712,'https://localhost/?p=14485',0,'revision','',0), (14486,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nVieil homme soufflant sur des braises placées sur une brique, et posant une cafetière dessus. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h05’30','','inherit','closed','closed','','13713-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13713,'https://localhost/?p=14486',0,'revision','',0), (14487,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nPalmiers secoués par un vent fort. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVent \n\n\nÉcrits\n---\n\n\n\n','1h05’36','','inherit','closed','closed','','13714-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13714,'https://localhost/?p=14487',0,'revision','',0), (14488,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nRue bruyante d\'une ville du Moyen Orient vue d’un balcon. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nChanson en arabe provenant d’une radio résonnant dans la ville. \n\n\nÉcrits\n---\n\n\n\n','1h05’41','','inherit','closed','closed','','13715-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13715,'https://localhost/?p=14488',0,'revision','',0), (14489,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nSurexposé et déformé : masque d’aigle sur un homme dont on voit les mains au bas du cadre.\nJudex (1964), Georges Franju.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h05’45','','inherit','closed','closed','','13716-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13716,'https://localhost/?p=14489',0,'revision','',0), (14490,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nAu ralenti : femme au balcon vue de dos, se retournant.\nLa mome vert de gris (1953), Bernard borderie.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h05’52','','inherit','closed','closed','','13717-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13717,'https://localhost/?p=14490',0,'revision','',0), (14491,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nFemme dansant en regardant la caméra.\nLa bandera (1935), Julien Duvivier.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h05’55','','inherit','closed','closed','','13718-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13718,'https://localhost/?p=14491',0,'revision','',0), (14492,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nPhoto d\'une rue d’une ville prise avec un téléphone portable depuis un balcon. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nExplosions et cris. \n\n\nÉcrits\n---\n\n\n\n','1h06’00','','inherit','closed','closed','','13719-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13719,'https://localhost/?p=14492',0,'revision','',0), (14493,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nAu ralenti : homme enflammé courant. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h06’06','','inherit','closed','closed','','13720-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13720,'https://localhost/?p=14493',0,'revision','',0), (14494,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nDeux hommes lisant le Coran et priant. \n\n\nVoix Off et In\n---\n\nLe livre. Les religions du livre ont forgé nos sociétés \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h06’12','','inherit','closed','closed','','13721-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13721,'https://localhost/?p=14494',0,'revision','',0), (14495,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nHomme sortant d\'une maison en pierre et en saluant d’autres en leur tendant la main.\nIl fiore delle mille e una notte (1974), Pier Paolo Pasolini.\n\n\nVoix Off et In\n---\n\net nous avons sacralisé les textes.\nTables de la lois, dix commencements, rouleaux de la Torah, Bible, Coran etc.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h06’19','','inherit','closed','closed','','13722-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13722,'https://localhost/?p=14495',0,'revision','',0), (14496,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nIl fallait (Jean-Luc Godard) \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h06’36','','inherit','closed','closed','','13723-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13723,'https://localhost/?p=14496',0,'revision','',0), (14497,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nPeinte à la main sur un fond noir : « Le Livre d’\' » écrit en rouge et « Image » écrit en blanc. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h06’38','','inherit','closed','closed','','13724-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13724,'https://localhost/?p=14497',0,'revision','',0), (14498,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nSaturé : vidéo prise du sommet d\'une montagne, montrant la mer. Le bruit du vent perturbe le microphone. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVent. \n\n\nÉcrits\n---\n\n\n\n','1h06’41','','inherit','closed','closed','','13725-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13725,'https://localhost/?p=14498',0,'revision','',0), (14499,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nEn noir et blanc : femme dansant tandis que des hommes et des femmes assis à table la regardent.\nLa mome vert de gris (1953), Bernard borderie.\n\n\nVoix Off et In\n---\n\nIci, à Dofa, la capitale de l\'Émirat, il était inconcevable qu’un mouvement subversif se soit constitué\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h06’50','','inherit','closed','closed','','13726-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13726,'https://localhost/?p=14499',0,'revision','',0), (14500,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nHomme et enfant entrant dans une pièce remplie de fumée de cigarette, où de nombreux hommes sont assis à table tout en regardant un écran, se plaignant de la main, et à haute-voix. Ils s’asseyent à table et commandent de la nourriture à un serveur.\n\n\nVoix Off et In\n---\n\nVous êtes conscients je suppose que toutes les histoires racontées se montrent parties.\n\nquelque rumeur autre que les explosions\n\n\nBande Son\n---\n\nId. puis voix humaines.\n\n\nÉcrits\n---\n\n','1h06’55','','inherit','closed','closed','','13727-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13727,'https://localhost/?p=14500',0,'revision','',0), (14501,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nSaturé en tons jaunes et rouges, et sous-exposé : puit de pétrole en flammes. \n\n\nVoix Off et In\n---\n\nEn effet la grande puissance impérialiste qui étendait son emprise politique sur tous les États du Golfe ne s’intéressait plus à Dofa depuis qu’il était clair que son sous-sol ne renfermait pas de pétrole. \n \n En superposition la voix de Jean-Luc Godard : un gouvernement assez puissant pour donner aux gens tout ce qu\'ils veulent, \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h07’28','','inherit','closed','closed','','13728-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13728,'https://localhost/?p=14501',0,'revision','',0), (14502,1,'2023-11-09 08:50:20','2023-11-09 07:50:20','Images\n---\n\nHomme tirant de nuit sur des fêtards réunis autour d\'un feu. Fêtards s\'enfuyant à la vue de l\'homme. \n\n\nVoix Off et In\n---\n\nassez puissant pour leur prendre tout ce qu’ils ont. \n \n Les frondeurs irréductibles de l’ordre établi avaient depuis longtemps renoncé à toute action brutale \n\n\nBande Son\n---\n\nId. puis chants, coups de fusil et cris. \n\n\nÉcrits\n---\n\n\n\n','1h07’50','','inherit','closed','closed','','13729-revision-v1','','','2023-11-09 08:50:20','2023-11-09 07:50:20','',13729,'https://localhost/?p=14502',0,'revision','',0), (14503,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nSous-exposé, en noir et blanc : personnes autour d\'un feu.\n\n\nVoix Off et In\n---\n\nla considérant comme inadéquate dans cet oasis misérable\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h08’13','','inherit','closed','closed','','13730-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13730,'https://localhost/?p=14503',0,'revision','',0), (14504,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nmais où régnait une paix souveraine \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h08’21','','inherit','closed','closed','','13731-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13731,'https://localhost/?p=14504',0,'revision','',0), (14505,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nPaysage semi désert, vu d\'une route.\n\n\nVoix Off et In\n---\n\ncar, là où il n\'y a rien, même les scélérats se résignent à l\'indigence. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h08’24','','inherit','closed','closed','','13732-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13732,'https://localhost/?p=14505',0,'revision','',0), (14506,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h08’32','','inherit','closed','closed','','13733-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13733,'https://localhost/?p=14506',0,'revision','',0), (14507,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nHaut et bas de l’écran noircis pour imiter la vision d’une personne portant une burqa. Au milieu de l’écran, à travers la fente : femmes marchant couvertes d’une burqa.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nÀ la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h08’36','','inherit','closed','closed','','13734-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13734,'https://localhost/?p=14507',0,'revision','',0), (14508,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h08’52','','inherit','closed','closed','','13735-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13735,'https://localhost/?p=14508',0,'revision','',0), (14509,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nVisage d\'une femme chantant en arabe. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVoix féminine, en arabe. \n\n\nÉcrits\n---\n\n\n\n','1h08’55','','inherit','closed','closed','','13736-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13736,'https://localhost/?p=14509',0,'revision','',0), (14510,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nSaturé en tons oranges et jaunes : match de football à la télévision aaccompagné des mots d’un commentateur sportif et photographie en couleur seppia de deux footballers. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h08’59','','inherit','closed','closed','','13737-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13737,'https://localhost/?p=14510',0,'revision','',0), (14511,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h09’11','','inherit','closed','closed','','13738-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13738,'https://localhost/?p=14511',0,'revision','',0), (14512,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nHomme et femme regardant la télévision. \n\n\nVoix Off et In\n---\n\nOn ne pouvait cependant oublier leur aptitude à se surpasser dans l\'abjection \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h09’12','','inherit','closed','closed','','13739-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13739,'https://localhost/?p=14512',0,'revision','',0), (14513,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nMains d\'un homme enchaîné.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\nlorsqu\'ils sont soutenus\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h09’23','','inherit','closed','closed','','13740-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13740,'https://localhost/?p=14513',0,'revision','',0), (14514,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nPetit enfant marchant dans une rue à la lumière du soleil sur laquelle se découpent les ombres des pales d\'un moulin.\nÀ côté de lui, homme enchaîné et gardé par trois autres hommes.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\net conseillés par des criminels d\'une plus grande envergure venus de l\'extérieur.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h09’26','','inherit','closed','closed','','13741-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13741,'https://localhost/?p=14514',0,'revision','',0), (14515,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSamantar \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h09’38','','inherit','closed','closed','','13742-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13742,'https://localhost/?p=14515',0,'revision','',0), (14516,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nVisage d\'un jeune homme appuyant sur une vitre reflétant son image. \n\n\nVoix Off et In\n---\n\nétait convaincu que la pauvreté d’un pays était sa seule sauvegarde contre les rapaces armés ou non. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h09’44','','inherit','closed','closed','','13743-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13743,'https://localhost/?p=14516',0,'revision','',0), (14517,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nDeux petites filles au foulard sur la tête. Mains de personnes applaudissant. \n\n\nVoix Off et In\n---\n\nqui n\'attendaient qu\'une promesse de profit pour venir le conquérir, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h09’58','','inherit','closed','closed','','13744-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13744,'https://localhost/?p=14517',0,'revision','',0), (14518,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nSurexposé et saturé : chameaux et hommes marchant en file dans le désert. \n\n\nVoix Off et In\n---\n\nle détruire et le pourrir \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h10’01','','inherit','closed','closed','','13745-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13745,'https://localhost/?p=14518',0,'revision','',0), (14519,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nFemme vue de dos, regardant un âne. \n\n\nVoix Off et In\n---\n\nEt Samantar remerciait le ciel d\'être né sur cette \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h10’05','','inherit','closed','closed','','13746-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13746,'https://localhost/?p=14519',0,'revision','',0), (14520,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nAu ralenti, en noir et blanc : homme marchant dans une rue, une arme à la main. \n\n\nVoix Off et In\n---\n\nterre désertique démunie de toute matière première et assez ingrate pour décourager les marchés. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h10’14','','inherit','closed','closed','','13747-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13747,'https://localhost/?p=14520',0,'revision','',0), (14521,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLe plus stupéfiant dans cette affaire \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h10’26','','inherit','closed','closed','','13748-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13748,'https://localhost/?p=14521',0,'revision','',0), (14522,1,'2023-11-09 08:50:21','2023-11-09 07:50:21','Images\n---\n\nRue et marché en plein air dans une ville du Moyen-Orient.\nLa fièvre (2014), Safia Benhaïm.\n\n\nVoix Off et In\n---\n\nétait que les attentats étaient revendiqués par une soi-disant\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h10’31','','inherit','closed','closed','','13749-revision-v1','','','2023-11-09 08:50:21','2023-11-09 07:50:21','',13749,'https://localhost/?p=14522',0,'revision','',0), (14523,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nSaturé : trois personnes sur une plage rocheuse au bord d\'une mer.\n\n\nVoix Off et In\n---\n\nforce de libération du golfe totalement inconnue et dont les tracts mal imprimés se targuaient d\'un vocabulaire révolutionnaire depuis longtemps dépassé. (Jean-Luc Godard). Une ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId. puis vent.\n\n\nÉcrits\n---\n\n','1h10’38','','inherit','closed','closed','','13750-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13750,'https://localhost/?p=14523',0,'revision','',0), (14524,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h11’30','','inherit','closed','closed','','13751-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13751,'https://localhost/?p=14524',0,'revision','',0), (14525,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nSurexposé et saturé : deux hommes debout dans une voiture au toit ouvert, et criant des phrases en arabe.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\n[traduction de l’arabe] : Le volontariat dans la brigade de... La vie est une posture...\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h11’32','','inherit','closed','closed','','13752-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13752,'https://localhost/?p=14525',0,'revision','',0), (14526,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nNi l\'importance du territoire de Dofa … \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h11’35','','inherit','closed','closed','','13753-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13753,'https://localhost/?p=14526',0,'revision','',0), (14527,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nSous-exposée : homme se déplaçant dans l\'ombre.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h11’40','','inherit','closed','closed','','13754-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13754,'https://localhost/?p=14527',0,'revision','',0), (14528,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nRalenti et sous exposé : main glissant trois doigts dans l’ouverture d\'une porte, pour l\'ouvrir.\nAl-lail (1992), Mohamed Malas.\n\nVoix Off et In\n---\n\nJournal télévisé [traduction de l’arabe standard] :\nNous ne savons pas jusqu\'à présent jusqu\'où pourra aller la riposte russe mais le climat ambiant laisse à penser que l\'attaque ne...\n\nVoix d’homme :\nni la conjoncture politique dans la région n\'avaient\n\nresté jusqu\'ici en dehors de l\'éclatante prospérité\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h11’46','','inherit','closed','closed','','13755-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13755,'https://localhost/?p=14528',0,'revision','',0), (14529,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nSurexposé et saturé, au ralenti : rangée de personnes vêtues de blanc se tenant les mains, et les déplaçant vers l\'arrière. Puis pieds en tongs dansant. \n\n\nVoix Off et In\n---\n\ndes émirats voisins pouvait d\'un jour à l\'autre devenir un enfer. \n\n\nBande Son\n---\n\nVoix masculines chantant un chant soufi (mystique) d\'Afrique du Nord (Hadhra en Tunisie ou Aissaoua en Algérie), accompagné de percussions. (Chant d\'invocation où l’on dit que il n\'y a de dieu que Dieu et que Mohamed est son prophète. Éloges de Dieu et du prophète Mohamed. Éloges d\'un saint patron qui est censé nous protéger). \n\n\nÉcrits\n---\n\n\n\n','1h12’00','','inherit','closed','closed','','13756-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13756,'https://localhost/?p=14529',0,'revision','',0), (14530,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h12’24','','inherit','closed','closed','','13757-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13757,'https://localhost/?p=14530',0,'revision','',0), (14531,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nDe nouveau, groupe d\'hommes courant dans la rue et se pressant contre la porte d\'un appartement. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h12’28','','inherit','closed','closed','','13758-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13758,'https://localhost/?p=14531',0,'revision','',0), (14532,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nSaturé : hommes en tenue militaire officielle, et commandants.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\nCe qui tourmentait le Cheick El Kadem, le premier ministre du royaume, c\'était une vue de l\'esprit\n\n\nBande Son\n---\n\nTrompettes de fanfare militaire.\n\n\nÉcrits\n---\n\n','1h12’34','','inherit','closed','closed','','13759-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13759,'https://localhost/?p=14532',0,'revision','',0), (14533,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nSaturé, sortant à droite et réapparaissant à gauche de l\'écran comme s\'il était projeté sur l\'écran d\'une télévision cassée : libellé du film « Le Livre d\'Image ». \n\n\nVoix Off et In\n---\n\ncar il rêvait de soumettre à sa domination, l\'ensemble des pays du golfe. \n\n\nBande Son\n---\n\nId. et puis silence. \n\n\nÉcrits\n---\n\n\n\n','1h12’47','','inherit','closed','closed','','13760-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13760,'https://localhost/?p=14533',0,'revision','',0), (14534,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nSaturé : maison en ruine sur une plage de roche en bord de mer. \n\n\nVoix Off et In\n---\n\nIl était vrai que sur cette bande de terre aride, \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h12’57','','inherit','closed','closed','','13761-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13761,'https://localhost/?p=14534',0,'revision','',0), (14535,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nManifestation avec de nombreuses personnes dans la rue portant des pancartes écrites en arabe.\nShoah, les oubliés de l’histoire (2014), Véronique Lagoarde-Ségot, par la chaîne de télévision Histoire.\n\n\nVoix Off et In\n---\n\nIl était le maître incontesté\n\n\nBande Son\n---\n\nÀ la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h13’08','','inherit','closed','closed','','13762-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13762,'https://localhost/?p=14535',0,'revision','',0), (14536,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nSurexposé : sultan avec une femme à ses côtés.\nThe Thief of Baghdad (1978), Cline Donner.\n\nVoix Off et In\n---\n\npuisque le vieil émir régnant, croupissant dans son harem, ne prenait plus la peine de lui donner des ordres.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h13’15','','inherit','closed','closed','','13763-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13763,'https://localhost/?p=14536',0,'revision','',0), (14537,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nEt la passion \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h13’21','','inherit','closed','closed','','13764-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13764,'https://localhost/?p=14537',0,'revision','',0), (14538,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nHomme au fez rouge sortant d\'une voiture dont le conducteur ouvre la porte.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\npour le pouvoir, Ben Kadem l\'avait ressentie depuis son enfance et maintenant à 42 ans elle le dévorait avec encore plus de densité.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h13’24','','inherit','closed','closed','','13765-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13765,'https://localhost/?p=14538',0,'revision','',0), (14539,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nGroupe de personnes marchant de nuit dans les dunes d\'un désert.\nBab\'Aziz, le prince qui contemplait son âme (2005), Nacer Khémir.\n\n\nVoix Off et In\n---\n\nMais malheureusement le monde n\'était pas aussi simple que son rêve d\'enfant. L\'irruption du pétrole dans la péninsule sauf ici à Dofa avait détruit l\'espoir de réaliser ses ambitions.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h13’37','','inherit','closed','closed','','13766-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13766,'https://localhost/?p=14539',0,'revision','',0), (14540,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nPalmier enflammé dans le désert de nuit.\nBab\'Aziz, le prince qui contemplait son âme (2005), Nacer Khémir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nÀ la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h14’00','','inherit','closed','closed','','13767-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13767,'https://localhost/?p=14540',0,'revision','',0), (14541,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nFemmes riant dans un harem.\nArabian nights (1942), John Rawlins.\n\n\nVoix Off et In\n---\n\nChose étrange,\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h14’11','','inherit','closed','closed','','13768-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13768,'https://localhost/?p=14541',0,'revision','',0), (14542,1,'2023-11-09 08:50:22','2023-11-09 07:50:22','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nle seul homme avec lequel Ben Kadem pouvait parler franchement de son ambition \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h14’16','','inherit','closed','closed','','13769-revision-v1','','','2023-11-09 08:50:22','2023-11-09 07:50:22','',13769,'https://localhost/?p=14542',0,'revision','',0), (14543,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nPalmiers secoués par un vent fort. \n\n\nVoix Off et In\n---\n\nc’était celui là même qui trouvait cette ambition dérisoire : son jeune cousin Samantar. \n\n\nBande Son\n---\n\nVent. \n\n\nÉcrits\n---\n\n\n\n','1h14’24','','inherit','closed','closed','','13770-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13770,'https://localhost/?p=14543',0,'revision','',0), (14544,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h14’33','','inherit','closed','closed','','13771-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13771,'https://localhost/?p=14544',0,'revision','',0), (14545,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nDéplacement de gauche à droite : photo d\'un restaurant appelé « Les coquillages » et d’une rue d’une ville de bord de mer.\n\n\nVoix Off et In\n---\n\nn’avait pas uniquement pour objet d’approfondir sa vision sur le jeu sanglant des grandes puissances. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nExplosions.\n\n\nÉcrits\n---\n\n','1h14’36','','inherit','closed','closed','','13772-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13772,'https://localhost/?p=14545',0,'revision','',0), (14546,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nPhoto de Barack Obama aux côtés de l\'émir du Koweït Cheikh Sabah al-Ahmad al-Jaber al-Sabah.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h14’53','','inherit','closed','closed','','13773-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13773,'https://localhost/?p=14546',0,'revision','',0), (14547,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nHomme au fez s\'approchant d\'une grille d\'entrée et frappant avec son bâton contre la grille.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\nIl était d\'une importance capitale de savoir l\'opinion de Samantar sur les derniers événements survenus.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h14’57','','inherit','closed','closed','','13774-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13774,'https://localhost/?p=14547',0,'revision','',0), (14548,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLe début d’une ère révolutionnaire à Dofa \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h15’07','','inherit','closed','closed','','13775-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13775,'https://localhost/?p=14548',0,'revision','',0), (14549,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nVisage d\'un homme plongé dans l\'obscurité, puis émergeant à la lumière éclairant ses lèvres et son nez.\n\n\nVoix Off et In\n---\n\nétait une négation totale de la possible d’une action armée dans la péninsule. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h15’12','','inherit','closed','closed','','13776-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13776,'https://localhost/?p=14549',0,'revision','',0), (14550,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nSaturé en tons bleus et rouges : personnes ballottées par une mer agitée. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVagues. \n\n\nÉcrits\n---\n\n\n\n','1h15’24','','inherit','closed','closed','','13777-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13777,'https://localhost/?p=14550',0,'revision','',0), (14551,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nPersonne au foulard palestinien nué autour de la tête, se traînant avec un bras sur le sable, tenant de l’autre un fusil.\nIci et ailleurs (1975), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n- Tu es seul ?\n- Oui je suis seul.\n- Je ne te dérange pas ?\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h15’28','','inherit','closed','closed','','13778-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13778,'https://localhost/?p=14551',0,'revision','',0), (14552,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nAu ralenti, saturé en tons bleus : foule de personnes manifestant.\nSexe, salafistes, printemps arabe (2012), Paul Moreira.\n\n\nVoix Off et In\n---\n\n- Je suis toujours ravi de te voir.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h15’36','','inherit','closed','closed','','13779-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13779,'https://localhost/?p=14552',0,'revision','',0), (14553,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nSous-exposé et tourné en noir et blanc : personnes dansant au milieu de la fumée.\nSilence ! On tourne (2001), Youssef Chahine.\n\n\nVoix Off et In\n---\n\n- Un tel bonheur m\'est rarement accordé, excellence. - Tu te détaches de moi.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h15’43','','inherit','closed','closed','','13780-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13780,'https://localhost/?p=14553',0,'revision','',0), (14554,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nFemme portant une écharpe à pois rouges et blancs et courant les mains en l\'air.\nÀ propos d\'Elly (2009), Asghar Farhadi.\n\n\nVoix Off et In\n---\n\n- Je vois que tu n\'es toujours pas prêt à ce sacrifice.\n\n\nBande Son\n---\n\nA la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h15’51','','inherit','closed','closed','','13781-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13781,'https://localhost/?p=14554',0,'revision','',0), (14555,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nSaturé : groupe d\'hommes armés sur le toit d\'une voiture, observés par un homme vu de dos se cachant derrière un mur. Au ralenti : hommes descendant de la voiture.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\n- C\'est l\'excuse de toute ambition politique que de prétendre se sacrifier pour le bonheur du peuple. Mais le peuple ne t\'a rien demandé, il veut simplement vivre en paix.\n\n\nBande Son\n---\n\nId. et silence.\n\n\nÉcrits\n---\n\n','1h15’57','','inherit','closed','closed','','13782-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13782,'https://localhost/?p=14555',0,'revision','',0), (14556,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nEn noir et blanc, basculé de 180° : visage d\'un homme la tête en bas, plongé dans l\'obscurité.\n\n\nVoix Off et In\n---\n\n- Pendant que nous vivons en paix, le monde bouge. (Avec écho)\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h16’15','','inherit','closed','closed','','13783-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13783,'https://localhost/?p=14556',0,'revision','',0), (14557,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nTremblements, et déplacement de droite à gauche : enfant écrivant sur une feuille de papier, observée de dos par un autre enfant. \n\n\nVoix Off et In\n---\n\n- Que nous importe ce monde qui bouge. (Avec écho) \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’23','','inherit','closed','closed','','13784-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13784,'https://localhost/?p=14557',0,'revision','',0), (14558,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nSaturé en tons rouges : visage de femme aux mains jointes en prière. Détail de la fresque de la coupole.\nSan Antonio de la Florida (1798), Francisco Goya. Histoire (s) du cinéma 3a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nCe sont tous des canailles, tous complices de l’imposture universelle.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h16’25','','inherit','closed','closed','','13785-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13785,'https://localhost/?p=14558',0,'revision','',0), (14559,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n- La révolution a commencé dans le royaume mais tu le sais déjà sans doute. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’33','','inherit','closed','closed','','13786-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13786,'https://localhost/?p=14559',0,'revision','',0), (14560,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nEn noir et blanc, basculé de 180° : visage courroucé d\'un homme plongé dans l\'obscurité.\n\n\nVoix Off et In\n---\n\n- Je le reconnaîtrais volontiers s’il s’agissait d’une vraie révolution, mais j’en doute.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h16’40','','inherit','closed','closed','','13787-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13787,'https://localhost/?p=14560',0,'revision','',0), (14561,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nSaturé : tissu rouge traîné sur la plage par le vent.\nFissures (2009), Hicham Ayouch.\n\n\nVoix Off et In\n---\n\nOn a arrêté quelque type\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h16’49','','inherit','closed','closed','','13788-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13788,'https://localhost/?p=14561',0,'revision','',0), (14562,1,'2023-11-09 08:50:23','2023-11-09 07:50:23','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nconnu de nos services \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’51','','inherit','closed','closed','','13789-revision-v1','','','2023-11-09 08:50:23','2023-11-09 07:50:23','',13789,'https://localhost/?p=14562',0,'revision','',0), (14563,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nSaturé : enfants jouant avec une femme portant une burka. \n\n\nVoix Off et In\n---\n\nmais ils prétendent ne rien savoir. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’54','','inherit','closed','closed','','13790-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13790,'https://localhost/?p=14563',0,'revision','',0), (14564,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nIls demandent même de quelle bombe il s’agit car \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h16’55','','inherit','closed','closed','','13791-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13791,'https://localhost/?p=14564',0,'revision','',0), (14565,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nFemme et homme vus à contre jour, se faisant face dans un couloir.\n\n\nVoix Off et In\n---\n\nils n’ont rien entendu. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nDe nouveau, à la guitare : arpèges.\n\n\nÉcrits\n---\n\n','1h16’56','','inherit','closed','closed','','13792-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13792,'https://localhost/?p=14565',0,'revision','',0), (14566,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nSaturé : homme portant un voile et homme marchant dans une rue. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nVoitures, et personnes marchant et parlant. \n\n\nÉcrits\n---\n\n\n\n','1h17’02','','inherit','closed','closed','','13793-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13793,'https://localhost/?p=14566',0,'revision','',0), (14567,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nRue de nuit, éclairée par des lampadaires, avec des gens parlant et faisant du bruit. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h17’07','','inherit','closed','closed','','13794-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13794,'https://localhost/?p=14567',0,'revision','',0), (14568,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nFemmes voilées et hommes marchant dans la rue.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId. et en arrière-plan, annonces de service d\'une gare.\n\n\nÉcrits\n---\n\n','1h17’25','','inherit','closed','closed','','13795-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13795,'https://localhost/?p=14568',0,'revision','',0), (14569,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nCôte montagneuse surplombant la mer. Groupe de personnes marchant sur la plage. \n\n\nVoix Off et In\n---\n\nIci, à Dofa, que des gens \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h17’31','','inherit','closed','closed','','13796-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13796,'https://localhost/?p=14569',0,'revision','',0), (14570,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nlancent des bombes un peu partout cela me parait normal \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nHICHAM \n People throwing bombs \n\n','1h17’40','','inherit','closed','closed','','13797-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13797,'https://localhost/?p=14570',0,'revision','',0), (14571,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nHomme touareg vêtu de blanc, assis au pied d\'un palmier dans le désert, caressant une antilope.\nBab\'Aziz, le prince qui contemplait son âme, Nacer Khémir (2005).\n\n\nVoix Off et In\n---\n\nque pourraient-ils faire d\'autre ? C\'est leur seule manière d\'exprimer leur révolte devant la férocité des moyens employés par le gouvernement. Quelle autre attitude serait valable ? Pour ma part, je serai toujours du côté des bombes.\n\n\nBande Son\n---\n\nDe nouveau, à la guitare : arpèges. Silence.\n\n\nÉcrits\n---\n\n','1h17’44','','inherit','closed','closed','','13798-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13798,'https://localhost/?p=14571',0,'revision','',0), (14572,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nLa révolution, \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nTAREK \n\n','1h18’13','','inherit','closed','closed','','13799-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13799,'https://localhost/?p=14572',0,'revision','',0), (14573,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nSurexposé, en noir et blanc : hommes touareg sous des palmiers avec des ânes à leurs côtés. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’18','','inherit','closed','closed','','13800-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13800,'https://localhost/?p=14573',0,'revision','',0), (14574,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nSaturé en tons rouges : explosion et flammes. \n\n\nVoix Off et In\n---\n\ncela ne me paraît pas vital dans cette région. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’21','','inherit','closed','closed','','13801-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13801,'https://localhost/?p=14574',0,'revision','',0), (14575,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nHomme courant. \n\n\nVoix Off et In\n---\n\nIl est vrai qu\'à notre époque \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’26','','inherit','closed','closed','','13802-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13802,'https://localhost/?p=14575',0,'revision','',0), (14576,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nSaturé : enfants et personnes courant en tous sens et semblant regarder quelque chose hors champ.\nLes Baliseurs du désert, Nacer Khémir (1984), cité dans Voyage à Tunis (2007), Bruno Moll.\n\n\nVoix Off et In\n---\n\ntout est possible\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’32','','inherit','closed','closed','','13803-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13803,'https://localhost/?p=14576',0,'revision','',0), (14577,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nSaturé : missile tiré sur une voiture explosant.\n13 hours. The Secret Soldiers of Benghazi, (2016), Michael Bay.\n\n\nVoix Off et In\n---\n\ncrois-tu que les hommes\n\n\nBande Son\n---\n\nExplosions et cris.\n\n\nÉcrits\n---\n\n','1h18’37','','inherit','closed','closed','','13804-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13804,'https://localhost/?p=14577',0,'revision','',0), (14578,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’40','','inherit','closed','closed','','13805-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13805,'https://localhost/?p=14578',0,'revision','',0), (14579,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nSaturé et sous-exposé : explosion, avec un hélicoptère en feu à l\'arrière-plan. Homme tombant au sol en gémissant après avoir été touché par un missile.\n13 hours. The Secret Soldiers of Benghazi, (2016), Michael Bay.\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’41','','inherit','closed','closed','','13806-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13806,'https://localhost/?p=14579',0,'revision','',0), (14580,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\ncrois-tu que les hommes au pouvoir aujourd\'hui\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h18’43','','inherit','closed','closed','','13807-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13807,'https://localhost/?p=14580',0,'revision','',0), (14581,1,'2023-11-09 08:50:24','2023-11-09 07:50:24','Images\n---\n\nHommes vêtus de manière formelle, avec un fez sur la tête, parlant entre eux.\nAl-lail (1992), Mohamed Malas.\n\n\nVoix Off et In\n---\n\ndans le monde soient autre chose\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’47','','inherit','closed','closed','','13808-revision-v1','','','2023-11-09 08:50:24','2023-11-09 07:50:24','',13808,'https://localhost/?p=14581',0,'revision','',0), (14582,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nSaturé et au ralenti : homme courant dans une rue, avec à ses côtés une explosion.\nKarbala, 4 jour en enfer (2015), Krzysztof Łukaszewicz.\n\n\nVoix Off et In\n---\n\nque des débiles sanguinaires ?\n(Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’53','','inherit','closed','closed','','13809-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13809,'https://localhost/?p=14582',0,'revision','',0), (14583,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nC’était peu de rêver d’être roi \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h18’55','','inherit','closed','closed','','13810-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13810,'https://localhost/?p=14583',0,'revision','',0), (14584,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nSous-exposé et saturé et puis surexposé : Homme visant avec un bazooka à l’épaule.\nKarbala, 4 jour en enfer (2015), Krzysztof Łukaszewicz.\n\n\nVoix Off et In\n---\n\nquand on pouvait rêver d\'être Faust.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h18’57','','inherit','closed','closed','','13811-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13811,'https://localhost/?p=14584',0,'revision','',0), (14585,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nMais nul, mais nul, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’00','','inherit','closed','closed','','13812-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13812,'https://localhost/?p=14585',0,'revision','',0), (14586,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nPersonne morte gisant sur le sol.\nKarbala, 4 jour en enfer (2015), Krzysztof Łukaszewicz.\n\n\nVoix Off et In\n---\n\nne rêvait plus d\'être Faust\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h19’03','','inherit','closed','closed','','13813-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13813,'https://localhost/?p=14586',0,'revision','',0), (14587,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\net chacun rêvait d\'être roi. (Jean-Luc Godard).\nAir de Méphistophélès, Damnation de Faust (1846), Hector Berlioz.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h19’05','','inherit','closed','closed','','13814-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13814,'https://localhost/?p=14587',0,'revision','',0), (14588,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nEnfant jetant des pierres sur un chien dans une rue. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’10','','inherit','closed','closed','','13815-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13815,'https://localhost/?p=14588',0,'revision','',0), (14589,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nPersonne écrivant en arabe sur une feuille de papier.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nCloud (2017), Tomasz Stanko New York Quartet.\n\n\nÉcrits\n---\n\n','1h19’16','','inherit','closed','closed','','13816-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13816,'https://localhost/?p=14589',0,'revision','',0), (14590,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nAquarelle d\'un homme vêtu de blanc assis sur le sol. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’20','','inherit','closed','closed','','13817-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13817,'https://localhost/?p=14590',0,'revision','',0), (14591,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nSaturé en tons bleus : lac entouré d\'arbres.\n\n\nVoix Off et In\n---\n\nÀ Dofa, le rêve de Cheikh ben Kadem fit naufrage. La mort de son jeune amant dissipa l’ambition de soumettre à sa domination l\'ensemble\n\n\nBande Son\n---\n\nSilence.\n\n\nÉcrits\n---\n\n','1h19’28','','inherit','closed','closed','','13818-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13818,'https://localhost/?p=14591',0,'revision','',0), (14592,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nVoiture longeant une route suivie de personnes marchant derrière elle.\nLes terrasses (2013), Merzak Allouache.\n\n\nVoix Off et In\n---\n\ndes pays du golfe. Ben Kadem s\'en vint alors confesser ses erreurs politiques\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h19’43','','inherit','closed','closed','','13819-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13819,'https://localhost/?p=14592',0,'revision','',0), (14593,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nDe nouveau, photo en noir et blanc d\'un homme au visage courroucé. \n\n\nVoix Off et In\n---\n\nà Samantar et puis il s\'enfuit et se refugia. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’51','','inherit','closed','closed','','13820-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13820,'https://localhost/?p=14593',0,'revision','',0), (14594,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSamantar heureux et tranquillisé \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h19’58','','inherit','closed','closed','','13821-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13821,'https://localhost/?p=14594',0,'revision','',0), (14595,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nSaturé : maison en ruine entourée d\'antennes de télévision et d\'internet. \n\n\nVoix Off et In\n---\n\npar ce dénouement, sortit de sa misérable cahute. \n \n\n\nBande Son\n---\n\nDe nouveau, à la guitare : arpèges. \n\n\nÉcrits\n---\n\n\n\n','1h20’01','','inherit','closed','closed','','13822-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13822,'https://localhost/?p=14595',0,'revision','',0), (14596,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nHomme souriant.\nLes terrasses (2013), Merzak Allouache.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h20’07','','inherit','closed','closed','','13823-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13823,'https://localhost/?p=14596',0,'revision','',0), (14597,1,'2023-11-09 08:50:25','2023-11-09 07:50:25','Images\n---\n\nSurexposé : Photographie d\'une file d\'hommes vêtus de jeans et de lunettes de soleil marchant. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h20’11','','inherit','closed','closed','','13824-revision-v1','','','2023-11-09 08:50:25','2023-11-09 07:50:25','',13824,'https://localhost/?p=14597',0,'revision','',0), (14598,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h20’18','','inherit','closed','closed','','13825-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13825,'https://localhost/?p=14598',0,'revision','',0), (14599,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nSaturé : cheval tirant une calèche passant dans une rue. \n\n\nVoix Off et In\n---\n\nCe n\'est que quelques mois plus tard que Samantar rencontra Tarek le long de la mer \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h20’20','','inherit','closed','closed','','13826-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13826,'https://localhost/?p=14599',0,'revision','',0), (14600,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nJeune homme au turban accompagnant un homme âgé dans une prairie près d\'un ruisseau et s’asseyant sur un rocher.\n\n\nVoix Off et In\n---\n\net apprit la vérité de la fausse révolution fomentée par l\'ancien premier ministre. (Jean-Luc Godard).\nUne ambition dans le désert (1984), Albert Cossery.\n\nCe que je fais avec les enfants dit le fou c\'est une sorte de contre-révolution.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h20’27','','inherit','closed','closed','','13827-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13827,'https://localhost/?p=14600',0,'revision','',0), (14601,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nSurexposé : groupe d\'enfants jouant et courant.\nLes mille mois (2003), Faouzi Bensaïdi.\n\n\nVoix Off et In\n---\n\nUn fou peut aller partout, il a une liberté totale de mouvement, et de parole. Avec l\'aide des enfants j\'ai fait sauter la banque et l\'agence d\'import export\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h20’43','','inherit','closed','closed','','13828-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13828,'https://localhost/?p=14601',0,'revision','',0), (14602,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nHomme écrivant sur une feuille de papier, et enfant regardant ce qu\'il écrit, debout devant lui, dans une maison du Moyen Orient avec des tapis, des coussins et des rideaux devant les fenêtres. \n\n\nVoix Off et In\n---\n\nles deux signes de l\'ignominie capitaliste. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’01','','inherit','closed','closed','','13829-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13829,'https://localhost/?p=14602',0,'revision','',0), (14603,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nSaturé en tons rouges et bleus, et basculé de 90 degrés : coucher du soleil et puits de pétrole. \n\n\nVoix Off et In\n---\n\nMais comment as-tu pu te procurer les explosifs ? Ils ont été repérés \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’02','','inherit','closed','closed','','13830-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13830,'https://localhost/?p=14603',0,'revision','',0), (14604,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nEnfants courant derrière la caméra. Enfant portant une chemise blanche trop longue et marchant en trébuchant sur le tissu. \n\n\nVoix Off et In\n---\n\npar les enfants dans un vieux derrick abandonné par les étrangers quand ils cherchaient en vain du pétrole. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’09','','inherit','closed','closed','','13831-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13831,'https://localhost/?p=14604',0,'revision','',0), (14605,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nEnfant sur une route faisant tourner de la main une bobine rouge en s’aidant d’une pellicule. Reel-Unreel (2011), Francis Alÿs.\n\n\nVoix Off et In\n---\n\nJe te remercie. Discuter avec un fou est un privilège\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h21’18','','inherit','closed','closed','','13832-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13832,'https://localhost/?p=14605',0,'revision','',0), (14606,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nCouverture d’un exemplaire d’Images en parole (2003), Anne-Marie Miéville. L’exemplaire est feuilleté.\n\n\nVoix Off et In\n---\n\ninestimable, crois moi. (Jean-Luc Godard).\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h21’25','','inherit','closed','closed','','13833-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13833,'https://localhost/?p=14606',0,'revision','',0), (14607,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nGros plan de la face de Bécassine.\nDerrière : id. en dimensions réduites.\n\n\nVoix Off et In\n---\n\nCrois-moi. On n\'est jamais suffisamment triste. (Anne-Marie Miéville).\nLe territoire de l’homme (1978), Elias Canetti.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h21’32','','inherit','closed','closed','','13834-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13834,'https://localhost/?p=14607',0,'revision','',0), (14608,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nSaturé : pinceau et livre ouvert. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’38','','inherit','closed','closed','','13835-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13835,'https://localhost/?p=14608',0,'revision','',0), (14609,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nSaturé : photographie d\'un grand pinceau et d\'un crayon. \n\n\nVoix Off et In\n---\n\nOn n\'est jamais suffisamment triste pour que le monde soit meilleur. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’41','','inherit','closed','closed','','13836-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13836,'https://localhost/?p=14609',0,'revision','',0), (14610,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nSaturé : de nouveau, plage de roche en bord de mer, enfants y jouant au football. \n\n\nVoix Off et In\n---\n\nla terre abandonnée, la terre abandonnée, surchargée de lettres de l\'alphabet, étouffée sous les connaissances et \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h21’53','','inherit','closed','closed','','13837-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13837,'https://localhost/?p=14610',0,'revision','',0), (14611,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nplus guère d\'oreilles qui soient à l\'écoute. (Anne-Marie Miéville).\nLe territoire de l’homme (1978), Elias Canetti.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h22’10','','inherit','closed','closed','','13838-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13838,'https://localhost/?p=14611',0,'revision','',0), (14612,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nSurexposé et en négatif : de nouveau, petite fille aux yeux fermés, le visage levé vers le ciel et les mains tendues devant elle.\nMiracle en Alabama (1962), Arthur Penn. Histoire (s) du cinéma 4a, (1988 - 98) Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nKlavierquintett, Op. 18, Moderato con moto (1946) Mieczysław Weinberg.\n\n\nÉcrits\n---\n\n','1h22’14','','inherit','closed','closed','','13839-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13839,'https://localhost/?p=14612',0,'revision','',0), (14613,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nDétail de son visage et de sa main gauche. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h22’20','','inherit','closed','closed','','13840-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13840,'https://localhost/?p=14613',0,'revision','',0), (14614,1,'2023-11-09 08:50:26','2023-11-09 07:50:26','Images\n---\n\nEn tons bleus : détail de son visage. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h22’26','','inherit','closed','closed','','13841-revision-v1','','','2023-11-09 08:50:26','2023-11-09 07:50:26','',13841,'https://localhost/?p=14614',0,'revision','',0), (14615,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nDétail de sa main.\n\n\nVoix Off et In\n---\n\nVoici les roses de cette nuit écloses.\nLa Damnation de Faust (1946), Berlioz Hector.\n\n\nBande Son\n---\n\nLa Damnation de Faust (1946), Berlioz Hector.\n\n\nÉcrits\n---\n\n','1h22’32','','inherit','closed','closed','','13842-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13842,'https://localhost/?p=14615',0,'revision','',0), (14616,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nEn blanc sur fond noir : inscription manuscrites. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nGodard \n Battaggia \n Aragno \n Brenez \n\n','1h22’43','','inherit','closed','closed','','13843-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13843,'https://localhost/?p=14616',0,'revision','',0), (14617,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h22’49','','inherit','closed','closed','','13844-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13844,'https://localhost/?p=14617',0,'revision','',0), (14618,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSilenzio, si gira. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nDe Vinci, Bernanos, King Lear, Closed vision, Weinberg, Giacometti, Jeanne d\'arc, Chahine, Chien andalou, Histoire (s) du cinéma, Derain, Caméra analytique, S. Walker, Artaud, Murnau, Ramuz, Hamlet, Gaumont, Miracle en Alabama, J Michelet, Histoire, Kiss me Deadly, V. Grossman \n\n','1h22’54','','inherit','closed','closed','','13845-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13845,'https://localhost/?p=14618',0,'revision','',0), (14619,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nSilenzio. Camera, moteur, motore \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nD. Guyotat, Allemagne année neuf zéro, Le dernier des hommes, J. Gozland, Johny Guitar, petit soldat, M Leroux, Liban Guerres et hommes, Salo, A Sokourov, Timbuktu, Vrai faux passeport, chute faucon noir, les carabiniers, hommes du dimanche, Blue jean, guerre de chine, les dents de la mer, Le sang des bêtes, R. Girard, V Illitch, La grève, Païsa \n\n','1h22’58','','inherit','closed','closed','','13846-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13846,'https://localhost/?p=14619',0,'revision','',0), (14620,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\npartito, ciak, Odissea 14702 prima.\nLe Mépris (1963), Jean-Luc Godard.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\nVertigo, femme au corbeau, l\'Atalante, au bord de la mer bleue, hélas pour moi, Ruby gentry, planète, 8 mai 1945, les enfants jouent à la Russie, Delacroix, Angèle, Zylberman, JLG JLG, Guerre et paix, Péguy, Les enfants de la guerre, Stalingrad, l\'espoir, Inessa Armand, le silence de la mer\n','1h23’03','','inherit','closed','closed','','13847-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13847,'https://localhost/?p=14620',0,'revision','',0), (14621,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nGong profond et inquiétant. \n\n\nÉcrits\n---\n\n\n\n','1h23’08','','inherit','closed','closed','','13848-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13848,'https://localhost/?p=14621',0,'revision','',0), (14622,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nEn gras, s’ajoutant à la liste précédente : « TEXTES ». \n La liste disparaît. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n TEXTES \n\n','1h23’10','','inherit','closed','closed','','13849-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13849,'https://localhost/?p=14622',0,'revision','',0), (14623,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nGoogle, Al razutis, RM Rilke, Berlin express, l\'affrontement, paysage dans le brouillard, Dostoïevski, Hollis Frampton, L. F. Céline, P de Villiers, Hans Otte, Manon, Orphée, croisée des destins, mécano de la générale, route de l\'impossible, Baudelaire, Hegel, D. Vertov, terror by night, G Steiner, castoriadis, le silence \n\n','1h23’14','','inherit','closed','closed','','13850-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13850,'https://localhost/?p=14623',0,'revision','',0), (14624,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nShanghai express, A Brehem, E Vittorini T Gustavsen, Turksib, A. Schnittke, Trigon films, Liberté et patrie, P. Val, W. Faulkner, grandeur et décadence, les 2 Fédor, Wild boys on the road, Toccata for toy trains, Arvo part, Au bord de la mer bleue, Anna Karenine, Medvedkine, Après le feu, le plaisir, deux fois cinquante ans, la commune, Arditti quartet, ECM records, V. Hugo, vendémiaire \n\n','1h23’19','','inherit','closed','closed','','13851-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13851,'https://localhost/?p=14624',0,'revision','',0), (14625,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nEn gras, s’ajoutant à la liste précédente : « FILMS ». \n La liste disparaît. \n\n\nVoix Off et In\n---\n\nMais la langue ne sera jamais \n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nFILMS \n\n','1h23’20','','inherit','closed','closed','','13852-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13852,'https://localhost/?p=14625',0,'revision','',0), (14626,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\nle langage \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nA. Rimbaud, terrorism considered, Sollers, V. Vysotsky, Montesquieu, le faux coupable, Grèce 2013, Au cœur de l\'orage, La Strada, J.- S. Bach, Les chouans, Mister love, Sayat nova, Los Olvidados, Marilyn, Le premier maître, les onze fioretti, Young Mister Lincoln, Monsieur de Charette, Le chaos, Freaks, Porno, danish string quartet, For ever Mozart \n\n','1h23’25','','inherit','closed','closed','','13853-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13853,'https://localhost/?p=14626',0,'revision','',0), (14627,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nCaillebotte, Balzac, Jacques rivette, Dies irae, Wyatt Earp, Tout va bien, Alexandre Nevski, Eau argentée, C dans l\'air, Fantômas, Freud, procès de Charles 1er, Nuremberg, Méliès, Hortense de Beauharnais, école de Fontainebleau, Duck soup, René Charles de Lusson, Elephant, Week-end, Viva Villa, Que viva mexico, les visiteurs du soir, Elie Faure, S. Prokofiev, La fin du A \n\n','1h23’30','','inherit','closed','closed','','13854-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13854,'https://localhost/?p=14627',0,'revision','',0), (14628,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nEn gras, s’ajoutant à la liste précédente : « TABLEAUX ». \n La liste disparaît. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nCoq chantant. \n\n\nÉcrits\n---\n\nTABLEAUX \n\n','1h23’31','','inherit','closed','closed','','13855-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13855,'https://localhost/?p=14628',0,'revision','',0), (14629,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nVom Winde Beweint - 1 Largo Molto (1990), Giya Kancheli.\n\n\nÉcrits\n---\n\nlas Hurdes, Beckett, metropolis, Nuit du carrefour, M. Blanchot, Vladimir et Rosa, terreur et vertu, l\'esprit des lois, La dame de Shanghai, Un feu, la belle et la Bête, Emile Cohl, la région centrale, Photo Libération, Bécassine, Broswimmer, Notorius, Moubarak, Origine du XXIe siècle, A. Cossery, le visage de Dieu, Meshes of afternoon, Les 1001 nuits, Constantinople, Détective, Film socialisme, Voleur de Bagdad (R. Walsh)\n','1h23’35','','inherit','closed','closed','','13856-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13856,'https://localhost/?p=14629',0,'revision','',0), (14630,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nAladin magic lamp, le Messie, The crusades, Bonaparte, frères de guerre, Salammbô, Méditerranée, E. Saïd, S. Luste Boulbina, M. Koldenitzky, Nous, les dernières vacances, Djamila, Voyage à Tunis, Collier perdu de la colombe, Kanchelli, Khalled abou Khalled, gare centrale, Ici et ailleurs, la saison des hommes, Alexandre Dumas, Muezzin, P Mizraki, Mendelssohn, A. Macke, Tamaout, Détention secrète \n\n','1h23’40','','inherit','closed','closed','','13857-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13857,'https://localhost/?p=14630',0,'revision','',0), (14631,1,'2023-11-09 08:50:27','2023-11-09 07:50:27','Images\n---\n\nEn gras, s’ajoutant à la liste précédente : « MUSIQUE » \n La liste disparaît. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nMUSIQUE \n\n','1h23’41','','inherit','closed','closed','','13858-revision-v1','','','2023-11-09 08:50:27','2023-11-09 07:50:27','',13858,'https://localhost/?p=14631',0,'revision','',0), (14632,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n F. Prokosch, Judex, la Bandera, Syriana, D. Sibony, La môme vert de gris, Mille mois, Premiers chanteurs des Bilad Al Sham, les silences du palais, Al leil, La fièvre, About Elly, Tunisie, Voleur de Bagdad (C. Donner), Bab\' Aziz\', Arabian nights, Fissures, Salafistes sexe, Maghreb, 13 hours, kerbala, Tomasz Stanko, les terrasses, 2 films inconnus, Reel unreel, La recupart, Elias Canetti, P. Weiss \n\n','1h23’45','','inherit','closed','closed','','13859-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13859,'https://localhost/?p=14632',0,'revision','',0), (14633,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nEUX TOUS \n\n','1h23’49','','inherit','closed','closed','','13860-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13860,'https://localhost/?p=14633',0,'revision','',0), (14634,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nSurexposé, en noir et blanc : photo d\'un enfant mangeant assis. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h23’51','','inherit','closed','closed','','13861-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13861,'https://localhost/?p=14634',0,'revision','',0), (14635,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nNoir. Lettres latines rouges s’y superposant à des lettres arabes blanches. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nHAMIDREZA \n PEJMAN \n\n','1h23’54','','inherit','closed','closed','','13862-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13862,'https://localhost/?p=14635',0,'revision','',0), (14636,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nNoir. Lettres latines rouges s’y superposant à des lettres arabes blanches. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\nGEORGES \n SCHOUCAIR \n\n','1h23’56','','inherit','closed','closed','','13863-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13863,'https://localhost/?p=14636',0,'revision','',0), (14637,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\nNADER \n MOBARGHA \n\n','1h23’59','','inherit','closed','closed','','13864-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13864,'https://localhost/?p=14637',0,'revision','',0), (14638,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nEn noir et blanc : grillage avec une pancarte indiquant : « NO TRESPASSING ». \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’00','','inherit','closed','closed','','13865-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13865,'https://localhost/?p=14638',0,'revision','',0), (14639,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nEn couleur : photo d’un grillage avec une pancarte indiquant : « DÉFENSE D’ENTRER \n PROPRIÉTÉ DE L’ETAT ». \n\n\nVoix Off et In\n---\n\nEn réalité, disait Brecht, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’04','','inherit','closed','closed','','13866-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13866,'https://localhost/?p=14639',0,'revision','',0), (14640,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nInscription manuscrite : \n « Film immatriculé \n Au Registre public de la \n Cinématographie \n et visé à la censure \n sous N932 15 / 2 / 46 ». \n\n\nVoix Off et In\n---\n\nseul le fragment \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’09','','inherit','closed','closed','','13867-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13867,'https://localhost/?p=14640',0,'revision','',0), (14641,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nAu ralenti et en noir et blanc : jeunes esclaves vénérant un roi sur un trône. \n\n\nVoix Off et In\n---\n\nporte la marque de l\'authenticité parce qu’il est le plus proche de la fonction la plus intérieure de l’acte de production. De production qui correspond à la respiration, au simple fait d’exister tout juste vécu par la conscience. (Jean-Luc Godard). \n \n Deux voix de Godard continuent de parler en se chevauchant : \n \n Marx et Engels. A leurs yeux \n Eugène Sue était un aveugle, \n un solitaire, pour qui la vie pleine de vie était une abstraction. Ils admirent, il vrai, que la représentation d’une civilisation tombée dans la dépravation d’un état où les droits civils n’étaient pas respectés, où l’inégalité régnait, contenait … critique. \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’14','','inherit','closed','closed','','13868-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13868,'https://localhost/?p=14641',0,'revision','',0), (14642,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nEn noir et blanc : détail de la main du San Giovanni Battista (1508 - 1513), Leonardo da Vinci.\n\n\nVoix Off et In\n---\n\nMais\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’41','','inherit','closed','closed','','13869-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13869,'https://localhost/?p=14642',0,'revision','',0), (14643,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nSurexposé et saturé : pellicule tirée d\'une bobine en rotation. \n\n\nVoix Off et In\n---\n\nau contraire de Balzac, \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’44','','inherit','closed','closed','','13870-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13870,'https://localhost/?p=14643',0,'revision','',0), (14644,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nSurexposé, en noir et blanc : de nouveau, photographie d\'un enfant mangeant assis. \n\n\nVoix Off et In\n---\n\nil ne faisait que satisfaire son penchant effréné pour l’homme \n \n \n \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’45','','inherit','closed','closed','','13871-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13871,'https://localhost/?p=14644',0,'revision','',0), (14645,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nSoldats courants à travers des explosions.\n\n\nVoix Off et In\n---\n\ns’humiliant lui-même.\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’48','','inherit','closed','closed','','13872-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13872,'https://localhost/?p=14645',0,'revision','',0), (14646,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nPhotographie de Louis-Ferdinand Céline.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’50','','inherit','closed','closed','','13873-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13873,'https://localhost/?p=14646',0,'revision','',0), (14647,1,'2023-11-09 08:50:28','2023-11-09 07:50:28','Images\n---\n\nDe nouveau, femme s’évanouissant avec les mains en l\'air devant un écran. Deux fois cinquante ans de cinéma français (1995), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\nQu’il n’utilisait le remords et l’expiation\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’51','','inherit','closed','closed','','13874-revision-v1','','','2023-11-09 08:50:28','2023-11-09 07:50:28','',13874,'https://localhost/?p=14647',0,'revision','',0), (14648,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nDe nouveau, femme au micro parlant lors d\'une manifestation. \n\n\nVoix Off et In\n---\n\nd’actes d’une brutalité inouïe \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h24’53','','inherit','closed','closed','','13875-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13875,'https://localhost/?p=14648',0,'revision','',0), (14649,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nEn négatif : de nouveau, homme caché dans l\'ombre, le menton posé sur la main gauche.\nFantômas (1913), Louis Feuillade. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’54','','inherit','closed','closed','','13876-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13876,'https://localhost/?p=14649',0,'revision','',0), (14650,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nDe nouveau, photographie de Marilyne Monroe. Iris et clignotement : corbeaux s’envolant.\nLes Oiseaux (1963), Alfred Hitchcock. Histoire (s) du cinéma 4a (1988 - 98), Jean-Luc Godard.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h24’56','','inherit','closed','closed','','13877-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13877,'https://localhost/?p=14650',0,'revision','',0), (14651,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nDe nouveau, Bécassine avec l\'index de la main gauche levé. \n\n\nVoix Off et In\n---\n\nque pour faire miroiter le lieu \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’00','','inherit','closed','closed','','13878-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13878,'https://localhost/?p=14651',0,'revision','',0), (14652,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nSurexposé, saturé en tons bleus : presque indistinguable. \n\n\nVoix Off et In\n---\n\nd’une transformation de \n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’01','','inherit','closed','closed','','13879-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13879,'https://localhost/?p=14652',0,'revision','',0), (14653,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nDe nouveau, personne portant un turban, montrant les paumes et plaçant une main sur la paume de l\'autre d’un mouvement lent.\nBab\'Aziz, le prince qui contemplait son âme (2005), Nacer Khémir.\n\n\nVoix Off et In\n---\n\nla réalité. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h25’04','','inherit','closed','closed','','13880-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13880,'https://localhost/?p=14653',0,'revision','',0), (14654,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nDe nouveau, visage d\'un homme appuyé contre une vitre reflétant son image. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’10','','inherit','closed','closed','','13881-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13881,'https://localhost/?p=14654',0,'revision','',0), (14655,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nDe nouveau, plage de roche surplombant la mer, avec une maison en ruine à côté. Deux hommes marchant entre des bateaux échoués sur la plage. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’13','','inherit','closed','closed','','13882-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13882,'https://localhost/?p=14655',0,'revision','',0), (14656,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nDe nouveau, groupe d\'hommes courant dans la rue, puis faisant irruption à travers la porte d\'une maison située dans une ruelle. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’17','','inherit','closed','closed','','13883-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13883,'https://localhost/?p=14656',0,'revision','',0), (14657,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nDe nouveau, enfant sur une route poussant d\'une main une bobine rouge avec une pellicule.\nReel-Unreel (2011), Francis Alÿs.\n\n\nVoix Off et In\n---\n\nIl doit y avoir une révolution. (Jean-Luc Godard)\n\n\nBande Son\n---\n\nId.\n\n\nÉcrits\n---\n\n','1h25’22','','inherit','closed','closed','','13884-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13884,'https://localhost/?p=14657',0,'revision','',0), (14658,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nNoir, avec l\'inscription « Parole et Image »\napparaissant. En traces de détrempe bleue et bleu clair, « Parole » et « Image », en rouge « et ».\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nThe River I (1997), Ketil Bjornstad & David Darling.\n\n\nÉcrits\n---\n\n','1h25’29','','inherit','closed','closed','','13885-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13885,'https://localhost/?p=14658',0,'revision','',0), (14659,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nHomme en pleurs soulevant un cadavre du sol. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’32','','inherit','closed','closed','','13886-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13886,'https://localhost/?p=14659',0,'revision','',0), (14660,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nPhotographie d\'une statue représentant probablement le Christ. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nId. \n\n\nÉcrits\n---\n\n\n\n','1h25’36','','inherit','closed','closed','','13887-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13887,'https://localhost/?p=14660',0,'revision','',0), (14661,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\nLorsque je me parle à moi même, je parle la parole d\'un autre. Que je me parle à moi-même. D\'un autre. Que je me parle à moi-même. (Anne Marie Miéville).\n\nGodard, avec une voix d’outre tombe :\nEt si même rien ne devait être comme nous l\'avions espéré, cela ne changerait rien à nos espérances. Les espérances resteraient, l\'utopie serait nécessaire. Plus tard aussi les espérances s’embraseraient de nombreuses fois, étouffées par l\'ennemi plus fort, et elles se réveilleraient sans cesse. Et le domaine des espérances serait plus vaste que de notre temps. Il s\'étendrait sur tous les continents : le besoin de contradiction, de résistance ne diminuera jamais, de même que le passé était immutable, de même les espérances resteraient immuables, et ceux qui un jour alors que nous étions jeunes avaient nourri l’ [toux] ardent espoir. Et si même rien ne devait être comme nous l\'avions espéré, cela ne changerait rien aux espérances.\nL’Esthétique de la résistance (1978 - 81), Peter Weiss.\n\n\nBande Son\n---\n\nId. et puis silence.\n\n\nÉcrits\n---\n\n','1h25’37','','inherit','closed','closed','','13888-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13888,'https://localhost/?p=14661',0,'revision','',0), (14662,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nEntrée du danseur cachant sa vieillesse sous un masque, et dansant jusqu\'à en mourir.\nLe masque, Le Plaisir (1952), Max Ophüls.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nDas Buch der Klange I - XII (1999), I, Hans Otte.\n\n\nÉcrits\n---\n\n','1h26’58','','inherit','closed','closed','','13889-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13889,'https://localhost/?p=14662',0,'revision','',0), (14663,1,'2023-11-09 08:50:29','2023-11-09 07:50:29','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\nSilence. \n\n\nÉcrits\n---\n\n\n\n','1h27’58','','inherit','closed','closed','','13890-revision-v1','','','2023-11-09 08:50:29','2023-11-09 07:50:29','',13890,'https://localhost/?p=14663',0,'revision','',0), (14664,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','Images\n---\n\nNoir.\n\n\nVoix Off et In\n---\n\n\n\nBande Son\n---\n\nDas Buch der Klange I - XII, V (1999), Hans Otte.\n\n\nÉcrits\n---\n\nC 2018 CASA AZUL FILMS\nC 2015 ECRAN Noir. productions\n','1h28’03','','inherit','closed','closed','','13891-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13891,'https://localhost/?p=14664',0,'revision','',0), (14665,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','0’0’’','','inherit','closed','closed','','13892-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13892,'https://localhost/?p=14665',0,'revision','',0), (14666,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','02’55’’','','inherit','closed','closed','','13893-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13893,'https://localhost/?p=14666',0,'revision','',0), (14667,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','51’57’’','','inherit','closed','closed','','13894-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13894,'https://localhost/?p=14667',0,'revision','',0), (14668,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','1h22’43’’','','inherit','closed','closed','','13895-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13895,'https://localhost/?p=14668',0,'revision','',0), (14669,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','1h24’00’’','','inherit','closed','closed','','13896-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13896,'https://localhost/?p=14669',0,'revision','',0), (14670,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','11’48’’','','inherit','closed','closed','','13897-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13897,'https://localhost/?p=14670',0,'revision','',0), (14671,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','20’28’’','','inherit','closed','closed','','13898-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13898,'https://localhost/?p=14671',0,'revision','',0), (14672,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','33’02’’','','inherit','closed','closed','','13899-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13899,'https://localhost/?p=14672',0,'revision','',0), (14673,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','48’16’’','','inherit','closed','closed','','13900-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13900,'https://localhost/?p=14673',0,'revision','',0), (14674,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','55’33’’','','inherit','closed','closed','','13901-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13901,'https://localhost/?p=14674',0,'revision','',0), (14675,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','1h04’42’’','','inherit','closed','closed','','13902-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13902,'https://localhost/?p=14675',0,'revision','',0), (14676,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','1h17’40’’','','inherit','closed','closed','','13903-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13903,'https://localhost/?p=14676',0,'revision','',0), (14677,1,'2023-11-09 08:50:30','2023-11-09 07:50:30','','1h18’13’’','','inherit','closed','closed','','13904-revision-v1','','','2023-11-09 08:50:30','2023-11-09 07:50:30','',13904,'https://localhost/?p=14677',0,'revision','',0), (14680,6,'2023-11-09 09:40:52','2023-11-09 08:40:52','Images\n---\n\nMain levée vers le haut.\nGare Centrale (1958), Youssef Chahine.\n\nVoix Off et In\n---\n\nwayayayaya\n\nBande Son\n---\n\nId.\n\nÉcrits\n---\n\nOh ! Temps','01’29','','inherit','open','open','','','','','2023-11-09 09:39:28','2023-11-09 08:39:28','',13205,'https://localhost/?p=14680',0,'revision','',0), (14706,6,'2023-11-09 10:43:37','2023-11-09 09:43:37','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\n\n\n\nÉcrits\n---\n\n\n\n','0’00','','pending','open','open','','','','','2023-11-09 10:43:36','2023-11-09 09:43:36','',0,'https://localhost/?p=14706',0,'post','pending-revision',13192), (14707,6,'2023-11-09 18:20:06','2023-11-09 17:20:06','Images\n---\n\nNoir. \n\n\nVoix Off et In\n---\n\n\n\n\nBande Son\n---\n\n\n\n\nÉcrits\n---\n\n\n\n','0’00','','pending','open','open','','','','','2023-11-09 18:20:05','2023-11-09 17:20:05','',0,'https://localhost/?p=14707',0,'post','pending-revision',13192), (14708,6,'2023-11-09 18:20:26','2023-11-09 17:20:26','Images\n---\n\nLogo de la société de distribution Kino Lorber.\n\nVoix Off et In\n---\n\nBande Son\n---\n\nÉcrits\n---','0’02','','pending','open','open','','','','','2023-11-09 18:20:25','2023-11-09 17:20:25','',0,'https://localhost/?p=14708',0,'post','pending-revision',13193), (14709,1,'2023-11-09 18:38:49','2023-11-09 17:38:49','Images\n---\n\nNoir.\n\nVoix Off et In\n---\n\nSalut à tous c\'est Godard\n\nBande Son\n---\n\nÉcrits\n---','0’00','','inherit','open','open','','','','','2023-11-09 18:38:34','2023-11-09 17:38:34','',13192,'https://localhost/?p=14709',0,'revision','',0), (14711,1,'2023-11-09 18:40:09','2023-11-09 17:40:09','Images\n---\n\nNoir.\n\nVoix Off et In\n---\n\nBande Son\n---\n\nÉcrits\n---','0’00','','inherit','closed','closed','','13192-revision-v1','','','2023-11-09 18:40:09','2023-11-09 17:40:09','',13192,'https://localhost/?p=14711',0,'revision','',0); /*!40000 ALTER TABLE `wp_posts` ENABLE KEYS */; UNLOCK TABLES; -- -- Table structure for table `wp_term_relationships` -- DROP TABLE IF EXISTS `wp_term_relationships`; /*!40101 SET @saved_cs_client = 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