docker_partition_jlg/Docker/mariadb/wordpress.sql

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All of your personal information has been permanently deleted and you will no longer be able to login to {site_name}.<br /><br />If your account has been deleted by accident please contact us at {admin_email} <br />Thanks,<br />{site_name}\";s:16:\"resetpw_email_on\";b:1;s:17:\"resetpw_email_sub\";s:19:\"Reset your password\";s:13:\"resetpw_email\";s:303:\"Hi {display_name},<br /><br />We received a request to reset the password for your account. 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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 <a href=\"https://make.wordpress.org/core/2023/02/04/phase-2-finale/\">Phase 2</a>.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Beta 3 highlights</h2>\n\n\n\n<p>Thanks to the many WordPress beta testers, this release contains approximately 34 (Site Editor) and 40+ (Trac) updates since the <a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">Beta 2 release</a>. Nice work, team!</p>\n\n\n\n<p>Testers should note that the &#8220;Patterns Library&#8221; is <a href=\"https://github.com/WordPress/gutenberg/pull/52102\">now simply called <em>Patterns</em></a> in the UI. 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Review the many <a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">new features in WordPress 6.3</a> and focus your testing efforts on those areas in particular.</p>\n\n\n\n<ul>\n<li>Encountered an issue? Please report it to the <a href=\"https://wordpress.org/support/forum/alphabeta/\">Alpha/Beta area</a> in the support forums. If you are comfortable writing a reproducible bug report, you can <a href=\"https://core.trac.wordpress.org/newticket\">file one on WordPress Trac</a>. You can also check your issue against a list of <a href=\"https://core.trac.wordpress.org/tickets/major\">known bugs</a>.</li>\n\n\n\n<li>New to testing? This <a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">detailed guide</a> is a great place to start if you&#8217;ve never tested a beta release.</li>\n\n\n\n<li>Want to know more about testing releases in general? Follow along with the <a href=\"https://make.wordpress.org/test/\">testing initiatives in Make Core</a> and join the <a href=\"https://wordpress.slack.com/messages/core-test/\">#core-test channel</a> on the <a href=\"https://wordpress.slack.com/\">Making WordPress Slack</a>.</li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">Vulnerability bounty doubles during the Beta/RC phases</h2>\n\n\n\n<p>Between the Beta 1 release and the final release candidate (RC), the <a href=\"https://make.wordpress.org/security/2023/06/28/doubling-the-bounties-for-wordpress-6-3-beta/\">monetary reward for reporting new, unreleased security vulnerabilities is double</a>. Please follow responsible disclosure practices as detailed in the project’s security practices and policies outlined on the <a href=\"https://hackerone.com/wordpress\">HackerOne page</a> and in the <a href=\"https://wordpress.org/about/security/\">security white paper</a>.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Get WordPress 6.3 Beta 3</h2>\n\n\n\n<p>You can test WordPress 6.3 Beta 3 in three ways:</p>\n\n\n\n<ul>\n<li><strong>Option 1:</strong> Install and activate the <a href=\"https://wordpress.org/plugins/wordpress-beta-tester/\">WordPress Beta Tester</a> plugin (select the “Bleeding edge” channel and “Beta/RC Only” stream).</li>\n\n\n\n<li><strong>Option 2: </strong>Direct download the <a href=\"https://wordpress.org/wordpress-6.3-beta3.zip\">Beta 3 version (zip)</a>.</li>\n\n\n\n<li><strong>Option 3:</strong> Use the following WP-CLI command:<br><code>wp core update --version=6.3-beta3</code></li>\n</ul>\n\n\n\n<p>The current target for the final release is <strong>August 8, 2023</strong>, which is about five weeks away. Your help testing this version ensures everything in this release is the best.</p>\n\n\n\n<h2 class=\"wp-block-heading\">A Beta 3 Haiku for You</h2>\n\n\n\n<p>Beta three, a peek<br>Summer here and winter there<br>A fourth in one week</p>\n\n\n\n<p><em>Thank you to the contributors who collaborated on this post: </em><a href=\"https://profiles.wordpress.org/dansoschin/\"><em>@DanSoschin</em></a>, <a href=\"https://profiles.wordpress.org/meher/\"><em>@Meher</em></a>, <a href=\"https://profiles.wordpress.org/jpantani/\"><em>@JPantani</em></a><em>, </em><a href=\"https://profiles.wordpress.org/eidolonnight/\"><em>@eidolonnight</em></a><em>, </em><a href=\"https://profiles.wordpress.org/davidbaumwald/\"><em>@davidbaumwald</em></a>, <a href=\"https://profiles.wordpress.org/priethor/\">@priethor</a>, and <a href=\"https://profiles.wordpress.org/dansoschin/\"><em>@DanSoschin</em></a> for the Haiku.</p>\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:\"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:\"\";}}}}}i:2;a:6:{s:4:\"data\";s:61:\"\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:7:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:49:\"WP Briefing: Episode 59: A Polyglot’s 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:68:\"https://wordpress.org/news/2023/07/episode-59-a-polyglots-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:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 03 Jul 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:8:\"category\";a:2:{i:0;a:5:{s:4:\"data\";s:7:\"Podcast\";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:11:\"wp-briefing\";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://wordpress.org/news/?post_type=podcast&p=15281\";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:227:\"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.\";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:\"enclosure\";a:1:{i:0;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:3:{s:3:\"url\";s:60:\"https://wordpress.org/news/files/2023/06/WP-Briefing-059.mp3\";s:6:\"length\";s:1:\"0\";s:4:\"type\";s: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:\"Brett McSherry\";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:30284:\"\n<p>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&#8217; work to continue to help bring translation to WordPress.   </p>\n\n\n\n<p><em><strong>Have a question you’d like answered? You can submit them to&nbsp;<a href=\"mailto:wpbriefing@wordpress.org\">wpbriefing@wordpress.org</a>, either written or as a voice recording.</strong></em></p>\n\n\n\n<h2 class=\"wp-block-heading\">Credits</h2>\n\n\n\n<p>Host: <a href=\"https://profiles.wordpress.org/chanthaboune/\">Josepha Haden Chomphosy</a><br>Guests: <a href=\"https://profiles.wordpress.org/akirk/\">Alex Kirk</a><br>Editor: <a href=\"https://profiles.wordpress.org/dustinhartzler/\">Dustin Hartzler</a><br>Logo: <a href=\"https://profiles.wordpress.org/javiarce/\">Javier Arce</a><br>Production: <a href=\"https://profiles.wordpress.org/bjmcsherry/\">Brett McSherry</a> and <a href=\"https://profiles.wordpress.org/eidolonnight/\">Nicholas Garofalo</a><br>Song: Fearless First by Kevin MacLeod</p>\n\n\n\n<h2 class=\"wp-block-heading\">Show Notes</h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/polyglots/\">Polyglots team</a></li>\n\n\n\n<li><a href=\"https://wordpress.org/about/roadmap/\">Gutenberg Project roadmap</a></li>\n\n\n\n<li><a href=\"https://wordpress.org/plugins/glotpress/\">GlotPress plugin</a></li>\n\n\n\n<li><a href=\"https://translate.wordpress.org/\">Translating WordPress</a> &#8211; Contribute to WordPress core, themes, and plugins by translating them into your language.</li>\n\n\n\n<li><a href=\"https://developer.wordpress.org/playground/\">WordPress Playground</a> &#8211; WordPress that runs entirely in your browser.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/polyglots/2023/05/08/translate-live-updates-to-the-translation-playground/\">Translate Live: Updates to the Translation Playground</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/polyglots/handbook/about/roles-and-capabilities/\">Polyglots Roles and Capabilities</a> &#8211; Including the <a href=\"https://make.wordpress.org/polyglots/handbook/about/roles-and-capabilities/#general-translation-editor\">GTE</a> and <a href=\"https://make.wordpress.org/polyglots/handbook/about/roles-and-capabilities/#project-translation-editor\">PTE</a> roles.</li>\n\n\n\n<li><a href=\"https://href.li/?https://2023.wpcampus.org/\">WPCampus 2023</a> &#8211; A hybrid event, July 12th through the 14th, at Tulane University in New Orleans, Louisiana. Topics focus on the growth of higher education, accessibility, WordPress, and anyone who works in higher education.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/project/2023/06/23/launch-your-wordpress-contributor-journey-through-the-mentorship-program-pilot/\">Launch your WordPress Contributor Journey through the Mentorship Program Pilot</a> &#8211; A cohort-based onboarding experience with guided courses and live workshops for those interested in contributing to the project but unsure where to begin.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/meta/2023/06/20/make-team-dashboards/\">Make Team Dashboards</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">Transcript</h2>\n\n\n\n<span id=\"more-15281\"></span>\n\n\n\n<p><em>( Intro music )</em></p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:00:10]&nbsp;</strong></p>\n\n\n\n<p>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&#8217;m your host, Josepha Haden Chomphosy. Here we go.</p>\n\n\n\n<p><em>( Intro music )</em></p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:00:39]&nbsp;</strong></p>\n\n\n\n<p>I have with me Alex Kirk, who is a longtime WordPress contributor and who has been instrumental in recent innovations in the Polyglots&#8217; 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&#8217;s to come in that specific roadmap.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:00:59]&nbsp;</strong></p>\n\n\n\n<p>So without further ado, Alex Kirk, welcome to the WordPress Briefing.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:01:03]</strong></p>\n\n\n\n<p>Hello, how are you doing?&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:01:05]</strong></p>\n\n\n\n<p>I&#8217;m good. I&#8217;m good. Can you, let&#8217;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&#8217;t know yet?&nbsp;</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:01:19]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:01:46]</strong></p>\n\n\n\n<p>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?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:01:56]</strong></p>\n\n\n\n<p>Yeah, there&#8217;s no clear path, but it&#8217;s our mission to find it. So that&#8217;s part of what makes things interesting.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:02:05]</strong></p>\n\n\n\n<p>Cool. So for folks who don&#8217;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?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:02:16]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:02:55]</strong></p>\n\n\n\n<p>Probably, WordPress.org is pretty, pretty massive. Also, I think it&#8217;s great that you said that GlotPress was created a couple of years ago, like that, that indicates to me that you&#8217;re working on a really different timescale than a lot of folks are in WordPress.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:03:10]</strong></p>\n\n\n\n<p>So Alex, tell me a little bit about what it takes to ship translated WordPress software. So, I mean, for people who don&#8217;t need translated WordPress, like obviously we don&#8217;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?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:03:32]</strong></p>\n\n\n\n<p>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&#8217;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&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:03:32]</strong></p>\n\n\n\n<p>So, we&#8217;ve got people who have lots of experience in translation. And specifically in translating WordPress or WordPress plugins. And they&#8217;re kind of the, the people who help ensure good quality of translation. So anybody who&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:05:03]</strong></p>\n\n\n\n<p>You know, when you have like a small thing that&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:05:20]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:05:35]</strong></p>\n\n\n\n<p>And is 90% the threshold for plugins only, or is that also the threshold for like themes and the CMS itself?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:05:34]</strong></p>\n\n\n\n<p>Well. We strive for 100%, I would say.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:05:47]</strong></p>\n\n\n\n<p>Good. <em>( laughs )</em></p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:05:48]</strong></p>\n\n\n\n<p>And, 90% more of a motivational point. To be actually honest, I&#8217;m not sure if the threshold is 90% for every project or even if it&#8217;s actually 90%. It&#8217;s different between different GlotPress installations and it&#8217;s basically something that is made as a setting that can be changed. There&#8217;s, it&#8217;s an arbitrary number. Typically you&#8217;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&#8217;t you probably want everybody to search for the English one to find the solution? But that set-aside, it&#8217;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&#8217;s good enough to be shipped.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:07:02]</strong></p>\n\n\n\n<p>Gotcha. I see, I see. Okay. Well, we talked a bit earlier about GlotPress&#8217;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?&nbsp;</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:07:19]</strong></p>\n\n\n\n<p>Yeah, so I think for GlotPress there&#8217;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&#8217;ve added a couple of things that have been very helpful for translators. So one of them was adding the commenting functionality, so yeah.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:07:35]</strong></p>\n\n\n\n<p>Super helpful. Shocked it wasn&#8217;t there before. Sorry, translators. Sorry, all of our polyglots.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:07:40]</strong></p>\n\n\n\n<p>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&#8217;s approved state, which basically a translation we say it&#8217;s set to current, and there&#8217;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&#8217;t fully conform to what&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:08:16]</strong></p>\n\n\n\n<p>And that has been something that we felt wasn&#8217;t a very good and enticing way of telling people like, we appreciate your work. It wasn&#8217;t just quite right, but it&#8217;s more of a rejection. So this is how we came up with this like, let&#8217;s give people the option to say what was wrong and give them a chance to try again without making them feel rejected.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:08:38]</strong></p>\n\n\n\n<p>Yeah. Sort of a &#8220;No, but&#8230;&#8221; as opposed to a, just refusal to receive it.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:08:45]</strong></p>\n\n\n\n<p>And other things that we&#8217;ve worked on is, like, with the recent search of AI, like getting help from AI on translation and also on reviews. So, there&#8217;s some interesting things that you can do with AI in that regard; that one important aspect of translations, it&#8217;s also that we&#8217;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.&nbsp;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:09:25]</strong></p>\n\n\n\n<p>That is great. That&#8217;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&#8217;ll just like translate it all and hope that computers get it right when we know pretty certainly that computers don&#8217;t always get the translations right. But that&#8217;s not what you&#8217;re talking about, right? What you&#8217;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&#8217;s correct, right?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:09:59]</strong></p>\n\n\n\n<p>That&#8217;s exactly it. So basically, we give suggestions to the translators, and then they can modify a translation before they press save. It&#8217;s more of a, like supporting them in getting the translations, like looking up words more quickly and all of that.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:10:16]</strong></p>\n\n\n\n<p>That&#8217;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?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:10:27]</strong></p>\n\n\n\n<p>So one direction that we&#8217;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&#8217;s like GlotPress installed, there&#8217;s translation projects created, something that we call &#8220;translation sets&#8221;. So for languages, you want to translate it to, it&#8217;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&#8217;ve added is a way for you to basically be able to translate the plugins and themes that you&#8217;ve got installed in your WordPress into the language that you&#8217;re interested in.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:11:07]</strong></p>\n\n\n\n<p>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&#8217;s the way to, that&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:11:35]</strong></p>\n\n\n\n<p>So that&#8217;s with local GlotPress?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:11:37]</strong></p>\n\n\n\n<p>That&#8217;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&#8217;ve got like all the GlotPress software there.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:11:56]</strong></p>\n\n\n\n<p>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&#8217;re making, basically turning the screen from red to green.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:12:20]</strong></p>\n\n\n\n<p>Yeah. Yeah. So that&#8217;s something now that you can do in your local WordPress installation.&nbsp;</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:12:26]</strong></p>\n\n\n\n<p>Basically, it&#8217;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&#8217;ve got different dialects or like special words that we use. And if I wanted to create a website that&#8217;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&#8217;s a, it&#8217;s like a very targeted market. But if I have a local GlotPress, I can do those translations there.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:13:11]</strong></p>\n\n\n\n<p>That seems awfully beneficial, especially as dialects. I&#8217;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&#8217;s saying when you&#8217;re speaking all the same thing, but it&#8217;s kind of a little bit it sounds a little bit different.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:13:37]</strong></p>\n\n\n\n<p>That&#8217;s certainly a thing in the US, the distinct dialects across our country. And so I imagine that that&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:14:01]</strong></p>\n\n\n\n<p>Is that the same or different as the live translations, Translate Live, that we talked about at the WordCamp Europe a couple weeks back?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:14:12]</strong></p>\n\n\n\n<p>Right. So, Translate Live is kind of the next step after local GlotPress. It&#8217;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&#8217;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&#8217;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.&nbsp;</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:15:07]</strong></p>\n\n\n\n<p>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&#8217;ve got inline translation. We add the glossary so they do make sure that you translate things the same way that they&#8217;re expected, and you don&#8217;t have to install the plugin.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:15:33]</strong></p>\n\n\n\n<p>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&#8217;re in the table view, those strings might be somewhere buried in the middle, and yeah, it&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:16:02]</strong></p>\n\n\n\n<p>Yeah. So, moving translations away from table-based translations where you kind of have to know what you&#8217;re looking for. So the Translate Live, along with local GlotPress, along with WP Playground, is going to make it so that it&#8217;s easier to see visually what needs to be translated, where, what&#8217;s most valuable to translate for your mid users and your end users, basically.</p>\n\n\n\n<p>Yeah?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:16:30]</strong></p>\n\n\n\n<p>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&#8217;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&#8217;s my plugin like in this environment. I mean, this is not technically something that&#8217;s related to local GlotPress, but in this translation live ui, it&#8217;s very easy to change languages and see your plugin in another language.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:17:06]</strong></p>\n\n\n\n<p>I mean, it&#8217;s not specifically related to, to Translations Live, but also, I think that if we&#8217;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&#8217;s still a little bit far out on our roadmap. We certainly have an opportunity to have the best implementation of that.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:17:27]</strong></p>\n\n\n\n<p>And even if like that specific use case that you&#8217;re talking about isn&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:18:00</strong>]</p>\n\n\n\n<p>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&#8217;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.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:18:22]</strong></p>\n\n\n\n<p>So there were a couple of different things that you mentioned over the course of our conversation. We&#8217;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&#8217;s listening to this podcast who wants to become a GTE someday, where would they go to do that?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:18:54]</strong></p>\n\n\n\n<p>So the path to GTE is a PTE.&nbsp;<em>( laughs )</em></p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:18:59]</strong></p>\n\n\n\n<p>So, we&#8217;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&#8217;re very firm in your language. And this might make you be noticed in the community.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:19:16]</strong></p>\n\n\n\n<p>So we&#8217;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&#8217;ll be able to approve translations. So, you&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:19:42]</strong></p>\n\n\n\n<p>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&#8217;s, usually you&#8217;ll be in, in that position with other GTEs.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:20:04]</strong></p>\n\n\n\n<p>So there is, like, in each community, there is like, we&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:20:35]</strong></p>\n\n\n\n<p>And if folks are not familiar where the Polyglots team works and meets, where would they find you all?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:20:41]</strong></p>\n\n\n\n<p>At make.WordPress.org/polyglots.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:20:45]</strong></p>\n\n\n\n<p>Perfect. Alex, this has been such a fascinating conversation. Thank you so much for joining me today.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:20:50]</strong></p>\n\n\n\n<p>Thank you very much.&nbsp;</p>\n\n\n\n<p><em>( Intermission music )</em></p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:20:59]</strong></p>\n\n\n\n<p>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&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:21:17]</strong></p>\n\n\n\n<p>It&#8217;s a hybrid event. There is an in-person component on the beautiful campus of Tulane University in New Orleans, Louisiana. I&#8217;ll add information about that in our show notes for anyone who would like to join in person or online.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:21:32]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:21:39]</strong></p>\n\n\n\n<p>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&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:21:59]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:22:20]</strong></p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:22:38]</strong></p>\n\n\n\n<p>And that, my friends, is your small list of big things.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:22:42]</strong></p>\n\n\n\n<p>Thanks for tuning in today for the WordPress Briefing. I&#8217;m your host, Josepha Haden Chomphosy, and I&#8217;ll see you again in a couple of weeks.</p>\n\n\n\n<p><em>( Outro music )</em></p>\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:\"15281\";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:72:\"\n		\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:4:{s:0:\"\";a:6:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:32:\"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:\"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: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:8:\"category\";a:6:{i:0;a:5:{s:4:\"data\";s:9:\"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:\"\";}i:1;a:5:{s:4:\"data\";s:8:\"Features\";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: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:3;a:5:{s:4:\"data\";s:10:\"Interviews\";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:5:{s:4:\"data\";s:9:\"HeroPress\";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:5:{s:4:\"data\";s:19:\"People of 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:35:\"https://wordpress.org/news/?p=15287\";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:121:\"The People of WordPress goes to the US to feature Allison Dye, who uses the software in her work and disability-advocacy.\";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:\"\";}}}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:14661:\"\n<p><strong>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.</strong></p>\n\n\n\n<p><strong>The&nbsp;<em>People of WordPress</em>&nbsp;series shares inspiring stories of how people’s lives can change for the better through WordPress and its global community of contributors.</strong></p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"537\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/fi-allison-dye.jpg?resize=1024%2C537&#038;ssl=1\" alt=\"Allison Dye\" class=\"wp-image-15292\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/06/fi-allison-dye.jpg?resize=1024%2C537&amp;ssl=1 1024w, https://i0.wp.com/wordpress.org/news/files/2023/06/fi-allison-dye.jpg?resize=300%2C157&amp;ssl=1 300w, https://i0.wp.com/wordpress.org/news/files/2023/06/fi-allison-dye.jpg?resize=768%2C403&amp;ssl=1 768w, https://i0.wp.com/wordpress.org/news/files/2023/06/fi-allison-dye.jpg?w=1196&amp;ssl=1 1196w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" /></figure>\n\n\n\n<p>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. </p>\n\n\n\n<h2 class=\"wp-block-heading\">My first encounter with WordPress</h2>\n\n\n\n<p>Allison said: &#8220;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.&#8221;</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>&#8220;There is something truly amazing about having a place to tell your story.&#8221;</p>\n<cite>Allison Dye</cite></blockquote>\n\n\n\n<p>Her family faced many doctors, nurse, specialists and hospital visits, but could not get an answer to the difficulties faced by Allison. She said: &#8220;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.&#8221;</p>\n\n\n\n<p>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.</p>\n\n\n\n<h2 class=\"wp-block-heading\">WordPress in the real world</h2>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"768\" height=\"1024\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/allison-2.jpg?resize=768%2C1024&#038;ssl=1\" alt=\"Allison stood in front of trees\" class=\"wp-image-15290\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/06/allison-2.jpg?resize=768%2C1024&amp;ssl=1 768w, https://i0.wp.com/wordpress.org/news/files/2023/06/allison-2.jpg?resize=225%2C300&amp;ssl=1 225w, https://i0.wp.com/wordpress.org/news/files/2023/06/allison-2.jpg?w=900&amp;ssl=1 900w\" sizes=\"(max-width: 768px) 100vw, 768px\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">Allison enjoying time with nature and trees</figcaption></figure>\n\n\n\n<p>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.</p>\n\n\n\n<p>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: &#8220;WordPress felt familiar, typing on the computer keys felt comfortable, and sharing my words with the world felt surreal.&#8221;</p>\n\n\n\n<p>Allison&#8217;s sense of ownership of the software became part of her strength. &#8220;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.&#8221;</p>\n\n\n\n<h2 class=\"wp-block-heading\">Finding work with WordPress</h2>\n\n\n\n<p>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: &#8220;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.&#8221;</p>\n\n\n\n<p>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 &#8216;there was a place for everyone&#8217;. The guiding strength and fascination Allison found and still finds today is in that community. Allison said: &#8220;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.&#8221;</p>\n\n\n\n<p>In 2020, she was hired by a WordPress company. She said: &#8220;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.&#8221;</p>\n\n\n\n<p>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: &#8220;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.&#8221;</p>\n\n\n\n<p>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. </p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>&#8220;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.&#8221;</p>\n<cite>Allison Dye</cite></blockquote>\n\n\n\n<p>As a fluent English and Italian speaker, Allison is able to support clients in different countries from where she lives. &#8220;I love that with WordPress I&#8217;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.&#8221;</p>\n\n\n\n<p>Allison also became a certified as an English As A Second Language (ESL) teacher. &#8220;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.&#8221;</p>\n\n\n\n<h2 class=\"wp-block-heading\">Welcomed into the WordPress community</h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"562\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/WPCoffeeTalk-Allie-Dye.png?resize=1024%2C562&#038;ssl=1\" alt=\"Allie interviewed for a podcast on her use of WordPress\" class=\"wp-image-15293\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/06/WPCoffeeTalk-Allie-Dye.png?resize=1024%2C562&amp;ssl=1 1024w, https://i0.wp.com/wordpress.org/news/files/2023/06/WPCoffeeTalk-Allie-Dye.png?resize=300%2C165&amp;ssl=1 300w, https://i0.wp.com/wordpress.org/news/files/2023/06/WPCoffeeTalk-Allie-Dye.png?resize=768%2C422&amp;ssl=1 768w, https://i0.wp.com/wordpress.org/news/files/2023/06/WPCoffeeTalk-Allie-Dye.png?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">Allie interviewed for a podcast on her use of WordPress</figcaption></figure>\n\n\n\n<p>Allison attributes mentors and supporters in the WordPress community for helping her appreciate she really is part of it. Allison recalled: &#8220;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.&#8221;</p>\n\n\n\n<p>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 &#8216;honored typing my words, pieces of my story, and sharing them with a community of people&#8217;.</p>\n\n\n\n<p>She also joined the <a href=\"https://us.wordcamp.org/2021/\">WordCamp US 2021</a> online organizing team. </p>\n\n\n\n<p>Allison enjoys the fact that in the WordPress community, &#8216;everyone here is constantly working to be better and do better&#8217;.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Facing the future with strength from her friends and colleagues in WordPress</h2>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"675\" height=\"900\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/allison-1.jpg?resize=675%2C900&#038;ssl=1\" alt=\"\" class=\"wp-image-15289\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/06/allison-1.jpg?w=675&amp;ssl=1 675w, https://i0.wp.com/wordpress.org/news/files/2023/06/allison-1.jpg?resize=225%2C300&amp;ssl=1 225w\" sizes=\"(max-width: 675px) 100vw, 675px\" data-recalc-dims=\"1\" /></figure>\n\n\n\n<p>Allison was later diagnosed with two additional neurological conditions: Functional Neurological Disorder and Migraine. She said: &#8220;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&#8217;s helped me along my way. I don&#8217;t know where I would even be without it.&#8221;</p>\n\n\n\n<p>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.<br><br>Allison hopes reading of her experience will help others who are worried about not progressing in a WordPress career due to health concerns.</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>&#8220;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.&#8221;</p>\n<cite>Allison Dye</cite></blockquote>\n\n\n\n<h2 class=\"wp-block-heading\">Share the stories</h2>\n\n\n\n<p>Help share these stories of open source contributors and continue to grow the community.&nbsp;Meet more WordPressers in the <a href=\"https://wordpress.org/news/category/newsletter/interviews/\">People of WordPress series</a>.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Contributors</h2>\n\n\n\n<p>Thanks to Allie Dye (<a href=\'https://profiles.wordpress.org/allisondye/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>allisondye</a>)&nbsp;for sharing about her adventures in WordPress.</p>\n\n\n\n<p>Props to Abha Thakor (<a href=\'https://profiles.wordpress.org/webcommsat/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>webcommsat</a>) and the late Surendra Thakor (<a href=\'https://profiles.wordpress.org/sthakor/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>sthakor</a>) for interviews and writing the feature, Meher Bala (<a href=\'https://profiles.wordpress.org/meher/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>meher</a>) for work on images, and to Meher, Maja Loncan (@mloncar) and Chloe Bringmann (<a href=\'https://profiles.wordpress.org/cbringmann/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>cbringmann</a>) for reviews.</p>\n\n\n\n<p>The&nbsp;<em>People of WordPress</em>&nbsp;series thanks Josepha Haden (<a href=\'https://profiles.wordpress.org/chanthaboune/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>chanthaboune</a>) and Topher DeRosia (<a href=\'https://profiles.wordpress.org/topher1kenobe/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>topher1kenobe</a>) for their support.</p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile is-vertically-aligned-center\" style=\"grid-template-columns:29% auto\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" loading=\"lazy\" width=\"180\" height=\"135\" src=\"https://i0.wp.com/wordpress.org/news/files/2020/03/heropress_logo_180.png?resize=180%2C135&#038;ssl=1\" alt=\"HeroPress logo\" class=\"wp-image-8409 size-full\" data-recalc-dims=\"1\" /></figure><div class=\"wp-block-media-text__content\">\n<p class=\"has-small-font-size\"><em>This People of WordPress feature is inspired by an essay originally published on </em><a href=\"https://heropress.com/\"><em>HeroPress.com</em></a><em>, 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. </em>#HeroPress </p>\n</div></div>\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:\"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:\"\";}}}}}i:4;a:6:{s:4:\"data\";s:70:\"\n		\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:4:{s:0:\"\";a:7:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:20:\"WordPress 6.3 Beta 2\";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/2023/06/wordpress-6-3-beta-2/\";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 23:30:50 +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:5:{i:0;a:5:{s:4:\"data\";s:11:\"Development\";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:8:\"Releases\";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:3:\"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:\"\";}i:3;a:5:{s:4:\"data\";s:11:\"development\";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:5:{s:4:\"data\";s:8:\"releases\";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=15193\";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:297:\"WordPress 6.3 Beta 2 is ready for download and testing.\nThis 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, it is recommended that you test Beta 2 on a test server and site.\";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:\"enclosure\";a:1:{i:0;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:3:{s:3:\"url\";s:81:\"https://wordpress.org/news/files/2023/06/Prototype-of-the-Wayfinder-in-action.mp4\";s:6:\"length\";s:7:\"1269106\";s:4:\"type\";s:9:\"video/mp4\";}}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:15920:\"\n<p>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.</p>\n\n\n\n<p><strong>This version of the WordPress software is under development.</strong> <strong>Please do not install, run, or test this version of WordPress on production or mission-critical websites.</strong> Instead, the release squad recommends you evaluate Beta 2 on a test server and site.</p>\n\n\n\n<p>WordPress 6.3 demonstrates incredible progress toward achieving the goals outlined in the <a href=\"https://wordpress.org/about/roadmap/\">WordPress roadmap</a> and is the <a href=\"https://make.wordpress.org/core/2023/02/04/phase-2-finale/\">final major release of Phase 2</a>. 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.</p>\n\n\n\n<p>Learn more about Gutenberg updates debuting since WordPress 6.2 by reviewing prior editions of <em>What’s New in Gutenberg</em> posts for <a href=\"https://make.wordpress.org/core/2023/02/24/whats-new-in-gutenberg-15-2-22-february/\">15.2</a>, <a href=\"https://make.wordpress.org/core/2023/03/13/whats-new-in-gutenberg-15-3-13-march/\">15.3</a>, <a href=\"https://make.wordpress.org/core/2023/03/22/whats-new-in-gutenberg-15-4-22-march/\">15.4</a>, <a href=\"https://make.wordpress.org/core/2023/04/05/whats-new-in-gutenberg-15-5-05-april/\">15.5</a>, <a href=\"https://make.wordpress.org/core/2023/04/19/whats-new-in-gutenberg-15-6-19-april/\">15.6</a>, <a href=\"https://make.wordpress.org/core/2023/05/04/whats-new-in-gutenberg-15-7-03-may/\">15.7</a>, <a href=\"https://make.wordpress.org/core/2023/05/20/whats-new-in-gutenberg-15-8-may-17/\">15.8</a>, <a href=\"https://make.wordpress.org/core/2023/05/31/whats-new-in-gutenberg-15-9-31-may/\">15.9</a>, <a href=\"https://make.wordpress.org/core/2023/06/14/whats-new-in-gutenberg-16-0-14-june/\">16.0</a>, and <a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/\">16.1</a>.</p>\n\n\n\n<p>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 <a href=\"https://make.wordpress.org/core/6-3/\">6.3 release cycle</a>, and check the <a href=\"https://make.wordpress.org/core/\">Make WordPress Core blog</a> for <a href=\"https://make.wordpress.org/core/tag/6-3/\">6.3-related posts</a> in the coming weeks for further details.</p>\n\n\n\n<h2 class=\"wp-block-heading\">A first look at 6.3</h2>\n\n\n\n<p>This latest WordPress release includes many updates spanning all platform areas, emphasizing the editing experience and polishing usability.&nbsp;This release contains more than 500 new features and enhancements and 400+ bug fixes.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Performance</h3>\n\n\n\n<p>Following the incredible <a href=\"https://make.wordpress.org/core/2023/04/05/wordpress-6-2-performance-improvements-for-all-themes/\">performance improvements introduced in 6.2</a>, the release includes more than 170 performance-related updates, including adding <a href=\"https://core.trac.wordpress.org/ticket/12009\">defer and async support to the WP Scripts API</a> and <a href=\"https://core.trac.wordpress.org/ticket/58235\">fetchpriority support for images</a>. Optimizations were made to <a href=\"https://github.com/WordPress/wordpress-develop/pull/4097\">block template resolution</a>, <a href=\"https://core.trac.wordpress.org/ticket/58211\">image lazy-loading</a>, and the <a href=\"https://core.trac.wordpress.org/ticket/58472\">emoji loader</a>, all of which benefit LCP performance. Support for PHP versions <a href=\"https://core.trac.wordpress.org/query?status=accepted&amp;status=assigned&amp;status=new&amp;status=reopened&amp;status=reviewing&amp;keywords=~php8+-php81+-php82&amp;milestone=6.3&amp;order=priority\">8.0</a>, <a href=\"https://core.trac.wordpress.org/query?status=accepted&amp;status=assigned&amp;status=new&amp;status=reopened&amp;status=reviewing&amp;keywords=~php81&amp;milestone=6.3&amp;order=priority\">8.1</a>, and <a href=\"https://core.trac.wordpress.org/query?status=accepted&amp;status=assigned&amp;status=new&amp;status=reopened&amp;status=reviewing&amp;keywords=~php82&amp;milestone=6.3&amp;order=priority\">8.2</a> has been improved.&nbsp;</p>\n\n\n\n<h3 class=\"wp-block-heading\">Site Editor</h3>\n\n\n\n<p>The Site Editor expands to include navigating and editing <a href=\"https://make.wordpress.org/core/2023/05/20/whats-new-in-gutenberg-15-8-may-17/#add-the-pages-menu-to-the-site-editor-50463\">pages</a>, <a href=\"https://make.wordpress.org/core/2023/04/19/whats-new-in-gutenberg-15-6-19-april/#style-variations-in-browse-mode\">styles</a>, <a href=\"https://github.com/WordPress/gutenberg/issues/50418#top\">templates</a>, and <a href=\"https://github.com/WordPress/gutenberg/issues/44461\">content</a>. The unified site editing experience will include a <a href=\"https://github.com/WordPress/gutenberg/issues/49175\">distraction-free mode</a>, enhanced <a href=\"https://make.wordpress.org/core/2023/02/24/whats-new-in-gutenberg-15-2-22-february/#enhancements-to-navigation-in-the-site-editor\">navigation</a>, and an <a href=\"https://github.com/WordPress/gutenberg/issues/35503\">improved loading experience</a>. Additionally, you can use the Site Editor to <a href=\"https://make.wordpress.org/core/2023/05/20/whats-new-in-gutenberg-15-8-may-17/#add-theme-previews-for-block-themes-50030\">preview a block theme</a> and adjust your site before activating the new theme. This release includes <a href=\"https://github.com/WordPress/gutenberg/pull/50089\">style revisions</a> so you can toggle between and preview different saved styles. Rounding out the changes, 6.3 ushers in a new <a href=\"https://make.wordpress.org/core/2023/05/31/whats-new-in-gutenberg-15-9-31-may/#command-tool\">Command Palette</a>, enabling users to context switch and perform actions quickly across different sections of the site editing experience.</p>\n\n\n\n<figure class=\"wp-block-video alignleft\"><video controls src=\"https://wordpress.org/news/files/2023/06/Prototype-of-the-Wayfinder-in-action.mp4\"></video><figcaption class=\"wp-element-caption\">Prototype of the Command Palette in action</figcaption></figure>\n\n\n\n<h3 class=\"wp-block-heading\">Blocks</h3>\n\n\n\n<p>New blocks for <a href=\"https://make.wordpress.org/core/2023/04/19/whats-new-in-gutenberg-15-6-19-april/#details-block-experimental\">details</a> and <a href=\"https://github.com/WordPress/gutenberg/pull/51201\">footnotes</a> debut in this release, along with updates for better handling of <a href=\"https://github.com/WordPress/gutenberg/issues/51138\">image aspect ratios</a> and improved fallback states. <a href=\"https://make.wordpress.org/core/2023/04/19/whats-new-in-gutenberg-15-6-19-april/#spacer-block-gets-spacing-presets\">Spacer blocks</a> now include presets, and the cover block gets updates for managing <a href=\"https://make.wordpress.org/core/2023/03/22/whats-new-in-gutenberg-15-4-22-march/#color-and-layout-support-for-cover-block\">text colors and layout support</a>.</p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/Spacing-Presets.png?ssl=1\" alt=\"\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">The new height control for the Spacer block</figcaption></figure>\n\n\n\n<h3 class=\"wp-block-heading\">Patterns and Design</h3>\n\n\n\n<p>Reusable blocks have been renamed to <a href=\"https://github.com/WordPress/gutenberg/pull/51144\"><em>synced patterns</em></a>. This change reflects the unification of reusable blocks and traditional block patterns (unsynced patterns) within the Editor. A <a href=\"https://make.wordpress.org/core/2023/04/05/whats-new-in-gutenberg-15-5-05-april/#patterns-as-template-starters\">new option</a> 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 <a href=\"https://make.wordpress.org/meta/2023/06/09/new-curation-filter-in-pattern-directory/\">directory of curated patterns</a>. Additionally, the <a href=\"https://make.wordpress.org/core/2023/03/13/whats-new-in-gutenberg-15-3-13-march/#leveling-up-duotone\">duotone filter</a> and <a href=\"https://make.wordpress.org/core/2023/04/05/whats-new-in-gutenberg-15-5-05-april/#style-captions-via-the-styles-interface\">captions</a> can now be edited in the Styles interface.</p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/Styling-Captions.png?ssl=1\" alt=\"\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">Style your captions in the new Styles interface</figcaption></figure>\n\n\n\n<h3 class=\"wp-block-heading\">Usability<strong> </strong></h3>\n\n\n\n<p>Some key usability highlights include <a href=\"https://github.com/WordPress/gutenberg/issues/40450\">toolbar updates</a>, <a href=\"https://make.wordpress.org/core/2023/03/22/whats-new-in-gutenberg-15-4-22-march/#updated-template-descriptions\">updated template descriptions</a>, enhanced <a href=\"https://make.wordpress.org/core/2023/05/31/whats-new-in-gutenberg-15-9-31-may/#enhancements-site-editor\">list view drag-and-drop</a>, improved <a href=\"https://github.com/WordPress/gutenberg/issues/49264#top\">padding and margin controls</a>, and a new area for <a href=\"https://github.com/WordPress/gutenberg/issues/50397#top\">managing patterns</a> (including reusable blocks, now called <em>synced patterns</em>.) <a href=\"https://github.com/WordPress/gutenberg/issues/50891\">Link control</a> receives some updates, rounding out high-level usability enhancements in 6.3.</p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/Add-and-modify-descriptions-for-templates.png?ssl=1\" alt=\"\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">Add and modify descriptions for templates</figcaption></figure>\n\n\n\n<h3 class=\"wp-block-heading\">Accessibility</h3>\n\n\n\n<p>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 <a href=\"https://core.trac.wordpress.org/ticket/50523\">new controls in the admin image editor</a> allow those using screen readers, keyboard navigation, and other assistive technology to navigate more easily. The <a href=\"https://core.trac.wordpress.org/ticket/32510\">login form</a>, <a href=\"https://core.trac.wordpress.org/ticket/40470\">installation steps</a>, and list tables (for <a href=\"https://core.trac.wordpress.org/ticket/32170\">sorting</a> and <a href=\"https://core.trac.wordpress.org/ticket/21516\">selection</a>) have all been updated. Additional accessibility tickets are viewable in <a href=\"https://core.trac.wordpress.org/query?status=closed&amp;focuses=~accessibility&amp;milestone=6.3&amp;col=id&amp;col=summary&amp;col=status&amp;col=milestone&amp;col=owner&amp;col=type&amp;col=priority&amp;order=priority\">the WordPress Trac</a>.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Other notes</h3>\n\n\n\n<p>This release includes <a href=\"https://core.trac.wordpress.org/ticket/51857\">auto-rollback</a> for failed manual updates of themes and plugins.</p>\n\n\n\n<p><em>Please note that the features in this list may change before the final release.</em></p>\n\n\n\n<h2 class=\"wp-block-heading\">Testing makes WordPress stronger!</h2>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>If you encounter an issue, please report it to the <a href=\"https://wordpress.org/support/forum/alphabeta/\">Alpha/Beta area</a> in the support forums. If you are comfortable writing a reproducible bug report, you can <a href=\"https://core.trac.wordpress.org/newticket\">file one on WordPress Trac</a>. You can also check your issue against a list of <a href=\"https://core.trac.wordpress.org/tickets/major\">known bugs</a>.</p>\n\n\n\n<p>New to testing? This <a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">detailed guide</a> is a great place to start if you&#8217;ve never tested a beta release.</p>\n\n\n\n<p>Want to know more about testing releases in general? Follow along with the <a href=\"https://make.wordpress.org/test/\">testing initiatives in Make Core</a> and join the <a href=\"https://wordpress.slack.com/messages/core-test/\">#core-test channel</a> on the <a href=\"https://wordpress.slack.com/\">Making WordPress Slack</a>.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Vulnerability bounty doubles during Beta 2</h3>\n\n\n\n<p>Between the Beta 2 release and the final release candidate (RC) for each new WordPress version, the <a href=\"https://make.wordpress.org/security/2023/06/28/doubling-the-bounties-for-wordpress-6-3-beta/\">monetary reward for reporting new, unreleased security vulnerabilities is doubled</a>. Please follow responsible disclosure practices as detailed in the project’s security practices and policies outlined on the <a href=\"https://hackerone.com/wordpress\">HackerOne page</a> and in the <a href=\"https://wordpress.org/about/security/\">security white paper</a>.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Get WordPress 6.3 Beta 2</h3>\n\n\n\n<p>You can test WordPress 6.3 Beta 2 in three ways:</p>\n\n\n\n<p><strong>Option 1:</strong> Install and activate the <a href=\"https://wordpress.org/plugins/wordpress-beta-tester/\">WordPress Beta Tester</a> plugin (select the “Bleeding edge” channel and “Beta/RC Only” stream).</p>\n\n\n\n<p><strong>Option 2: </strong>Direct download the <a href=\"https://wordpress.org/wordpress-6.3-beta2.zip\">Beta 2 version (zip)</a>.</p>\n\n\n\n<p><strong>Option 3:</strong> Use the following WP-CLI command:</p>\n\n\n\n<p><code>wp core update --version=6.3-beta2</code></p>\n\n\n\n<p>The current target for the final release is <strong>August 8, 2023</strong>, which is about six weeks away. Your help testing this version ensures everything in this release is the best.</p>\n\n\n\n<h3 class=\"wp-block-heading\">The first haiku for 6.3</h3>\n\n\n\n<p>A chapter closes<br>Excitement yet much newness<br>Phase 2 finale</p>\n\n\n\n<p><em>Thank you to the following contributors for collaborating on this post:</em> <a href=\"https://profiles.wordpress.org/dansoschin/\"><em>@DanSoschin</em></a>, <a href=\"https://profiles.wordpress.org/meher/\"><em>@Meher</em></a>, <a href=\"https://profiles.wordpress.org/jpantani/\"><em>@JPantani</em></a>, <a href=\"https://profiles.wordpress.org/cbringmann/\"><em>@CBringmann</em></a>, <a href=\"https://profiles.wordpress.org/audrasjb/\"><em>@AudrasJB</em></a>, <a href=\"https://profiles.wordpress.org/annezazu/\"><em>@annezazu</em></a>, <a href=\"https://profiles.wordpress.org/ndiego/\"><em>@ndiego</em></a>, <a href=\"https://profiles.wordpress.org/davidbaumwald/\"><em>@davidbaumwald</em></a>, <a href=\"https://profiles.wordpress.org/desrosj/\"><em>@desrosj</em></a>, <a href=\"https://profiles.wordpress.org/priethor/\"><em>@priethor</em></a>, <a href=\"https://profiles.wordpress.org/flixos90/\"><em>@flixos90</em></a>,<a href=\"https://profiles.wordpress.org/wildworks\"> @wildworks</a>, <em>and </em><a href=\"https://profiles.wordpress.org/jpantani/\"><em>@JPantani</em></a><em> for authoring the haiku</em>.</p>\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:\"15193\";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:61:\"\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:7:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:56:\"WP Briefing: Episode 58: A New Wave for WordPress 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:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:78:\"https://wordpress.org/news/2023/06/episode-58-a-new-wave-for-wordpress-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:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 19 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:8:\"category\";a:2:{i:0;a:5:{s:4:\"data\";s:7:\"Podcast\";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:11:\"wp-briefing\";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://wordpress.org/news/?post_type=podcast&p=15179\";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:145:\"Hear special guest host Chloé Bringmann and special guest Angela Jin in the WordPress Briefing as they discuss the next generation of WordCamps.\";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:\"enclosure\";a:1:{i:0;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:3:{s:3:\"url\";s:59:\"https://wordpress.org/news/files/2023/06/WPBriefing-058.mp3\";s:6:\"length\";s:1:\"0\";s:4:\"type\";s: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:\"Brett McSherry\";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:15637:\"\n<p>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.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Credits</h2>\n\n\n\n<div class=\"wp-block-group is-content-justification-left is-layout-constrained wp-container-1 wp-block-group-is-layout-constrained\">\n<ul>\n<li>Guest Host:&nbsp;<a target=\"_blank\" href=\"https://profiles.wordpress.org/cbringmann/\" rel=\"noreferrer noopener\">Chloé Bringmann</a></li>\n\n\n\n<li>Guest:&nbsp;<a target=\"_blank\" href=\"https://profiles.wordpress.org/angelasjin/\" rel=\"noreferrer noopener\">Angela Jin</a></li>\n\n\n\n<li>Editor:&nbsp;<a target=\"_blank\" href=\"https://profiles.wordpress.org/dustinhartzler/\" rel=\"noreferrer noopener\">Dustin Hartzler</a></li>\n\n\n\n<li>Logo:&nbsp;<a target=\"_blank\" href=\"https://profiles.wordpress.org/javiarce/\" rel=\"noreferrer noopener\">Javier Arce</a></li>\n\n\n\n<li>Production:&nbsp;<a target=\"_blank\" href=\"https://profiles.wordpress.org/bjmcsherry/\" rel=\"noreferrer noopener\">Brett McSherry</a></li>\n\n\n\n<li>Song: Fearless First by Kevin MacLeod</li>\n</ul>\n</div>\n\n\n\n<h2 class=\"wp-block-heading\">Show Notes</h2>\n\n\n\n<ul>\n<li><a href=\"https://wordpress.org/news/2023/06/twenty-years-of-wordpress-at-wceu/\">WordCamp Europe 2023 Keynote</a></li>\n\n\n\n<li>Establishment of a formal WordPress&nbsp;<a rel=\"noreferrer noopener\" href=\"https://make.wordpress.org/project/2023/05/30/proposal-establishment-of-a-formal-wordpress-sustainability-team/\" target=\"_blank\">Sustainability Team</a></li>\n\n\n\n<li>WordPress 6.4&nbsp;<a rel=\"noreferrer noopener\" href=\"https://make.wordpress.org/core/2023/06/05/wordpress-6-4-development-cycle/\" target=\"_blank\">Development Cycle Announced</a></li>\n\n\n\n<li>WCUS &#8211; Still looking <a href=\"https://us.wordcamp.org/2023/call-for-volunteers/\">for volunteers</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/community/2023/05/08/the-next-generation-of-wordcamps/\">The Next Generation of WordCamps</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/community/2023/05/24/idea-generation-next-gen-wordcamps/\">Idea generation: Next Gen WordCamps!</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/community/2023/06/06/discussion-next-generation-event-tooling/\">Discussion: Next Generation Event Tooling</a></li>\n\n\n\n<li><a href=\"https://wordpress.org/news/2023/06/twenty-years-of-wordpress-at-wceu/\">Twenty Years of WordPress at WCEU</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/handbook/\">Contributor Handbook</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">Transcript</h2>\n\n\n\n<span id=\"more-15179\"></span>\n\n\n\n<p>(Intro music)</p>\n\n\n\n<p>[Chloé Bringmann 00:00:10]&nbsp;</p>\n\n\n\n<p>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&#8217;m your guest host Chloé Bringmann. And here we go.</p>\n\n\n\n<p>(Intro music)</p>\n\n\n\n<p>[Chloé Bringmann 00:00:40]&nbsp;</p>\n\n\n\n<p>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?</p>\n\n\n\n<p>[Angela Jin 00:01:01]&nbsp;</p>\n\n\n\n<p>Yeah, happy to, and thank you so much for having me. I&#8217;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&#8217;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.</p>\n\n\n\n<p>[Chloé Bringmann 00:01:41]&nbsp;</p>\n\n\n\n<p>We just got back from WordCamp Europe in Athens, Greece. It was such an energizing event for me, but I&#8217;m curious about what your impressions were of the past week.</p>\n\n\n\n<p>[Angela Jin 00:01:52]&nbsp;</p>\n\n\n\n<p>Yeah, it was fantastic. I&#8217;m always really inspired by what a group of like-minded people can achieve together. There&#8217;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&#8217;s great. There were a lot of new WordPressers there. So it was lovely to meet them. And I&#8217;m really excited to see how many exciting new projects and ideas that we have in the space.</p>\n\n\n\n<p>[Chloé Bringmann 00:02:27]&nbsp;</p>\n\n\n\n<p>Same, you said it perfectly. Josepha also mentioned in the flagship’s keynote, the proposal for the next generation of WordCamps. I&#8217;m curious about what the main ideas and goals, as discussed thus far, are of that proposal.</p>\n\n\n\n<p>[Angela Jin 00:02:42]&nbsp;</p>\n\n\n\n<p>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&#8217;s also undeniable that the way that people meet has changed since 2006.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:03:01]&nbsp;</p>\n\n\n\n<p>And so, just as WordPress itself iterates we&#8217;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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:03:23]&nbsp;</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:03:47]</p>\n\n\n\n<p>So the goal here is to create events that are more clearly defined &#8211; 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&#8217;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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:04:13]</p>\n\n\n\n<p>However, the feedback that I&#8217;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&#8217;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&#8217;s pretty cool.</p>\n\n\n\n<p>&nbsp;[Chloé Bringmann 00:04:37]&nbsp;</p>\n\n\n\n<p>Wow, that&#8217;s incredible. I love that we&#8217;ve gotten 60 suggestions already and that we already have an event in place. That&#8217;s fantastic. In that blog post, too, it&#8217;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?</p>\n\n\n\n<p>[Angela Jin 00:05:04]</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:05:27]</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:05:56]</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:06:38]</p>\n\n\n\n<p>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&#8217;s time and somebody&#8217;s contributions, which we&#8217;re always trying to encourage through the Five for the Future program.</p>\n\n\n\n<p>[Chloé Bringmann 00:07:11]&nbsp;</p>\n\n\n\n<p>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?</p>\n\n\n\n<p>[Angela Jin 00:07:31]</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:07:58]</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:08:08]</p>\n\n\n\n<p>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&#8217;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.</p>\n\n\n\n<p>[Chloé Bringmann 00:08:39]</p>\n\n\n\n<p>Very excited to hear all of this, and I bet our listeners are too. I&#8217;m curious how they and community members can provide feedback or get involved with this next generation of WordCamps.</p>\n\n\n\n<p>[Angela Jin 00:08:50]</p>\n\n\n\n<p>I&#8217;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&#8217;re inviting you to hear some recommendations for improved tooling that would be helpful for your event site. And we&#8217;ll include links to those posts in the show notes.</p>\n\n\n\n<p>[Chloé Bringmann 00:09:26]</p>\n\n\n\n<p>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?</p>\n\n\n\n<p>[Angela Jin 00:09:37]</p>\n\n\n\n<p>For the Community Summit in particular, if you want to attend and you haven&#8217;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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:09:53]</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>[Angela Jin 00:10:15]</p>\n\n\n\n<p>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&#8217;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&#8217;s going to be a truly incredible event, so don&#8217;t miss out.</p>\n\n\n\n<p>[Chloé Bringmann 00:010:41]</p>\n\n\n\n<p>Oh, wonderful. Thank you so much for joining me, Angela. And I can&#8217;t wait to see you and the WordPress community in August in person.</p>\n\n\n\n<p>[Chloé Bringmann 00:010:58]</p>\n\n\n\n<p>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&#8217;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.&nbsp;</p>\n\n\n\n<p>[Chloé Bringmann 00:011:39]</p>\n\n\n\n<p>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&#8217;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.&nbsp;</p>\n\n\n\n<p>[Chloé Bringmann 00:012:16]</p>\n\n\n\n<p>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&#8217;m your guest host Chloé Bringmann and thank you for tuning in today for the WordPress Briefing.</p>\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 [&#8230;]\";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<h2 class=\"wp-block-heading\">Inspiring the global community</h2>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" class=\"youtube-player\" width=\"600\" height=\"338\" src=\"https://www.youtube.com/embed/7Nmz3IjtPh0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"></iframe>\n</div></figure>\n\n\n\n<p>The atmosphere was electric at WordCamp Europe (WCEU) 2023 in Athens, Greece, as WordPress celebrated its <a href=\"https://wp20.wordpress.net/\">20th anniversary</a> 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 <a href=\"https://profiles.wordpress.org/matt/\">Matt Mullenweg</a>, Executive Director <a href=\"https://profiles.wordpress.org/chanthaboune/\">Josepha Haden Chomphosy</a>, and Gutenberg Product Architect <a href=\"https://profiles.wordpress.org/matveb/\">Matías Ventura</a>, who highlighted the advancements and upcoming milestones of the WordPress Project.</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>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 <a href=\"https://communitysummit.wordcamp.org/2023/\">Community Summit website</a>.</p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-large is-resized\"><img decoding=\"async\" loading=\"lazy\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/Five-for-the-Future-WCEU-1.png?resize=585%2C365&#038;ssl=1\" alt=\"Total contributors: 7788 (737 new)\nContributors pledged to 5ftF: 780 (95 new)\n152 companies total with confirmed contributors (30 new)\" class=\"wp-image-15171\" width=\"585\" height=\"365\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/06/Five-for-the-Future-WCEU-1.png?resize=1024%2C640&amp;ssl=1 1024w, https://i0.wp.com/wordpress.org/news/files/2023/06/Five-for-the-Future-WCEU-1.png?resize=300%2C188&amp;ssl=1 300w, https://i0.wp.com/wordpress.org/news/files/2023/06/Five-for-the-Future-WCEU-1.png?resize=768%2C480&amp;ssl=1 768w, https://i0.wp.com/wordpress.org/news/files/2023/06/Five-for-the-Future-WCEU-1.png?resize=1536%2C960&amp;ssl=1 1536w, https://i0.wp.com/wordpress.org/news/files/2023/06/Five-for-the-Future-WCEU-1.png?resize=2048%2C1280&amp;ssl=1 2048w\" sizes=\"(max-width: 585px) 100vw, 585px\" data-recalc-dims=\"1\" /></figure>\n\n\n\n<p>Discussing the <a href=\"https://wordpress.org/five-for-the-future/\">Five for the Future</a> (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 <a href=\"https://openverse.org/\">Openverse</a>, which now provides access to nearly 800 million images and audio files, all easily accessible in the Site Editor.&nbsp;</p>\n\n\n\n<p>Another exciting addition to the WordPress repertoire is <a href=\"https://playground.wordpress.net/\">WP Playground</a>. 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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>Following the keynote presentation, the WordPress leadership engaged in a<a href=\"https://www.youtube.com/watch?v=VzKiKRodHQ0\"> lively Q&amp;A session </a>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.</p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" class=\"youtube-player\" width=\"600\" height=\"338\" src=\"https://www.youtube.com/embed/VzKiKRodHQ0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation\"></iframe>\n</div></figure>\n\n\n\n<p>Join the global community and be part of the WordPress journey toward a brighter future!</p>\n\n\n\n<p><em>Special thanks to <a href=\'https://profiles.wordpress.org/cbringmann/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>cbringmann</a> and <a href=\'https://profiles.wordpress.org/eidolonnight/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>eidolonnight</a> for review and collaboration</em>.</p>\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:\"15167\";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:60:\"\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:35:\"The Month in WordPress – May 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:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:67:\"https://wordpress.org/news/2023/06/the-month-in-wordpress-may-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:\"Tue, 06 Jun 2023 10:15:56 +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:18:\"Month in 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:\"\";}i:1;a:5:{s:4:\"data\";s:18:\"month in 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:35:\"https://wordpress.org/news/?p=15100\";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:350:\"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: The more our community invests in itself and [&#8230;]\";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:15:\"Reyes Martínez\";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:16972:\"\n<p>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 <a href=\"https://profiles.wordpress.org/chanthaboune/\">Josepha Haden Chomphosy</a> reflected on <a href=\"https://wordpress.org/news/2023/05/celebrating-20-years-of-wordpress/\">this journey</a> and the opportunity to build a better future for those who come after:</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>The more our community invests in itself and supports one another, the stronger WordPress and the open source software movement become.</p>\n<cite>Josepha Haden Chomphosy in <a href=\"https://wordpress.org/news/2023/05/celebrating-20-years-of-wordpress/\">Celebrating 20 Years of WordPress</a>.</cite></blockquote>\n\n\n\n<p>Read on for highlights of this milestone and the latest updates in the WordPress space.</p>\n\n\n\n<div style=\"height:3px\" aria-hidden=\"true\" class=\"wp-block-spacer\"></div>\n\n\n\n<h2 class=\"wp-block-heading\">WordPress at 20</h2>\n\n\n\n<p><strong>May 27, 2023, marked the 20th anniversary of WordPress’ first release</strong>. Since its inception by <a href=\"https://ma.tt/2023/05/wp20-audrey-scholars/\">Matt Mullenweg</a> and <a href=\"https://twitter.com/mikelittlezed1/status/1662013891856027649\">Mike Little</a> in 2003, the project has transformed the digital publishing landscape and enabled millions of people to craft their stories.</p>\n\n\n\n<p>WordPress enthusiasts from all over the world gathered at more than <strong>130 events</strong> to celebrate this important milestone. WP20’s commemorative book, <a href=\"https://wordpress.org/book/\"><strong>Building Blocks: The Evolution of WordPress</strong></a>, was published in tandem and documents some of the most significant moments and changes of the last decade of the project.</p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"576\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/wp20-celebrate-desktop-1.png?resize=1024%2C576&#038;ssl=1\" alt=\"3D wallpaper of a number 20 formed by words in commemoration of the 20th anniversary of WordPress.\" class=\"wp-image-15106\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/06/wp20-celebrate-desktop-1.png?resize=1024%2C576&amp;ssl=1 1024w, https://i0.wp.com/wordpress.org/news/files/2023/06/wp20-celebrate-desktop-1.png?resize=300%2C169&amp;ssl=1 300w, https://i0.wp.com/wordpress.org/news/files/2023/06/wp20-celebrate-desktop-1.png?resize=768%2C432&amp;ssl=1 768w, https://i0.wp.com/wordpress.org/news/files/2023/06/wp20-celebrate-desktop-1.png?resize=1536%2C864&amp;ssl=1 1536w, https://i0.wp.com/wordpress.org/news/files/2023/06/wp20-celebrate-desktop-1.png?resize=2048%2C1152&amp;ssl=1 2048w, https://i0.wp.com/wordpress.org/news/files/2023/06/wp20-celebrate-desktop-1.png?w=3000&amp;ssl=1 3000w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\"><a href=\"https://wp20.wordpress.net/download-3d-wp20-themed-media/\">Download the new WP20 wallpapers made in 3D</a>.<br></figcaption></figure>\n\n\n\n<p>The anniversary date may have passed, but the <a href=\"https://wp20.wordpress.net/news/\">festivities and fun aren&#8217;t over</a>. You can still <a href=\"https://wp20.wordpress.net/\">join a meetup</a>, sign the #WP20 From Blogs to Blocks campaign <a href=\"https://make.wordpress.org/marketing/2023/05/27/day-20-wp20-from-blogs-to-blocks/\">birthday card</a>, or participate in #WP20 social celebrations.</p>\n\n\n\n<blockquote class=\"wp-block-quote has-extra-large-font-size\">\n<p>Join Josepha Haden Chomphosy in <a href=\"https://wordpress.org/news/2023/05/episode-55-happy-anniversary-wordpress/\">Episode 55 of WP Briefing</a> as she looks back at the 20 years of WordPress and how the community made WordPress what it is today.</p>\n</blockquote>\n\n\n\n<div style=\"height:3px\" aria-hidden=\"true\" class=\"wp-block-spacer\"></div>\n\n\n\n<h2 class=\"wp-block-heading\">WordPress 6.3 is expected on August 8</h2>\n\n\n\n<p>Work on WordPress 6.3 officially kicked off with the <a href=\"https://make.wordpress.org/core/2023/05/18/wordpress-6-3-planning-roundup/\">announcement of its development cycle and release squad</a>. <strong>Set for release on August 8, 2023</strong>, this version will be the second major update of WordPress in 2023 and will mark the end of Phase 2 of the project’s <a href=\"https://wordpress.org/about/roadmap/\">development roadmap</a>.</p>\n\n\n\n<p>WordPress 6.3 aims to bring a cohesive site editing experience by introducing expanded functionality, richer interfaces, and a dedicated focus on refinement.</p>\n\n\n\n<blockquote class=\"wp-block-quote has-extra-large-font-size\">\n<p><a href=\"https://make.wordpress.org/core/2023/05/18/roadmap-to-6-3/\">Check out the 6.3 roadmap post</a> for a tentative preview of anticipated features.</p>\n</blockquote>\n\n\n\n<div style=\"height:3px\" aria-hidden=\"true\" class=\"wp-block-spacer\"></div>\n\n\n\n<h2 class=\"wp-block-heading\">WordPress 6.2.2 security release</h2>\n\n\n\n<p><strong><a href=\"https://wordpress.org/news/2023/05/wordpress-6-2-2-security-release/\">WordPress 6.2.2</a> became available for download on May 20, 2023</strong>. This release was a quick response to resolve a regression introduced in <a href=\"https://wordpress.org/news/2023/05/wordpress-6-2-1-maintenance-security-release/\">6.2.1</a>, specifically with shortcode support in block templates, and to further patch a vulnerability already addressed in the previous version.</p>\n\n\n\n<blockquote class=\"wp-block-quote has-extra-large-font-size\">\n<p><a href=\"https://make.wordpress.org/core/2023/02/01/core-editor-improvement-strengthening-style-options/\"></a><a href=\"https://make.wordpress.org/core/2023/04/25/the-benefits-of-prioritizing-and-measuring-performance-in-wordpress-6-2/\"></a><a href=\"https://wordpress.org/news/2023/05/wordpress-6-2-2-security-release/\">Update your site if you haven’t yet</a>.</p>\n</blockquote>\n\n\n\n<div style=\"height:3px\" aria-hidden=\"true\" class=\"wp-block-spacer\"></div>\n\n\n\n<h2 class=\"wp-block-heading\">New in the Gutenberg plugin</h2>\n\n\n\n<p>Three new versions of Gutenberg have shipped in the last month:</p>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/core/2023/05/04/whats-new-in-gutenberg-15-7-03-may/\"><strong>Gutenberg 15.7</strong></a>, released on May 3, 2023, brings a new direct option to upload and replace a site&#8217;s logo from the block settings sidebar. Other enhancements include easier access to duotone filter controls via the style settings sidebar and an update to fluid typography to refine responsiveness.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/05/20/whats-new-in-gutenberg-15-8-may-17/\"><strong>Gutenberg 15.8</strong></a> shipped on May 17, 2023, and includes a new &#8220;Pages&#8221; item in the Site Editor sidebar to edit pages without leaving the interface. Moreover, this version brings the ability to navigate through revisions in the global styles interface and to preview block themes inside the Site Editor.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/05/31/whats-new-in-gutenberg-15-9-31-may/\"><strong>Gutenberg 15.9</strong></a> is ready for download as of May 31, 2023. The latest Gutenberg release comes with a new command tool and several enhancements to the Site Editor experience, including a more intuitive drag-and-drop function for moving blocks.</li>\n</ul>\n\n\n\n<blockquote class=\"wp-block-quote has-extra-large-font-size\">\n<p><a href=\"https://make.wordpress.org/core/2023/02/01/core-editor-improvement-strengthening-style-options/\"></a>The latest <a href=\"https://make.wordpress.org/core/2023/05/22/core-editor-improvement-smoother-site-editing/\">Core Editor Improvement post</a> highlights features such as revisions and the ability to preview block themes, and how they enable a smoother site editing experience.</p>\n</blockquote>\n\n\n\n<div style=\"height:3px\" aria-hidden=\"true\" class=\"wp-block-spacer\"></div>\n\n\n\n<h2 class=\"wp-block-heading\">Team updates: Next-generation WordCamps, proposal for a Sustainability Team, and more</h2>\n\n\n\n<ul>\n<li>The Community Team proposed <a href=\"https://make.wordpress.org/community/2023/05/08/the-next-generation-of-wordcamps/\">broadening the purpose of WordPress events</a> to &#8220;spark innovation and adoption by way of accessible training and networking.&#8221; This opens the door to organizing a more diverse range of formats focused on specific topics and audiences.</li>\n\n\n\n<li>WordPress contributors suggested <a href=\"https://make.wordpress.org/project/2023/05/30/proposal-establishment-of-a-formal-wordpress-sustainability-team/\">creating an official Sustainability Team</a>.</li>\n\n\n\n<li>The Polyglots Team rebranded the WP Translation Playground tool as Translate Live and <a href=\"https://make.wordpress.org/polyglots/2023/05/08/translate-live-updates-to-the-translation-playground/\">announced improvements</a> that make translating plugins and themes easier.</li>\n\n\n\n<li>The new<strong> </strong><a href=\"https://make.wordpress.org/project/2023/05/17/wordpress-contributor-mentorship-program-pilot-program-proposal/\">WordPress Contributor Mentorship Program pilot</a> aims to provide cohort-based and 1:1 mentorship to prepare new and aspiring contributors for success.</li>\n\n\n\n<li><a href=\"https://wordpress.org/news/2023/05/2022-annual-survey-results-next-steps/\">Results of the 2022 WordPress Annual Survey</a> were announced last month.</li>\n\n\n\n<li>The Training Team published a new course on <a href=\"https://learn.wordpress.org/course/creating-a-4-page-business-website/\">Creating a 4-page business website</a>. See <a href=\"https://make.wordpress.org/updates/2023/06/02/whats-new-on-learn-wordpress-in-may-2023/\">What’s new on Learn WordPress in May 2023</a> for the latest learning resources.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/themes/2023/05/04/stacks-the-first-community-theme/\">Meet Stacks</a>—the first community theme born from the <a href=\"https://make.wordpress.org/themes/2023/03/03/hallway-hangout-community-themes-initiative/\">Community Themes initiative</a>. This theme is designed for creating slide decks that can be used for a presentation.</li>\n\n\n\n<li>This Core proposal explores ways to <a href=\"https://make.wordpress.org/core/2023/05/16/proposal-retiring-older-default-themes/\">reduce the maintenance of older default WordPress themes</a> and retire them.</li>\n\n\n\n<li>The May 2023 issues of <a href=\"https://developer.wordpress.org/news/2023/05/whats-new-for-developers-may-2023/\">What’s New for Developers?</a>, the <a href=\"https://make.wordpress.org/polyglots/2023/05/10/polyglots-monthly-newsletter-may-2023/\">Polyglots monthly newsletter</a>, and the&nbsp;<a href=\"https://make.wordpress.org/community/2023/05/18/meetup-organizer-newsletter-may-2023/\">Meetup Organizer newsletter</a>&nbsp;are available for reading.</li>\n\n\n\n<li>Find out how WordPress and its global community of contributors made a difference in Stefano Cassone&#8217;s life in the <a href=\"https://wordpress.org/news/2023/05/people-of-wordpress-stefano-cassone/\">latest edition of People of WordPress</a>.</li>\n</ul>\n\n\n\n<blockquote class=\"wp-block-quote has-extra-large-font-size\">\n<p>What is WordPress Playground, and why it matters? <a href=\"https://wordpress.org/news/2023/05/episode-56-what-to-know-about-wordpress-playground/\">WP Briefing Episode 56</a> discusses the benefits and potential of this tool with special guests Rich Tabor and Adam Zielinski.</p>\n</blockquote>\n\n\n\n<div style=\"height:3px\" aria-hidden=\"true\" class=\"wp-block-spacer\"></div>\n\n\n\n<h2 class=\"wp-block-heading\">Feedback &amp; testing requests</h2>\n\n\n\n<ul>\n<li>Core Team members seek <a href=\"https://make.wordpress.org/core/2023/05/17/command-center-request-for-feedback/\">feedback on the new command tool</a> introduced in the Gutenberg plugin and its API.</li>\n\n\n\n<li>The latest <a href=\"https://make.wordpress.org/test/2023/05/18/fse-program-testing-call-23-rapid-revamp/\">call of the Full Site Editing (FSE) Outreach Program</a> invites you to test some features being worked on to upgrade and polish the experience of using the Site Editor. Share your thoughts by June 8, 2023.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/updates/2023/05/31/mobile-team-update-may-31st-2/\">Version 22.5</a> of the WordPress mobile app for iOS and Android is ready for testing.</li>\n</ul>\n\n\n\n<blockquote class=\"wp-block-quote has-extra-large-font-size\">\n<p>Which next generation of WordPress events would you like to see? <a href=\"https://make.wordpress.org/community/2023/05/24/idea-generation-next-gen-wordcamps/\">Share your ideas</a> and <a href=\"https://make.wordpress.org/community/2023/06/01/next-gen-wordcamp-talking-points-share-your-ideas-for-a-new-event-format-and-make-it-happen/\">start exploring</a> new event formats this year.</p>\n</blockquote>\n\n\n\n<div style=\"height:3px\" aria-hidden=\"true\" class=\"wp-block-spacer\"></div>\n\n\n\n<h2 class=\"wp-block-heading\">WordPress events updates</h2>\n\n\n\n<ul>\n<li><a href=\"https://europe.wordcamp.org/2023/\">Get ready for WordCamp Europe 2023</a> from June 8-10 in Athens, Greece! The event will start with <a href=\"https://europe.wordcamp.org/2023/contributor-day/\">Contributor Day</a> on June 8, followed by two days of presentations and workshops. Attendees can join a <a href=\"https://europe.wordcamp.org/2023/welness-track-activities/\">wellness track</a> and a <a href=\"https://europe.wordcamp.org/2023/wp-connect/\">dedicated space</a> to connect, among many other initiatives.</li>\n\n\n\n<li>The WordCamp US organizing team is <a href=\"https://us.wordcamp.org/2023/wordcamp-us-2023-call-for-volunteers-open/\">calling for volunteers</a>.</li>\n\n\n\n<li>For another year, the <a href=\"https://wordpressfoundation.org/news/2023/kim-parsell-memorial-scholarship-for-wordcamp-us-2023/\">WordPress Foundation&#8217;s Kim Parsell Memorial Scholarship</a> will award funding for a woman-identifying contributor to attend WordCamp US 2023. Applications are open through June 12, 2023.</li>\n\n\n\n<li><a href=\"https://sylhet.wordcamp.org/2023/\">WordCamp Sylhet 2023</a>, the second ever WordCamp in Bangladesh, was successfully held on May 19-20 with its first <a href=\"https://make.wordpress.org/design/2023/05/23/wordcamp-sylhet-2023-contributor-day-recap/\">Contributor Day</a>.</li>\n\n\n\n<li>Join #WPDiversity with a free online workshop on <a href=\"https://www.eventbrite.com/e/how-to-own-your-expertise-start-speaking-at-wordpress-events-apac-tickets-648295107117\">How to Own Your Expertise &amp; Start Speaking at WordPress Events APAC</a>. The event will take place on July 2, 2023.</li>\n\n\n\n<li>Don’t miss these other upcoming WordCamps:\n<ul>\n<li><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f1ea-1f1f8.png\" alt=\"🇪🇸\" class=\"wp-smiley\" style=\"height: 1em; max-height: 1em;\" /> <a href=\"https://cartagena.wordcamp.org/2023/\">WordCamp Cartagena</a>, Spain on June 10-11, 2023</li>\n\n\n\n<li><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f1fa-1f1f8.png\" alt=\"🇺🇸\" class=\"wp-smiley\" style=\"height: 1em; max-height: 1em;\" /> <a href=\"https://montclair.wordcamp.org/2023/\">WordCamp Montclair</a>, NJ, USA on June 24, 2023</li>\n</ul>\n</li>\n</ul>\n\n\n\n<blockquote class=\"wp-block-quote has-extra-large-font-size\">\n<p>Join WordPress project leadership on June 10 at WordCamp Europe 2023 to hear about the latest developments and what’s next for WordPress. <a href=\"https://europe.wordcamp.org/2023/schedule/\">Check out the schedule for details</a>.</p>\n</blockquote>\n\n\n\n<div style=\"height:3px\" aria-hidden=\"true\" class=\"wp-block-spacer\"></div>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-light-grey-color has-alpha-channel-opacity has-light-grey-background-color has-background\" />\n\n\n\n<p><strong><em><strong><em><strong><em>Have a story we should include in the next issue of The Month in WordPress? <strong><em>Fill out </em></strong><a href=\"https://make.wordpress.org/community/month-in-wordpress-submissions/\"><strong><em>this quick form</em></strong></a><strong><em> to let us know.</em></strong></em></strong></em></strong></em></strong></p>\n\n\n\n<p><em><em>The following folks contributed to this Month in WordPress: <a href=\'https://profiles.wordpress.org/rmartinezduque/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>rmartinezduque</a>, <a href=\'https://profiles.wordpress.org/nahidsharifkomol/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>nahidsharifkomol</a>, <a href=\'https://profiles.wordpress.org/chaion07/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>chaion07</a>, <a href=\'https://profiles.wordpress.org/devinmaeztri/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>devinmaeztri</a>, <a href=\'https://profiles.wordpress.org/bsanevans/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>bsanevans</a></em></em>, <em><em><a href=\'https://profiles.wordpress.org/ninianepress/\' class=\'mention\'><span class=\'mentions-prefix\'>@</span>ninianepress</a>.</em></em></p>\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:\"15100\";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:61:\"\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:7:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:58:\"WP Briefing: Episode 57: The Power of WordPress 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:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:80:\"https://wordpress.org/news/2023/06/episode-57-the-power-of-wordpress-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:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 05 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:8:\"category\";a:2:{i:0;a:5:{s:4:\"data\";s:7:\"Podcast\";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:11:\"wp-briefing\";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://wordpress.org/news/?post_type=podcast&p=15089\";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:215:\"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.\";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:\"enclosure\";a:1:{i:0;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:3:{s:3:\"url\";s:60:\"https://wordpress.org/news/files/2023/06/WP-Briefing-057.mp3\";s:6:\"length\";s:1:\"0\";s:4:\"type\";s: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:\"Brett McSherry\";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:7743:\"\n<p>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.</p>\n\n\n\n<p><em><strong>Have a question you’d like answered? You can submit them to&nbsp;<a href=\"mailto:wpbriefing@wordpress.org\">wpbriefing@wordpress.org</a>, either written or as a voice recording.</strong></em></p>\n\n\n\n<h2 class=\"wp-block-heading\">Credits</h2>\n\n\n\n<p>Editor:&nbsp;<a href=\"https://profiles.wordpress.org/dustinhartzler/\">Dustin Hartzler</a><br>Logo:&nbsp;<a href=\"https://profiles.wordpress.org/javiarce/\">Javier Arce</a><br>Production:&nbsp;<a href=\"https://profiles.wordpress.org/bjmcsherry/\">Brett McSherry</a><br>Song: Fearless First by Kevin MacLeod</p>\n\n\n\n<h2 class=\"wp-block-heading\">Show Notes</h2>\n\n\n\n<ul>\n<li><a href=\"https://europe.wordcamp.org/2023/\">WordCamp Europe 2023</a>, Athens, Greece. This event includes a <a href=\"https://europe.wordcamp.org/2023/session/matt-mullenweg/\">special Keynote from Matt Mullenweg, Josepha Haden Chomposy, and Matías Ventura</a>. </li>\n\n\n\n<li>&nbsp;<a rel=\"noreferrer noopener\" href=\"https://make.wordpress.org/project/2023/05/17/wordpress-contributor-mentorship-program-pilot-program-proposal/\" target=\"_blank\">WordPress Contributor Mentorship Program: Pilot Program Proposal</a>&nbsp;</li>\n\n\n\n<li>Make WordPress Community: <a rel=\"noreferrer noopener\" href=\"https://make.wordpress.org/community/2023/05/24/idea-generation-next-gen-wordcamps/\" target=\"_blank\">Idea generation: Next Gen WordCamps!</a></li>\n\n\n\n<li>WordPress &#8216;Milestones&#8217; volume two book <a rel=\"noreferrer noopener\" href=\"https://wordpress.org/book/\" target=\"_blank\">Building Blocks: The Evolution of WordPress</a> is available in <a rel=\"noreferrer noopener\" href=\"https://github.com/WordPress/wp20-book/tree/trunk/Formats\" target=\"_blank\">several formats for download on GitHub</a>.</li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">Transcript</h2>\n\n\n<a class=\"wp-block-read-more\" href=\"https://wordpress.org/news/2023/06/episode-57-the-power-of-wordpress-mentorship/\" target=\"_self\">Read more<span class=\"screen-reader-text\">: Episode 57: The Power of WordPress Mentorship</span></a>\n\n\n<p>[Josepha Haden Chomphosy 00:00:00]&nbsp;</p>\n\n\n\n<p>(Intro music)</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>I&#8217;m your host, Joseph Hayden Chomphosy. Here we go!</p>\n\n\n\n<p>(Intro music)</p>\n\n\n\n<p>[Josepha Haden Chomphosy 00:00:40]&nbsp;</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>And now we&#8217;ve got a pilot program that&#8217;s been defined and is waiting for your feedback. If you&#8217;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&#8217;t worry, I&#8217;m about to give you a 10-cent tour.&nbsp;</p>\n\n\n\n<p>[Josepha Haden Chomphosy 00:01:22]&nbsp;</p>\n\n\n\n<p>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&#8217;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. </p>\n\n\n\n<p>[Josepha Haden Chomphosy 00:02:06]&nbsp;</p>\n\n\n\n<p>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&#8217;t find their way to impactful contributions or meaningful connections quickly, then we would have done them a disservice. And they probably won&#8217;t continue to be part of the community without a bit more effort.&nbsp;</p>\n\n\n\n<p>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&#8217;s show notes on wordpress.org/news/podcast.</p>\n\n\n\n<p>[Josepha Haden Chomphosy 00:03:53]&nbsp;</p>\n\n\n\n<p>Which brings us now to our small list of big things.&nbsp;</p>\n\n\n\n<p>[Josepha Haden Chomphosy 00:03:56]&nbsp;</p>\n\n\n\n<p>First on the list is WordCamp Europe. That&#8217;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&#8217;t there in person, keep an eye out for those recordings. But for those who are there and you&#8217;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.&nbsp;</p>\n\n\n\n<p>[Josepha Haden Chomphosy 00:04:27]&nbsp;</p>\n\n\n\n<p>Second is a call for brainpower! A call for your brainstorms! On the subject of the next generation, we&#8217;ve got a discussion going on about the next generation of WordCamps. We&#8217;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&#8217;ve got a kind of WordCamp that you&#8217;ve been desperately wanting to try, now&#8217;s the time to let folks know about it. </p>\n\n\n\n<p>[Josepha Haden Chomphosy 00:04:54]</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>&nbsp;[Josepha Haden Chomphosy 00:05:12]</p>\n\n\n\n<p>And that, my friends, is your smallest of big things. Thanks for tuning in today for the WordPress Briefing. I&#8217;m your host Josepha Haden Chomposy, and I&#8217;ll see you again in a couple of weeks.</p>\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:\"15089\";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:69:\"\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:4:{s:0:\"\";a:6:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:36:\"People of WordPress: Stefano Cassone\";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:71:\"https://wordpress.org/news/2023/05/people-of-wordpress-stefano-cassone/\";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, 31 May 2023 20:48:58 +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:8:\"category\";a:5:{i:0;a:5:{s:4:\"data\";s:9:\"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:\"\";}i:1;a:5:{s:4:\"data\";s:8:\"Features\";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:10:\"Interviews\";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:9:\"HeroPress\";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:5:{s:4:\"data\";s:19:\"People of 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:35:\"https://wordpress.org/news/?p=15030\";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:125:\"The People of WordPress feature series goes to Italy to interview web designer, photographer and translator Stefano Cassone. \";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:\"\";}}}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:15999:\"\n<p><strong>With <a href=\"https://europe.wordcamp.org/2023/\">WordCamp Europe 2023</a> 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.</strong></p>\n\n\n\n<p><strong>The&nbsp;<em>People of WordPress</em>&nbsp;series shares inspiring stories of how people’s lives can change for the better through WordPress and its global community of contributors.</strong></p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"535\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-featured-img.jpg?resize=1024%2C535&#038;ssl=1\" alt=\"Stefano with a laptop covered in WordPress event stickers\" class=\"wp-image-15027\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-featured-img.jpg?resize=1024%2C535&amp;ssl=1 1024w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-featured-img.jpg?resize=300%2C157&amp;ssl=1 300w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-featured-img.jpg?resize=768%2C401&amp;ssl=1 768w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-featured-img.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">Stefano with a laptop covered in WordPress event stickers</figcaption></figure>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<h2 class=\"wp-block-heading\">WordPress provides a life-changing turning point&nbsp;</h2>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>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 <a href=\"https://make.wordpress.org/cli/\">WP-CLI</a>, 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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>&#8220;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.&#8221;</p>\n<cite>Stefano Cassone</cite></blockquote>\n\n\n\n<p>From this event, Stefano was encouraged by those he met to consider applying as a volunteer for a future WordCamp.</p>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Joining thousands of volunteer translators of WordPress</h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"800\" height=\"600\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-wc-italia-2022.jpg?resize=800%2C600&#038;ssl=1\" alt=\"Italian General Translation Editors at WordPress Italia 2022\" class=\"wp-image-15028\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-wc-italia-2022.jpg?w=800&amp;ssl=1 800w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-wc-italia-2022.jpg?resize=300%2C225&amp;ssl=1 300w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-wc-italia-2022.jpg?resize=768%2C576&amp;ssl=1 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">Italian General Translation Editors at WordPress Italia 2022</figcaption></figure>\n\n\n\n<p>Stefano took the plunge and was excited to find there was a team called Polyglots. In this team, people from across the world<a href=\"https://make.wordpress.org/polyglots/\"> translate the WordPress software into many different languages</a>. 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 <a href=\"https://make.wordpress.org/docs/handbook/helphub/\">HelpHub</a>, which is part of the <a href=\"https://make.wordpress.org/docs/\">WordPress documentation</a> system.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>“It&#8217;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.&#8221; </p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>&#8220;I always say that translating themes, plugins, and the Core software is the best way to learn WordPress, better than any course or book.”</p>\n<cite>Stefano Cassone</cite></blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">Sharing skills to support Open Source WordPress</h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"667\" height=\"500\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-WC-2019.jpg?resize=667%2C500&#038;ssl=1\" alt=\"Stefano volunteering as a photographer at a WordCamp in 2019 with other contributors.\" class=\"wp-image-15026\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-WC-2019.jpg?w=667&amp;ssl=1 667w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-WC-2019.jpg?resize=300%2C225&amp;ssl=1 300w\" sizes=\"(max-width: 667px) 100vw, 667px\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">Stefano volunteering as a photographer at a WordCamp in 2019 with other contributors.</figcaption></figure>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>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.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Contribution to WordPress is inspiring</h2>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"683\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-the-support-table-contributor-day.jpg?resize=1024%2C683&#038;ssl=1\" alt=\"Stefano at the Support Table at a WordPress Contributor Day\" class=\"wp-image-15025\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-the-support-table-contributor-day.jpg?resize=1024%2C683&amp;ssl=1 1024w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-the-support-table-contributor-day.jpg?resize=300%2C200&amp;ssl=1 300w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-the-support-table-contributor-day.jpg?resize=768%2C512&amp;ssl=1 768w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-the-support-table-contributor-day.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">Stefano at the Support Table at a WordPress Contributor Day</figcaption></figure>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>Spurred on by the <a href=\"https://it.wordpress.org/\">Italian WordPress community</a> 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.&nbsp;</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>He went onto help restart the <a href=\"https://www.meetup.com/romawordpress/\">Rome WordPress meetup</a> in-person meetings in May 2022, was an organizer for the third WordCamp Italy, and has been volunteering for camps in 2023.</p>\n\n\n\n<h3 class=\"wp-block-heading\">What will WordPress bring you?</h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"533\" height=\"800\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-a-wc.jpg?resize=533%2C800&#038;ssl=1\" alt=\"Stefano inspired by his journey at WordCamps asks what will WordPress bring you?\" class=\"wp-image-15024\" srcset=\"https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-a-wc.jpg?w=533&amp;ssl=1 533w, https://i0.wp.com/wordpress.org/news/files/2023/05/stefano-at-a-wc.jpg?resize=200%2C300&amp;ssl=1 200w\" sizes=\"(max-width: 533px) 100vw, 533px\" data-recalc-dims=\"1\" /><figcaption class=\"wp-element-caption\">Stefano inspired by his journey at WordCamps asks what will WordPress bring you?</figcaption></figure>\n\n\n\n<p>“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.&nbsp;</p>\n\n\n\n<p>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.”</p>\n\n\n\n<p>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. 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There were no tickets or sponsorship packages sold, therefore there are no tickets or sponsorships to be refunded.&nbsp;</p>\n\n\n\n<p>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.<br /></p>\n\n\n\n<p>Here are the basics of our <a href=\"https://make.wordpress.org/community/handbook/meetup-organizer/meetup-program-basics/\">Meetup Program </a>and the <a href=\"https://central.wordcamp.org/meetup-organizer-application/\">application</a> to become a Meetup organizer.<br /></p>\n\n\n\n<p>The Community Team believes that the Dhaka WordPress Community can build a stronger community with opportunities for everyone interested in WordPress.&nbsp;</p>\n\n\n\n<p>If you have any questions, you can reach out to us by sending an email to <a href=\"mailto:support@wordcamp.org\">support@wordcamp.org</a>.</p>\n\n\n\n<p>Thank you,</p>\n\n\n\n<p>WordPress Community Team</p>\";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, 10 Jul 2023 07:36:05 +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:\"Devin Maeztri\";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: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 to Host 6.3 Live Product Demo on Thursday, July 20\";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=146673\";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:80:\"https://wptavern.com/wordpress-to-host-6-3-live-product-demo-on-thursday-july-20\";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:1639:\"<p>WordPress 6.3 is scheduled to be released one month from today on August 8, 2023. The <a href=\"https://wordpress.org/news/2023/07/6-3-live-product-demo/\">live product demo</a> date and time has now been set for Thursday, July 20, at at <a href=\"http://time.unitarium.com/utc/1600\">16:00 UTC</a>. Participants can join live via this <a href=\"https://us02web.zoom.us/j/88141234315?pwd=TE1Odk5Wd0hiVlNYWHB5Q2xCYkhSZz09\">Zoom</a> link.  </p>\n\n\n\n<p>Automattic-sponsored Gutenberg contributors <a rel=\"noreferrer noopener\" href=\"https://profiles.wordpress.org/annezazu/\" target=\"_blank\">Anne McCarthy</a> and <a rel=\"noreferrer noopener\" href=\"https://profiles.wordpress.org/richtabor/\" target=\"_blank\">Rich Tabor</a> will be hosting the event, moderated by <a rel=\"noreferrer noopener\" href=\"https://profiles.wordpress.org/njwrigley/\" target=\"_blank\">Nathan Wrigley</a>. They will highlight upcoming changes and take questions from participants during a Q&amp;A session at the end.</p>\n\n\n\n<p>WordPress 6.3 is set to introduce an exciting array of new features &#8211; the Command Palette, content editing and distraction-free mode in the Site Editor, pattern creation, and much more. There have also been significant <a href=\"https://wptavern.com/wordpress-6-3-beta-3-released-introduces-ui-changes-to-pattern-management\">changes to pattern management UI</a> 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.</p>\n\n\n\n<p>The event will be recorded and those who cannot attend live can catch it later when it is published on WordPress.tv. </p>\";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:\"<p>Howdy, </p>\n\n\n\n<p>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. </p>\n\n\n\n<p>The most important might be the the <strong><a href=\"https://wordpress.org/news/2023/07/6-3-live-product-demo/\">WordPress 6.3 Product Demo</a> </strong>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. </p>\n\n\n\n<p>Don&#8217;t forget to consult the <a href=\"https://learn.wordpress.org/online-workshops/\"><strong>workshop schedule of the training team</strong></a> on the Learn WordPress site.</p>\n\n\n\n<p>Have a wonderful weekend! Mine will be dominated by unpacking boxes and eating delicious food and chatting with long-distance friends. </p>\n\n\n\n<p>Be well.  </p>\n\n\n\n<p>Yours, 💕<br /><em>Birgit</em></p>\n\n\n\n\n<div class=\"wp-block-group has-light-background-background-color has-background is-layout-flow wp-block-group-is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<p><strong>Table of Contents</strong></p>\n\n\n\n<div class=\"wp-block-sortabrilliant-guidepost\"><ul><li><a href=\"https://gutenbergtimes.com/feed/#0-word-press-release-information\">Developing Gutenberg and WordPress</a><ul><li><a href=\"https://gutenbergtimes.com/feed/#1-word-press-6-3\">WordPress 6.3 </a></li><li><a href=\"https://gutenbergtimes.com/feed/#2-g\">Gutenberg Phase 3: Collaboration starts</a></li></ul></li><li><a href=\"https://gutenbergtimes.com/feed/#0-p\">Plugins, Themes, and Tools for #nocode site builders and owners</a></li><li><a href=\"https://gutenbergtimes.com/feed/#2-word-press-6-0-1-and-6-1-scheduled\">Theme Development for Full Site Editing and Blocks</a></li><li><a href=\"https://gutenbergtimes.com/feed/#3-building-themes-for-fse-and-word-press\">Building Blocks and Tools for the Block editor. </a></li></ul></div>\n</div></div>\n\n\n\n\n<div class=\"wp-block-group has-light-background-background-color has-background is-layout-constrained wp-block-group-is-layout-constrained\"><div class=\"wp-block-group__inner-container\">\n<p><a href=\"https://us02web.zoom.us/webinar/register/7516879458017/WN_lqwBBSkSR1Wcdf8BUr5udQ\"><strong>Next Live Q &amp; A: Design Systems and Theme.json  on July 21, 2023</strong></a></p>\n\n\n\n<p>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. </p>\n\n\n\n<a href=\"https://us02web.zoom.us/webinar/register/7516879458017/WN_lqwBBSkSR1Wcdf8BUr5udQ\"><img /></a>\n</div></div>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"0-word-press-release-information\">Developing Gutenberg and WordPress</h2>\n\n\n\n<p><strong>Joen Asmussen </strong>published for the WordPress design team the <a href=\"https://make.wordpress.org/design/2023/07/03/design-share-jun-19-jun-30/\"><strong>Design Share: Jun 19–Jun&nbsp;30</strong></a>, recounting all the great UI and UX work the design team contributed during the past two weeks. </p>\n\n\n\n<ul>\n<li>Legend Style pictograms for the Site Editor.</li>\n\n\n\n<li>Navigation Focus Mode</li>\n\n\n\n<li>Reusable Blocks, Library, “Patterns”, and </li>\n\n\n\n<li>a small fix to the layout shift when editing </li>\n</ul>\n\n\n\n<a href=\"https://make.wordpress.org/design/2023/07/03/design-share-jun-19-jun-30/\"><img /></a>\n\n\n\n<p>Reminder: <strong>Anne McCarthy</strong> and <strong>Emily Clark</strong> will co-host a <a href=\"https://make.wordpress.org/core/2023/06/29/hallway-hangout-performance-improvements-for-wordpress-6-3/\"><strong>Hallway Hangout to discussion WordPress 6.3 performance improvements</strong></a> 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.</p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"1-word-press-6-3\">WordPress 6.3 </h3>\n\n\n\n<p><strong>Anne McCarthy</strong> and <strong>Rich Tabor</strong> will present at the <a href=\"https://wordpress.org/news/2023/07/6-3-live-product-demo/\"><strong>WordPress 6.3 Live Product Demo </strong></a>on July 20th, 2023 at 16:00 UTC (12 pm EDT / 18:00 CEST). &#8220;Join the WordPress community for a first look at 6.3 in action during a live product demonstration.&#8221; Attendees will learn about recent improvements to the Site Editor, Patterns, Command Palette, and Navigation. There will be a Q&amp;A session, and you may submit questions in advance via the #walkthrough channel on WordPress Make <a href=\"https://wordpress.slack.com/archives/C039R2P1ZC1\">Slack</a>.&nbsp;</p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Sarah Gooding</strong> reports on <a href=\"https://wptavern.com/wordpress-6-3-beta-3-released-introduces-ui-changes-to-pattern-management\"><strong>WordPress 6.3 Beta 3 Released, Introduces UI Changes to Pattern Management</strong>. </a>&#8220;A last-minute PR has&nbsp;renamed Library to Patterns&nbsp;in the Site Editor and was cherry-picked to get it included in Beta 3.&#8221; she wrote, and then continues with the reasons. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>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, <strong>John Blackburn</strong> informed the WordPress community that the project is  <strong><a href=\"https://make.wordpress.org/core/2023/07/05/dropping-support-for-php-5/\">Dropping support for PHP 5</a> </strong>. </p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>“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,” </p>\n<cite>John Blackbourn, WordPress core developer</cite></blockquote>\n\n\n\n<p>Sarah Gooding also has the skinny for you in <a href=\"https://wptavern.com/wordpress-6-3-to-drop-support-for-php-5\"><strong>WordPress 6.3 to Drop Support for PHP 5</strong></a></p>\n\n\n\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<p class=\"is-style-no-vertical-margin\"><strong>🎙️ </strong> New episode:  <a href=\"https://gutenbergtimes.com/podcast/gutenberg-changelog-85-gutenberg-16-1-wordpress-6-3/\">Gutenberg Changelog #85 – Gutenberg 16.1, WordPress 6.3</a> with special guest, Tammie Lister and host Birgit Pauli-Haack</p>\n</div></div>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"2-g\">Gutenberg Phase 3: Collaboration starts</h3>\n\n\n\n<p>Following his March 2023 <a href=\"https://make.wordpress.org/core/2023/03/24/phase-3-collaboration/\">Gutenberg Phase 3</a> 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. </p>\n\n\n\n<ul>\n<li>In <a href=\"https://make.wordpress.org/core/2023/07/03/real-time-collaboration/\"><strong>Real-time Collaboration</strong></a>, he outlines plans for concurrent collaboration and shared edits. </li>\n\n\n\n<li>In <a href=\"https://make.wordpress.org/core/2023/07/04/workflows/\"><strong>Workflows</strong></a>, Ventura discusses the requirements for the full publishing workflow and the async collaboration needs for a content team. </li>\n\n\n\n<li>In <a href=\"https://make.wordpress.org/core/2023/07/05/revisions/\"><strong>Revisions</strong>, </a>Ventura covers the full overhaul of the current system, by making it aware of Blocks and edits on all data layers at the same time. </li>\n\n\n\n<li>In <a href=\"https://make.wordpress.org/core/2023/07/07/media-library/\"><strong>Media Library</strong></a>, he aims at expanding media management capabilities, unifying the interface with the block editor and improving overall media workflows. </li>\n</ul>\n\n\n\n<p>There might be more posts coming and, of course, I&#8217;ll keep you in the loop. </p>\n\n\n\n<a href=\"https://make.wordpress.org/core/2023/07/04/workflows/\"><img /></a>Screenshot shared on the post about <a href=\"https://make.wordpress.org/core/2023/07/04/workflows/\">Workflows</a>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Sarah Gooding</strong> summarized it all in <a href=\"https://wptavern.com/wordpress-unveils-plans-for-real-time-collaboration-with-major-improvements-to-revisions-and-the-media-library\"><strong>WordPress Unveils Plans for Real-Time Collaboration with Major Improvements to Revisions and the Media Library</strong></a></p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>In his post, <a href=\"https://speckyboy.com/what-collaborative-features-will-bring-to-wordpress/\"><strong>What Collaborative Features Will Bring to WordPress</strong></a>, <strong>Eric Karkovack </strong>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. </p>\n\n\n\n\n<p><strong> <a href=\"https://make.wordpress.org/core/handbook/references/keeping-up-with-gutenberg-index/\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;Keeping up with Gutenberg &#8211; Index 2022&#8221;</a> </strong><br />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.  <a href=\"https://make.wordpress.org/core/handbook/references/keeping-up-with-gutenberg-index/keeping-up-with-gutenberg-index-2020/\"><em>The index 2020 is here</em></a></p>\n\n\n\n\n<h2 class=\"wp-block-heading\" id=\"0-p\">Plugins, Themes, and Tools for #nocode site builders and owners</h2>\n\n\n\n<p><strong>Nick Diego</strong> announced a new season of his &#8220;Builder Basics&#8221; series. The next event is scheduled for <strong>July 17th  7pm UTC</strong> ( 3 pm EDT) <a href=\"https://www.meetup.com/learn-wordpress-online-workshops/events/294550599/\"><strong>Goodbye Reusable Blocks—Hello Synced Patterns (and more)</strong></a>. He&#8217;ll review the updates coming in WordPress 6.3 for reusable blocks and explore the improved editing flows for patterns and template parts. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>In another event, <strong>Bud Kraus</strong> will<strong><a href=\"https://www.meetup.com/learn-wordpress-online-workshops/events/294340444/\"> demystify the Navigation Block</a></strong> for you on July 11 at 19:00 UTC / 3 pm EDT. You will learn how to set your site&#8217;s navigation using only blocks and not the classic menu system. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><a href=\"https://twitter https://twitter.com/Bijayyadavnp\"><strong>Bijay Yadav</strong></a>, long-time contributor to the open-source WordPress project, published his first theme in the Theme directory. <a href=\"https://wordpress.org/themes/geum/\"><strong>Geum</strong></a> is block themes allowing the user to take full advantage of the new site editor to customize their site.</p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Jamie Marsland</strong> posted a tutorial on <strong><a href=\"https://www.pootlepress.com/2023/07/the-best-wordpress-block-themes/\">How to Choose the perfect WordPress Block Theme</a>.</strong> 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: <a href=\"https://woocommerce.com/products/basti/\">Basti by Ana Segota</a>, Ollie<a href=\"https://olliewp.com/\"> WP by Mike McAlister</a> and <a href=\"https://wpspectra.com/\">Spectra One by the Astra team.</a></p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Anne McCarthy</strong> published the Summary of feedback from the latest <a href=\"https://make.wordpress.org/test/2023/07/04/fse-program-momery-makeover-summary/\"><strong>FSE Program Momery Makeover Summary</strong></a>. &#8220;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.&#8221; she wrote. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>On WPTavern, <strong>Sarah Gooding</strong> reviewed the latest block theme for blogging &#8211; <strong><a href=\"https://wordpress.org/themes/hey/\">Hey</a></strong>, built by Automattic in here article <a href=\"https://wptavern.com/hey-an-elegantly-simple-wordpress-block-theme-for-blogging\"><strong>Hey: An Elegantly Simple WordPress Block Theme for Blogging</strong></a>.</p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"2-word-press-6-0-1-and-6-1-scheduled\">Theme Development for Full Site Editing and Blocks</h2>\n\n\n\n<p>In his article for the Torque Magazine, <strong><a href=\"https://torquemag.io/2023/06/modify-wordpress-block-themes/\">How to Modify WordPress Block Themes (JSON Beginner’s Guide)</a></strong>, <strong>Nick Schäferhoff</strong> explored ways on how you can customize a block theme&#8217;s theme.json file for those of us, who are used to tinker around via functions.php and style.css. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Jonathan Bossenger</strong> published his series for live streams on <a href=\"https://www.youtube.com/@jon_bossenger\"><strong>Developing Sendig a Block theme</strong></a> on YouTube. The goal is to create a theme following the designs by Emily Rapport. <em>(See <a href=\"https://gutenbergtimes.com/gutenberg-15-7-woocommerce-blocks-10-1-and-299-block-themes-weekend-edition-253/#2-word-press-6-0-1-and-6-1-scheduled\">Weekend Edition 253 for details</a>)</em>.</p>\n\n\n\n<a href=\"https://www.youtube.com/@jon_bossenger\"><img /></a>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>You can take <strong>Wes Theron</strong>&#8216;s tutorial on <a href=\"https://learn.wordpress.org/tutorial/designing-with-row-and-stack-blocks/\"><strong>Designing with row and stack blocks</strong></a> on <em>Learn WordPress. </em>&#8220;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.</p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"3-building-themes-for-fse-and-word-press\">Building Blocks and Tools for the Block editor. </h2>\n\n\n\n<p><strong><a href=\"https://twitter.com/RonaldHuereca\">Ronald Huereca</a></strong> published a tutorial on <a href=\"https://dlxplugins.com/tutorials/adding-commands-to-the-wordpress-command-palette/\"><strong>Adding Commands to the WordPress Command Palette</strong></a> 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. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>A new post on the <em>WordPress Developer Blog</em> covers <a href=\"https://developer.wordpress.org/news/2023/07/how-to-modify-theme-json-data-using-server-side-filters/\"><strong>how to modify theme.json data using server-side filters.</strong></a> Discover, with <strong>Nick Diego</strong> 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.</p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>The recording of this week&#8217;s Live Q &amp; A is now available on YouTube: <a href=\"https://www.youtube.com/watch?v=-5IrkgryD6s\"><strong>Leveraging Gutenberg&#8217;s architecture to take plugin development to new levels</strong></a>. 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 J<strong>ason Adams</strong>, Director of Development, <strong>Jon Waldstein</strong>, Lead Developer of GiveWP and co-host <strong>Lena Morita</strong>, JavaScript Developer on the Components team. The list of resources is available in the description of the video. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Ryan Welcher</strong> announced the topics for the next Twitch streams: </p>\n\n\n\n<ul>\n<li>Jul 13, 2023 –&nbsp;<a href=\"https://href.li/?https://www.meetup.com/learn-wordpress-online-workshops/events/294583083/\">Reviewing all existing SlotFills</a></li>\n\n\n\n<li>Jul 20, 2023 –&nbsp;<a href=\"https://href.li/?https://www.meetup.com/learn-wordpress-online-workshops/events/294583132/\">Reviewing Gutenberg Features 16.2</a></li>\n\n\n\n<li>Jul 27, 2023 –&nbsp;<a href=\"https://href.li/?https://www.meetup.com/learn-wordpress-online-workshops/events/294583179/\">Using custom SlotFill to extend a codebase</a></li>\n</ul>\n\n\n\n<p>Recordings of previous streams can be viewed on his <a href=\"https://www.youtube.com/ryanwelchercodes\">YouTube Channel.</a></p>\n\n\n\n\n<p><strong><a href=\"https://gutenbergtimes.com/need-a-zip-from-master/\">Need a plugin .zip from Gutenberg&#8217;s master branch?</a></strong><br />Gutenberg Times provides daily build for testing and review. <br />Have you been using it? Hit reply and let me know.</p>\n\n\n\n<p><img alt=\"GitHub all releases\" src=\"https://img.shields.io/github/downloads/bph/gutenberg/total?style=for-the-badge\" /></p>\n\n\n\n\n<p class=\"has-text-align-right has-small-font-size\"><em>Questions? Suggestions? Ideas? Don&#8217;t hesitate to send <a href=\"mailto:pauli@gutenbergtimes.com\">them via email</a> or send me a message on WordPress Slack or Twitter @bph</em>. </p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">For questions to be answered on the <a href=\"http://gutenbergtimes.com/podcast\">Gutenberg Changelog</a>, send them to <a href=\"mailto:changelog@gutenbergtimes.com\">changelog@gutenbergtimes.com</a></p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n\n<p>Featured Image: Victoria Pickering &#8220;Old Type&#8221;,  <a href=\"https://openverse.org/image/2b65ee7c-b784-4c06-9c2c-041b25863bad\">found on Openverse.org</a></p>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity is-style-wide\" />\n\n\n\n<p class=\"has-text-align-left\"><strong>Don&#8217;t want to miss the next Weekend Edition? </strong></p>\n\n\n\n<form class=\"wp-block-newsletterglue-form ngl-form ngl-portrait\" action=\"https://gutenbergtimes.com/feed/\" method=\"post\"><div class=\"ngl-form-container\"><div class=\"ngl-form-field\"><label class=\"ngl-form-label\" for=\"ngl_email\"><br />Type in your Email address to subscribe.</label><div class=\"ngl-form-input\"><input type=\"email\" class=\"ngl-form-input-text\" name=\"ngl_email\" id=\"ngl_email\" /></div></div><button type=\"submit\" class=\"ngl-form-button\">Subscribe</button><p class=\"ngl-form-text\">We hate spam, too and won&#8217;t give your email address to anyone except Mailchimp to send out our Weekend Edition</p></div><div class=\"ngl-message-overlay\"><div class=\"ngl-message-svg-wrap\"></div><div class=\"ngl-message-overlay-text\">Thanks for subscribing.</div></div><input type=\"hidden\" name=\"ngl_list_id\" id=\"ngl_list_id\" value=\"26f81bd8ae\" /><input type=\"hidden\" name=\"ngl_double_optin\" id=\"ngl_double_optin\" value=\"yes\" /></form>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity is-style-wide\" />\";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:\"<p>In a series of four posts, Gutenberg lead architect Matías Ventura has outlined the project&#8217;s phase 3 plans for <a href=\"https://make.wordpress.org/core/2023/07/03/real-time-collaboration/\">Real-Time Collaboration</a>, <a href=\"https://make.wordpress.org/core/2023/07/04/workflows/\">Workflows</a>, <a href=\"https://make.wordpress.org/core/2023/07/05/revisions/\">Revisions</a>, and the <a href=\"https://make.wordpress.org/core/2023/07/07/media-library/\">Media Library</a>. WordPress 6.3 is set to be the final major release of Phase 2, which focused on Customization. </p>\n\n\n\n<p>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.</p>\n\n\n\n<p>&#8220;The primary aim of real-time collaboration is to build functionality into the&nbsp;block&nbsp;editors so that concurrent collaboration, shared edits, and online presence of peers are possible,&#8221; Ventura said. &#8220;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.&#8221;</p>\n\n\n\n<p>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.</p>\n\n\n\n<img />\n\n\n\n<p>In the <a href=\"https://make.wordpress.org/core/2023/07/04/workflows/\">Workflows</a> 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. </p>\n\n\n\n<p>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&nbsp;version control&nbsp;systems to take over internal revision systems if desired.</p>\n\n\n\n<img />image credit: <a href=\"https://make.wordpress.org/core/2023/07/04/workflows/\">Workflows</a> &#8211; Matías Ventura\n\n\n\n<p>Users can expect that <a href=\"https://make.wordpress.org/core/2023/07/05/revisions/\">Revisions</a> will also be getting some major improvements as part of the Collaboration phase of the project.</p>\n\n\n\n<p>&#8220;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,&#8221; Ventura said. &#8220;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.&#8221;</p>\n\n\n\n<p>Long-awaited improvements to WordPress&#8217; <a href=\"https://make.wordpress.org/core/2023/07/07/media-library/\">Media Library</a> are also considered part of this phase.</p>\n\n\n\n<p>&#8220;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,&#8221; 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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>Contributors may also be exploring contribution to the commons from WordPress, along with improvements to attribution.</p>\n\n\n\n<p>&#8220;As we look into expanding the presence and touch points of <a href=\"https://openverse.org/\">Openverse</a>, it’d be interesting to see how contributions to the commons could work directly from a user’s WordPress install,&#8221; Ventura said. &#8220;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 <a href=\"https://make.wordpress.org/core/2023/03/30/proposal-the-interactivity-api-a-better-developer-experience-in-building-interactive-blocks/\">Interactivity API</a>.&#8221;</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>&#8220;Very much looking forward to this phase. I think it will really enable larger teams to work on posts much easier,&#8221; WordPress developer Rich Holman <a href=\"https://make.wordpress.org/core/2023/07/03/real-time-collaboration/#comment-45051\">commented</a>. &#8220;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.&#8221;</p>\n\n\n\n<p>For more details on the features being considered for this phase, check out the <a href=\"https://make.wordpress.org/core/2023/03/24/phase-3-collaboration/\">Phase 3 overview post</a>, along with Ventura&#8217;s more recent write-ups on how contributors will improve and expand WordPress&#8217; collaboration architecture with updates to <a href=\"https://make.wordpress.org/core/2023/07/03/real-time-collaboration/\">Real-Time Collaboration</a>, <a href=\"https://make.wordpress.org/core/2023/07/04/workflows/\">Workflows</a>, <a href=\"https://make.wordpress.org/core/2023/07/05/revisions/\">Revisions</a>, and the <a href=\"https://make.wordpress.org/core/2023/07/07/media-library/\">Media Library</a>.</p>\";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:\"<a href=\"https://central.wordcamp.org/files/2023/07/cropped-14120055196ucu6-scaled-1-1.jpg\"><img /></a>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>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 <a href=\"http://www.rochester.wordcamp.org/2023\">www.rochester.wordcamp.org/2023</a>. The capacity for this event is about 120 people, so getting tickets early is advised.</p>\n\n\n\n<p>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.”</p>\n\n\n\n<p>Similar to previous years, Rochester’s 2023 WordCamp will divide its workshops along two tracks, with sessions for every ability and level of use.</p>\n\n\n\n<p>Speakers will include WordPress users from Rochester, Buffalo, and beyond, with experience ranging from user/blogger to advanced developer.</p>\";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:\"<img width=\"1024\" height=\"576\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/07/Live-Product-Demo.png?resize=1024%2C576&ssl=1\" alt=\"WordPress 6.3 Live Product Demo Cover Art\" class=\"wp-image-15355\" />\n\n\n\n<p><strong>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.</strong></p>\n\n\n\n<p>6.3 release squad members, <a rel=\"noreferrer noopener\" href=\"https://profiles.wordpress.org/annezazu/\" target=\"_blank\">Anne McCarthy</a> and <a rel=\"noreferrer noopener\" href=\"https://profiles.wordpress.org/richtabor/\" target=\"_blank\">Rich Tabor</a>, will team up with moderator, <a rel=\"noreferrer noopener\" href=\"https://profiles.wordpress.org/njwrigley/\" target=\"_blank\">Nathan Wrigley</a>, to guide attendees through the anticipated highlights of the upcoming release. This event will follow a similar format to the <a href=\"https://make.wordpress.org/core/2023/02/21/6-2-live-product-demo/\">live demo for 6.2</a>.</p>\n\n\n\n<p>Attendees will see recent improvements to the Site Editor, Patterns, Command Palette, and more. Following the demo, there will be a Q&amp;A session, and you may submit questions in advance via <a href=\"https://wordpress.slack.com/archives/C039R2P1ZC1\">Slack</a>. </p>\n\n\n\n<h2 class=\"wp-block-heading\">Date, Time, and Location</h2>\n\n\n\n<p>Thursday, July 20, 2023 at <a href=\"http://time.unitarium.com/utc/1600\">16:00 UTC</a><br /><a href=\"https://us02web.zoom.us/j/88141234315?pwd=TE1Odk5Wd0hiVlNYWHB5Q2xCYkhSZz09\">Zoom Link</a> | Save this link and use it on July 20 to join the event.</p>\n\n\n\n<p>The event will be recorded, archived for on-demand viewing on <a href=\"https://wordpress.tv/\">WordPress.tv</a>, and shared in a recap post shortly afterward.</p>\n\n\n\n<h2 class=\"wp-block-heading\">About WordPress 6.3</h2>\n\n\n\n<p>To learn more about WordPress 6.3, please visit the following resources:</p>\n\n\n\n<ul>\n<li><a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">WordPress 6.3 Beta 2 Announcement</a></li>\n\n\n\n<li>Overview of the <a href=\"https://make.wordpress.org/core/6-3/\">6.3 release cycle</a></li>\n\n\n\n<li>A <a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">detailed guide</a> for testing 6.3</li>\n</ul>\n\n\n\n<p>Props to our panelists and moderator, and to <a href=\"https://profiles.wordpress.org/jpantani/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>jpantani</a>, <a href=\"https://profiles.wordpress.org/meher/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>meher</a>, <a href=\"https://profiles.wordpress.org/eidolonnight/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>eidolonnight</a>, and <a href=\"https://profiles.wordpress.org/dansoschin/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>dansoschin</a> for helping prepare this announcement and supporting event logistics.</p>\";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:\"<div class=\"wp-block-image\">\n<img src=\"https://i0.wp.com/sanjose.wordcamp.org/2023/files/2023/06/Wapuu.png?resize=266%2C300&ssl=1\" alt=\"\" /></div>\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f50a.png\" alt=\"🔊\" class=\"wp-smiley\" /> <strong>Our deadline for submitting proposals is midnight EST on August 26, 2023. </strong></p>\n\n\n\n<p><strong>Apply at </strong><a rel=\"noreferrer noopener\" href=\"https://sanjose.wordcamp.org/2023/llamado-a-ponentes/\" target=\"_blank\">https://sanjose.wordcamp.org/2023/llamado-a-ponentes/</a><br /><strong>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!</strong></p>\n\n\n\n<p><strong><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f680.png\" alt=\"🚀\" class=\"wp-smiley\" /> Call for Sponsors: <a rel=\"noreferrer noopener\" href=\"https://sanjose.wordcamp.org/2023/call-for-sponsors/\" target=\"_blank\">https://sanjose.wordcamp.org/2023/call-for-sponsors/</a></strong></p>\n\n\n\n<p><strong><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f39f.png\" alt=\"🎟\" class=\"wp-smiley\" /> Buy your ticket here: <a rel=\"noreferrer noopener\" href=\"https://sanjose.wordcamp.org/2023/tickets/\" target=\"_blank\">https://sanjose.wordcamp.org/2023/tickets/</a></strong></p>\";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 07:17:28 +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:12:\"roblesloaiza\";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:10;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:72:\"Do The Woo Community: Navigating the WooCommerce and WordPress 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:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"https://dothewoo.io/?p=75463\";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:71:\"https://dothewoo.io/navigating-the-woocommerce-and-wordpress-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:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:425:\"<p>If you have just started a business, or moving an existing one into this unique open source community, there is a lot to learn.</p>\n<p>&gt;&gt; The post <a rel=\"nofollow\" href=\"https://dothewoo.io/navigating-the-woocommerce-and-wordpress-community/\">Navigating the WooCommerce and WordPress Community</a> appeared first on <a rel=\"nofollow\" href=\"https://dothewoo.io\">Do the Woo - a WooCommerce Builder Community</a>	.</p>\";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:\"<p><a href=\"https://wordpress.org/themes/hey/\">Hey</a> is a block theme designed by Automattic for users <a href=\"https://wordpress.com/theme/hey\">on WordPress.com</a> and also released for free in the WordPress.org Themes Directory. It&#8217;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.</p>\n\n\n\n<img />\n\n\n\n<p>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.</p>\n\n\n\n<img />\n\n\n\n<p>The Hey theme comes in two different styles &#8211; the default and a serif variation. Colors can be adjusted to create a more vibrant palette for the site design.</p>\n\n\n\n<img />\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>Overall, Hey is an elegantly simple block theme with a clean design and plentiful white space. It&#8217;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 <a href=\"https://wordpress.com/theme/hey\">live demo</a> on WordPress.com and <a href=\"https://wordpress.com/theme/hey\">download Hey from WordPress.org</a>.</p>\";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:\"<p>In this Woo DevChat we talk with Mathias from Oliver POS about his journey in building a point of sales for WooCommerce.</p>\n<p>&gt;&gt; The post <a rel=\"nofollow\" href=\"https://dothewoo.io/building-a-woocommerce-point-of-sales-with-mathias-nielsen/\">Building a WooCommerce Point of Sales with Mathias Nielsen</a> appeared first on <a rel=\"nofollow\" href=\"https://dothewoo.io\">Do the Woo - a WooCommerce Builder Community</a>	.</p>\";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 09:08:00 +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:13;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:49:\"WPTavern: WordPress 6.3 to Drop Support for PHP 5\";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=146565\";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:60:\"https://wptavern.com/wordpress-6-3-to-drop-support-for-php-5\";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:3537:\"<p>WordPress is officially <a href=\"https://make.wordpress.org/core/2023/07/05/dropping-support-for-php-5/\">dropping support for PHP 5</a> in the upcoming 6.3 release, which is expected on August 8. WordPress&#8217; <a href=\"https://wordpress.org/about/requirements/\">minimum supported version</a> 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+.</p>\n\n\n\n<p>&#8220;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 <a rel=\"noreferrer noopener\" href=\"https://wordpress.org/about/stats/\" target=\"_blank\">as of July 2023</a>,&#8221; WordPress core developer John Blackbourn said.</p>\n\n\n\n<p>&#8220;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.&#8221;</p>\n\n\n\n<p>Blackbourn also emphasized that WordPress&#8217; support for PHP 8.0, 8.1, and 8.2 is &#8220;very good&#8221; and contributors may soon act on <a href=\"https://make.wordpress.org/core/2023/06/20/proposal-criteria-for-removing-beta-support-from-each-php-8-version/\">a proposal for the criteria that would enable them to remove the &#8220;beta&#8221; support label</a> on new PHP versions. Nearly 26% of WordPress users are already running sites on PHP 8.0+. </p>\n\n\n\n<img />\n\n\n\n<p>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 <a href=\"https://twitter.com/idavinder/status/1673948104591122432\">charges additional fees</a> for sites that require <a href=\"https://help.dreamhost.com/hc/en-us/articles/360004672631-PHP-extended-support\">extended support</a> for PHP 7.4 and older. <a href=\"https://www.ionos.com/help/hosting/troubleshooting-for-php/php-extended-support/\">IONOS</a> and <a href=\"https://www.strato-hosting.co.uk/faq/hosting/what-is-strato-php-extended-support/\">Strato</a> have similar policies. </p>\n\n\n\n<p>The decision to bump the minimum supported version is happening after a lengthy seven-month long <a href=\"https://core.trac.wordpress.org/ticket/57345\">discussion</a>, which surprisingly <a href=\"https://core.trac.wordpress.org/ticket/57345#comment:93\">drew a little resistance</a>. Although sites that remain on PHP 5.6 cannot upgrade beyond WordPress 6.2, they will still receive security updates, as the project currently <a href=\"https://make.wordpress.org/security/2022/09/07/dropping-security-updates-for-wordpress-versions-3-7-through-4-0/\">backports them to versions 4.1+</a>. 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.</p>\n\n\n\n<p>&#8220;There are no plans to bump the minimum supported PHP version on a schedule,&#8221; Blackbourn said. &#8220;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.&#8221;</p>\";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:\"<p>WordPress contributors are onto another round of testing, as <a href=\"https://wordpress.org/news/2023/07/wordpress-6-3-beta-3/\">6.3 Beta 3 was released</a> 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.</p>\n\n\n\n<p>Beta 3 includes approximately 34 updates to the Site Editor since the previous beta release, and more than 40 updates coming from Trac.</p>\n\n\n\n<p>A last-minute PR has <a href=\"https://github.com/WordPress/gutenberg/pull/52102\">renamed Library to Patterns</a> 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:</p>\n\n\n\n<ul>\n<li>Discovery: this is an opportunity to make patterns front and center as we are introducing the ability to save custom patterns. They should be front and center in the &#8220;Design&#8221; tab.</li>\n\n\n\n<li>Clarity: library can be obscure and overlaps with other terminology (like Media Library). We didn&#8217;t get to add font library management in this round, but it would have made things more confusing (would a user expect to see their font library under &#8220;Styles&#8221; or an item called &#8220;Library&#8221;?). Calling it patterns removes that ambiguity.</li>\n\n\n\n<li>Presence: patterns is a unique name that has been established in the WP branding parlance for a bit and deserves more clear placement.</li>\n</ul>\n\n\n\n<p>This video from the PR gives a quick overview of the changes testers should see in the Patterns UI as of Beta 3:</p>\n\n\n\nGutenberg PR: Patterns: Rename Library to Patterns <a href=\"https://github.com/WordPress/gutenberg/pull/52102\">#52102</a>\n\n\n\n<p>Beta 3 <a href=\"https://github.com/WordPress/gutenberg/pull/51990\">introduces a new lock icon</a> to designate theme patterns as unable to be edited or modified. It also adds a <a href=\"https://github.com/WordPress/gutenberg/pull/51954\">sync status details section</a> within the pattern sidebar navigation screen. </p>\n\n\n\n<img />image credit: <a href=\"https://github.com/WordPress/gutenberg/pull/51990\">Gutenberg PR #51990</a>\n\n\n\n<p>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 <a href=\"https://wptavern.com/gutenberg-16-1-introduces-pattern-creation-and-library-adds-distraction-free-mode-to-site-editor\">Gutenberg 16.1</a> 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. </p>\n\n\n\n<p>Check out the <a href=\"https://wordpress.org/news/2023/07/wordpress-6-3-beta-3/\">Beta 3 release post</a> 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 <a href=\"https://make.wordpress.org/core/6-3/\">scheduled</a> for August 8, 2023.</p>\";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 16:21:36 +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:15;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:87:\"WPTavern: #82 – Louise Towler on How and Why You Can Make WordPress Sites Sustainable\";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:48:\"https://wptavern.com/?post_type=podcast&p=146471\";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:101:\"https://wptavern.com/podcast/82-louise-towler-on-how-and-why-you-can-make-wordpress-sites-sustainable\";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:50144:\"Transcript<div>\n<p>[00:00:00] <strong>Nathan Wrigley:</strong> 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.</p>\n\n\n\n<p>If you&#8217;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.</p>\n\n\n\n<p>If you have a topic that you&#8217;d like us to feature on the podcast, I&#8217;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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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&#8217;s podcast, and we cover quite a lot of ground.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>Moving onto WordPress, we talk about the responsibility theme authors play. It&#8217;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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>If you&#8217;re interested in how your sites can become more sustainable, this podcast is for you.</p>\n\n\n\n<p>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&#8217;ll find all the other episodes as well.</p>\n\n\n\n<p>And so without further delay, I bring you Louise Towler.</p>\n\n\n\n<p>I am joined on the podcast today by Louise Towler. Hi Louise.</p>\n\n\n\n<p>[00:04:54] <strong>Louise Towler:</strong> Thank you for inviting me. Hello.</p>\n\n\n\n<p>[00:04:56] <strong>Nathan Wrigley:</strong> We&#8217;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&#8217;s your relationship with WordPress and so on?</p>\n\n\n\n<p>[00:05:13] <strong>Louise Towler:</strong> Okay. I am the founder of Indigo Tree. We&#8217;re a small but beautiful WordPress agency based about 30 minutes on the train north of London in the UK. There&#8217;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.</p>\n\n\n\n<p>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&#8217;ve heard there&#8217;s this thing called WordPress. Would you mind building our website in WordPress? And I was like, okay, I&#8217;ll give it a go. And went off and Googled and found out how to do it, and the rest is history.</p>\n\n\n\n<p>[00:06:09] <strong>Nathan Wrigley:</strong> 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?</p>\n\n\n\n<p>[00:06:27] <strong>Louise Towler:</strong> It does. It&#8217;s really difficult to tread lightly on the planet. It&#8217;s very hard to do things in a sustainable way, but I think I&#8217;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&#8217;re going to live a lot longer than me, and global warming is going to affect them a lot more than it&#8217;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&#8217;s happening at the moment.</p>\n\n\n\n<p>[00:07:16] <strong>Nathan Wrigley:</strong> 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&#8217;s no connection between that and the environment. And yet it&#8217;s pretty bad.</p>\n\n\n\n<p>[00:07:49] <strong>Louise Towler:</strong> Yeah.</p>\n\n\n\n<p>[00:07:50] <strong>Nathan Wrigley:</strong> We browse the internet. We&#8217;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&#8217;s the technology, the bits and pieces that we need to be thinking about?</p>\n\n\n\n<p>[00:08:13] <strong>Louise Towler:</strong> Well, if the internet was a country, it would be the fourth largest polluter. Compared to airlines, you know, that are 1.6%, it&#8217;s massive. It is just massive. And it&#8217;s fundamentally about electricity. Because it&#8217;s electricity that powers the data centers, whether or not they&#8217;re running on renewable energy, the fact is they still need electricity.</p>\n\n\n\n<p>You&#8217;ve got the transmission, the wires between the data centers and the end devices, and then you&#8217;ve got the power to power your device. If you&#8217;re on a phone, you are recharging it. If you&#8217;re on a laptop, you are plugging it in, and that&#8217;s all using electricity. And not all of that electricity is renewable and the electricity that comes through the wires, you don&#8217;t have any control about what proportion of that is renewable.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>[00:09:27] <strong>Nathan Wrigley:</strong> It feels like we&#8217;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&#8217;ve got my phone, it&#8217;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&#8217;s crept up on us. We&#8217;re all using it all the time. You said what was it, 4%?</p>\n\n\n\n<p>[00:09:57] <strong>Louise Towler:</strong> It&#8217;s the fourth largest polluter.</p>\n\n\n\n<p>[00:09:59] <strong>Nathan Wrigley:</strong> 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&#8217;t it?</p>\n\n\n\n<p>[00:10:15] <strong>Louise Towler:</strong> 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&#8217;s getting worse. With AI, the stat that I&#8217;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&#8217;s going to come out in the chat box.</p>\n\n\n\n<p>And so it&#8217;s not getting better. When you are talking about carbon footprints and getting to net zero, you&#8217;ve not just got to change the energy mix so that you&#8217;re running off renewable energy. You need to actually reduce demand. In the UK there&#8217;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.</p>\n\n\n\n<p>[00:11:25] <strong>Nathan Wrigley:</strong> Right.</p>\n\n\n\n<p>[00:11:26] <strong>Louise Towler:</strong> And the connection to IT and websites is that if you transmit less data, you are, there&#8217;s not a direct correlation always, but you are essentially using less electricity to transmit that data.</p>\n\n\n\n<p>[00:11:37] <strong>Nathan Wrigley:</strong> So the easiest way to mitigate your use of the internet is just to stop using it. But that&#8217;s completely unrealistic now?</p>\n\n\n\n<p>[00:11:44] <strong>Louise Towler:</strong> Well, a company with zero carbon footprint is probably a company that&#8217;s not in business. You can&#8217;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.</p>\n\n\n\n<p>[00:11:59] <strong>Nathan Wrigley:</strong> Okay, so given that we&#8217;re not going to be switching our computers off, we&#8217;re not going back to the internet stone age, if you like. We&#8217;ve got to figure out ways to reduce the amount of carbon that we put out. So we&#8217;ve got to become responsible citizens because we&#8217;re using the internet. But also, we&#8217;re in a slightly unique position, you, I, and the people listening to this podcast, because we&#8217;re sitting behind the websites that are causing the pollution. And that&#8217;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?</p>\n\n\n\n<p>[00:12:38] <strong>Louise Towler:</strong> 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.</p>\n\n\n\n<p>It&#8217;ll probably mean the homepage is a little bit slower, which won&#8217;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&#8217;s not good for people or the planet.</p>\n\n\n\n<p>If I&#8217;m on a fixed price data plan, because I&#8217;m on a low income and my children&#8217;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&#8217;m using up my scarce resources of data, auto playing that video, that&#8217;s not very respectful to me when I&#8217;m trying to go about my daily life.</p>\n\n\n\n<p>So there&#8217;s lots of levels you can talk to your clients about why it&#8217;s good to do things. So it&#8217;s things like optimizing videos, optimizing images. If you&#8217;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.</p>\n\n\n\n<p>Think about when you embed videos on the page. The block editor, it&#8217;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&#8217;s below the fold, you can lazy load the image. If people don&#8217;t scroll down, the image doesn&#8217;t load, and it&#8217;s only when they click on that image that the video plays and actually downloads that extra data.</p>\n\n\n\n<p>So you are being really respectful to your visitors as well as to the planet by consciously thinking about these things. And it doesn&#8217;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.</p>\n\n\n\n<p>[00:14:56] <strong>Nathan Wrigley:</strong> Actually, that&#8217;s a really good point. You mentioned, just as we were beginning, that you run an agency.</p>\n\n\n\n<p>[00:15:00] <strong>Louise Towler:</strong> Yeah.</p>\n\n\n\n<p>[00:15:01] <strong>Nathan Wrigley:</strong> Do you have this conversation with your clients?</p>\n\n\n\n<p>[00:15:03] <strong>Louise Towler:</strong> I talk about performance and speed.</p>\n\n\n\n<p>[00:15:08] <strong>Nathan Wrigley:</strong> Yeah, so how does that go down?</p>\n\n\n\n<p>[00:15:09] <strong>Louise Towler:</strong> Fine.</p>\n\n\n\n<p>[00:15:10] <strong>Nathan Wrigley:</strong> 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&#8217;s the reason why I think for the planet, you shouldn&#8217;t have the video. How does that conversation normally go?</p>\n\n\n\n<p>[00:15:19] <strong>Louise Towler:</strong> We advise them. It&#8217;s like with banners, with sliders, we advise them. I emailed something to a client last week saying, here&#8217;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&#8217;re better off putting that content on the page. It is the client&#8217;s choice in the end, but I will educate them so they&#8217;re conscious of the choice that they&#8217;re making. Rather than not aware and then complain that nobody clicks through from banner number three. And I&#8217;m like, well, we did tell you.</p>\n\n\n\n<p>But there&#8217;s some things I don&#8217;t give clients a choice on, like accessibility. They don&#8217;t get a choice about having an accessible website because you don&#8217;t want to give people a choice where you don&#8217;t want them to make a poor decision.</p>\n\n\n\n<p>[00:16:04] <strong>Nathan Wrigley:</strong> And in terms of your agency, do you advertise your environmental credentials?</p>\n\n\n\n<p>[00:16:09] <strong>Louise Towler:</strong> We don&#8217;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&#8217;ve been doing some interesting stuff in the background.</p>\n\n\n\n<p>[00:16:20] <strong>Nathan Wrigley:</strong> You mentioned that an autoplay video, that seems like the most extreme example. You know, you go to a website, suddenly you&#8217;ve downloaded without your realizing it, I don&#8217;t know, 10 megabytes of data that you really didn&#8217;t need. Just run through the components of a typical webpage. So what have we got? We&#8217;ve got text, we&#8217;ve got images, we&#8217;ve got video, we&#8217;ve got, audio like this.</p>\n\n\n\n<p>What are quick wins? What&#8217;s the order, if you like, that you should go through when in your head you&#8217;re trying to make a page more environmentally friendly?</p>\n\n\n\n<p>[00:16:49] <strong>Louise Towler:</strong> I would start with images because a website typically has more images than videos. And if you&#8217;re doing something with images like you are, I don&#8217;t know, using a CDN, or you&#8217;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.</p>\n\n\n\n<p>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&#8217;ve got that function which saves it all out at the various different break points.</p>\n\n\n\n<p>[00:17:22] <strong>Nathan Wrigley:</strong> If you&#8217;re on a, mobile website, the image that&#8217;s loaded should be the same size as the device that you&#8217;re looking at. Not a great big image that&#8217;s been squished down, okay.</p>\n\n\n\n<p>[00:17:30] <strong>Louise Towler:</strong> Exactly. And that can be a bit tricky because sometimes on mobile sites for example, we&#8217;ll have a nice banner image, but we&#8217;ll make it cropped and square. Whereas on a desktop site you might have it that letter box shape. And actually it won&#8217;t really work on a mobile. It&#8217;s too sort of narrow and thin.</p>\n\n\n\n<p>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&#8217;t work very well with the block editor to just auto crop. It&#8217;s about thinking about it. So I definitely start with images.</p>\n\n\n\n<p>Little things like making sure you are using SVGs where it&#8217;s appropriate. If you&#8217;ve got an animated gif, turn it into a video. I then look at the videos. Just make sure you&#8217;ve got facades or posters on videos and try and persuade your client not to have that large banner video.</p>\n\n\n\n<p>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&#8217;s been some case law around, it&#8217;s leaking data to Google about who&#8217;s using those fonts and you don&#8217;t want to be doing that.</p>\n\n\n\n<p>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&#8217;ve got a font set that&#8217;s in multiple languages, but actually your website&#8217;s just in English, only use the bit of the font that you need for the language that you are working in.</p>\n\n\n\n<p>And then I would definitely think about things, other things on the website, like email. If you&#8217;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.</p>\n\n\n\n<p>[00:19:18] <strong>Nathan Wrigley:</strong> How does WordPress out of the box do with helping you get to some of these targets?</p>\n\n\n\n<p>[00:19:26] <strong>Louise Towler:</strong> It&#8217;s not helpful.</p>\n\n\n\n<p>[00:19:28] <strong>Nathan Wrigley:</strong> 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&#8217;s listening this podcast. Used by millions of people who probably see the media library throwing the biggest image they&#8217;ve got, and that&#8217;s it.</p>\n\n\n\n<p>[00:19:43] <strong>Louise Towler:</strong> I think you&#8217;ve got to be a responsible theme author. As an agency, we build our own custom themes for each client. So we&#8217;re not constrained in any way at the design stage. But if you&#8217;re choosing either a free theme or a paid for theme, you can be quite wise about it. So if you are you&#8217;re building a brochure site for a client, you don&#8217;t need to choose a theme with every possible e-commerce, form plugin, event plugin, all that extra code. If you&#8217;re not using font awesome icons, then don&#8217;t let the theme pull in the complete font awesome icon set.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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&#8217;s required. Well turn it off.</p>\n\n\n\n<p>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&#8217;t need to be downloaded for any other pages.</p>\n\n\n\n<p>The same with something like Google Maps, the API for Google Maps. Often you&#8217;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?</p>\n\n\n\n<p>Think about it from the user&#8217;s perspective, but then actually just have that Google Maps API code in the contact page. Don&#8217;t have it anywhere else on your website. It&#8217;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.</p>\n\n\n\n<p>[00:22:02] <strong>Nathan Wrigley:</strong> You mentioned earlier that obviously this is something you&#8217;re trying to embed in your company. You also mentioned that you don&#8217;t have the conversation about accessibility. It&#8217;s just the way it is.</p>\n\n\n\n<p>[00:22:10] <strong>Louise Towler:</strong> Well, we talk about it. The only time we really push back is where clients have got brand colors, which aren&#8217;t AA accessible, and then we discuss with them whether we can change them.</p>\n\n\n\n<p>[00:22:21] <strong>Nathan Wrigley:</strong> But are you going to in the future be having more conversations like this?</p>\n\n\n\n<p>[00:22:26] <strong>Louise Towler:</strong> Yes.</p>\n\n\n\n<p>[00:22:27] <strong>Nathan Wrigley:</strong>And if so, how forceful are you going to be with your clients if they push back? Say, no, no, no, no. There&#8217;s a delicate line here, isn&#8217;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.</p>\n\n\n\n<p>[00:22:39] <strong>Louise Towler:</strong> 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&#8217;m going to tell you why it&#8217;s not a good idea. In the end, it is your choice. It is your website. You own the site once you&#8217;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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>So sometimes you can argue it really strongly from a commercial reason, and they will listen and go, right, let&#8217;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&#8217;ll use that fancy type kit or whatever font, but let&#8217;s use something for the web that actually will work and not impact on the performance of the site. Because if they&#8217;re a commercial client, they&#8217;re going to care about the performance. We need to make them look good to their boss.</p>\n\n\n\n<p>[00:23:59] <strong>Nathan Wrigley:</strong> 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&#8217;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.</p>\n\n\n\n<p>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&#8217;s our badge to prove it.</p>\n\n\n\n<p>[00:24:32] <strong>Louise Towler:</strong> I&#8217;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&#8217;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&#8217;s not about collecting badges.</p>\n\n\n\n<p>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&#8217;ll increase your profits as a result?</p>\n\n\n\n<p>[00:25:15] <strong>Nathan Wrigley:</strong> 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?</p>\n\n\n\n<p>[00:25:26] <strong>Louise Towler:</strong> Well, we&#8217;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&#8217;re measuring our carbon footprint as part of that, as an agency. But we&#8217;re also doing other things as well. Making sure that we do things in a way that&#8217;s consciously responsible, and there&#8217;s got to be a business for good. We want to be a good citizen for the planet. And I think that&#8217;s quite a high standard. And there&#8217;s, I think about a thousand companies in the UK who have that. And we are not there yet, but it&#8217;s something that I think we can aspire to be.</p>\n\n\n\n<p>[00:26:12] <strong>Nathan Wrigley:</strong> 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&#8217;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?</p>\n\n\n\n<p>[00:26:37] <strong>Louise Towler:</strong> There&#8217;s a lot of people in communities where the communities are talking about this a lot. I think what&#8217;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.</p>\n\n\n\n<p>The legislation is coming. The governments are legislating now, and at the moment in the UK it&#8217;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.</p>\n\n\n\n<p>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&#8217;s going to be really hard to do and it&#8217;s going to take a while to do.</p>\n\n\n\n<p>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&#8217;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.</p>\n\n\n\n<p>[00:28:18] <strong>Nathan Wrigley:</strong> 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&#8217;ve done the due diligence.</p>\n\n\n\n<p>[00:28:31] <strong>Louise Towler:</strong> Yeah.</p>\n\n\n\n<p>[00:28:31] <strong>Nathan Wrigley:</strong> Okay, that&#8217;s really interesting. But still a way off. We&#8217;re still five years out from that portcullis closing?</p>\n\n\n\n<p>[00:28:37] <strong>Louise Towler:</strong> 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&#8217;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.</p>\n\n\n\n<p>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&#8217;re doing. The legislation is coming.</p>\n\n\n\n<p>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&#8217;t be part of a supplier to Tesco. Doesn&#8217;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&#8217;re using procurement as a tool to do that.</p>\n\n\n\n<p>And then on top of that, for some organizations now it&#8217;s affecting their access to finance. So if I&#8217;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?</p>\n\n\n\n<p>[00:30:22] <strong>Nathan Wrigley:</strong> So the window of opportunity for ignoring this is fast closing?</p>\n\n\n\n<p>[00:30:25] <strong>Louise Towler:</strong> And why not get ahead of it? Why not be that agency that can help your clients with these challenges?</p>\n\n\n\n<p>[00:30:32] <strong>Nathan Wrigley:</strong> Although you described that there&#8217;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&#8217;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&#8217;d like it to pollute more, please. That&#8217;s just not a conversation you&#8217;re going to get into.</p>\n\n\n\n<p>[00:30:56] <strong>Louise Towler:</strong> Exactly. Exactly.</p>\n\n\n\n<p>[00:30:58] <strong>Nathan Wrigley:</strong> That&#8217;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&#8217;s probably I don&#8217;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&#8217;ve got a computer, we know that it&#8217;s stored somewhere, but tell us about hosting, and what people are doing.</p>\n\n\n\n<p>[00:31:22] <strong>Louise Towler:</strong> 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&#8217;s what runs Texas. You don&#8217;t talk about the fact that you are running your hosting data centers on green energy. So it&#8217;s not that they&#8217;re not. It&#8217;s just that they&#8217;re not, it&#8217;s not necessarily part of their marketing message at this point, because the political climate isn&#8217;t necessarily conducive to that.</p>\n\n\n\n<p>[00:31:55] <strong>Nathan Wrigley:</strong> So you are saying that the hosting industry broadly are doing a fairly good job of this?</p>\n\n\n\n<p>[00:32:00] <strong>Louise Towler:</strong> 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&#8217;re using Google data centers.</p>\n\n\n\n<p>[00:32:09] <strong>Nathan Wrigley:</strong> That feels like one of the most grounded things that you can do. If you&#8217;re having a website, you can actually go out and look for green hosting.</p>\n\n\n\n<p>[00:32:16] <strong>Louise Towler:</strong> And the Green Software Foundation has a little URL. It&#8217;s a little tool. You can literally go and put in your domain name and it will tell you whether it&#8217;s running on a green hosting.</p>\n\n\n\n<p>[00:32:25] <strong>Nathan Wrigley:</strong> What is the Green Software Foundation?</p>\n\n\n\n<p>[00:32:27] <strong>Louise Towler:</strong> It&#8217;s a sort of organization that is talking about green software, green web, green all sorts of things. They&#8217;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&#8217;s like out of my league to be a member, but it doesn&#8217;t mean I can&#8217;t see what they&#8217;re doing and listen to what they&#8217;re doing.</p>\n\n\n\n<p>They&#8217;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&#8217;re building software and websites basically, and the things that you can do to make them run better in a greener way.</p>\n\n\n\n<p>[00:33:09] <strong>Nathan Wrigley:</strong> If I wanted to make my website more SEOable, I&#8217;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&#8217;ve done a good job here. Like a traffic light or something you, you know what I&#8217;m saying? </p>\n\n\n\n<p>[00:33:25] <strong>Louise Towler:</strong> Yep.</p>\n\n\n\n<p>[00:33:26] <strong>Nathan Wrigley:</strong> Are there tools similar to that, that we can use in WordPress?</p>\n\n\n\n<p>Maybe it&#8217;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&#8217;ve told us you&#8217;re using is consuming or creating this much carbon debt.</p>\n\n\n\n<p>[00:33:51] <strong>Louise Towler:</strong> There&#8217;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&#8217;ve done is something. We&#8217;ve been doing a thing. I did that thing of having a side project to the agency, and we&#8217;ve been building something for the past couple of years, and we&#8217;re about to launch a piece of software. It&#8217;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.</p>\n\n\n\n<p>[00:34:24] <strong>Nathan Wrigley:</strong> 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&#8217;s based upon upon some hosting.</p>\n\n\n\n<p>[00:34:40] <strong>Louise Towler:</strong> So we&#8217;re basically measuring the page, a measure of the data or page weight for each page. And then we&#8217;re looking at the visitors to the pages as well.</p>\n\n\n\n<p>[00:34:50] <strong>Nathan Wrigley:</strong> And are you giving like a score out at the end?</p>\n\n\n\n<p>[00:34:52] <strong>Louise Towler:</strong> We&#8217;re not giving a score at the moment, but eventually when the software&#8217;s launched and there&#8217;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.</p>\n\n\n\n<p>[00:35:17] <strong>Nathan Wrigley:</strong> Okay. And is this tool going to give you helpful advice on how to optimize it?</p>\n\n\n\n<p>[00:35:22] <strong>Louise Towler:</strong> Yes, we&#8217;re building out a knowledge base as well.</p>\n\n\n\n<p>[00:35:23] <strong>Nathan Wrigley:</strong> I was going to say, it&#8217;s all very well saying this page is doing really badly, but, you know, tough luck.</p>\n\n\n\n<p>[00:35:27] <strong>Louise Towler:</strong> Yeah.</p>\n\n\n\n<p>[00:35:28] <strong>Nathan Wrigley:</strong> So, where will it point me? What are the sort of metrics that you&#8217;re going to be helping me with?</p>\n\n\n\n<p>[00:35:31] <strong>Louise Towler:</strong> We&#8217;ll be helping with all the basics. It&#8217;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&#8217;s really lightweight and fast.</p>\n\n\n\n<p>And then a year later we could audit it and find, oh, content editors added, you know, 30 images and they didn&#8217;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&#8217;t take a long time to load.</p>\n\n\n\n<p>So what we are trying to do is give that feedback to editors in the browser when they&#8217;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&#8217;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.</p>\n\n\n\n<p>So the whole point is, it&#8217;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.</p>\n\n\n\n<p>[00:36:44] <strong>Nathan Wrigley:</strong> So slightly off piste a little bit. That&#8217;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&#8217;s any tool which can tell me, right at the end of today Nathan, you&#8217;ve been a poor citizen. Some kind of, I don&#8217;t know, a browser extension or something which tells me.</p>\n\n\n\n<p>[00:37:05] <strong>Louise Towler:</strong> I don&#8217;t know that. Nobody&#8217;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&#8217;t know the answer to that.</p>\n\n\n\n<p>[00:37:13] <strong>Nathan Wrigley:</strong> 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.</p>\n\n\n\n<p>[00:37:22] <strong>Louise Towler:</strong> You must be online a lot.</p>\n\n\n\n<p>[00:37:23] <strong>Nathan Wrigley:</strong> I really am. Yeah. Okay, when are you hoping to get this tool out?</p>\n\n\n\n<p>[00:37:28] <strong>Louise Towler:</strong> We are doing a soft launch, early adopter, by invitation to Indigo Tree clients mid-July.</p>\n\n\n\n<p>[00:37:33] <strong>Nathan Wrigley:</strong> Okay. So really soon.</p>\n\n\n\n<p>[00:37:35] <strong>Louise Towler:</strong> Yeah. And then from then on we&#8217;ll be building out new features and basically getting it to the point where we can launch it to people as a SaaS product.</p>\n\n\n\n<p>[00:37:45] <strong>Nathan Wrigley:</strong> So going to go beyond WordPress at some point?</p>\n\n\n\n<p>[00:37:47] <strong>Louise Towler:</strong> Couldn&#8217;t possibly say, but yes.</p>\n\n\n\n<p>[00:37:49] <strong>Nathan Wrigley:</strong> Maybe. Maybe, yeah.</p>\n\n\n\n<p>[00:37:50] <strong>Louise Towler:</strong> Well, it depends on the roadmap and it depends what interest we get. And for me it&#8217;s not just about the commercial side of, we to build something that&#8217;s obviously profitable and successful. It&#8217;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.</p>\n\n\n\n<p>And the great thing about when you&#8217;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.</p>\n\n\n\n<p>[00:38:26] <strong>Nathan Wrigley:</strong> Yeah. It really does sound interesting. Okay, so we&#8217;re going to have to wrap it up. We&#8217;re probably at the edge of the amount of time that we&#8217;ve got.</p>\n\n\n\n<p>Where would we go if we are curious about the things that you&#8217;ve talked about? So maybe that&#8217;s a link to your, the product that you&#8217;ve just mentioned. Maybe it&#8217;s just a more general set of resources. What are the two or three top places that you would send people?</p>\n\n\n\n<p>[00:38:45] <strong>Louise Towler:</strong> I&#8217;d definitely have a look at the Green Software Foundation. I would also go to, there&#8217;s a Slack channel in the WordPress. I think they&#8217;re just about to create a team in Core for sustainability. So I&#8217;d be going and talking to them.</p>\n\n\n\n<p>And then I would be keeping an eye on people like Wholegrain Digital. Tom and Vineeta talk about things a lot. Tom&#8217;s got a really great newsletter that you can subscribe to. So there&#8217;s lots of people talking about it, but I think it&#8217;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.</p>\n\n\n\n<p>[00:39:26] <strong>Nathan Wrigley:</strong> 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.</p>\n\n\n\n<p>[00:39:39] <strong>Louise Towler:</strong> I hope so.</p>\n\n\n\n<p>[00:39:39] <strong>Nathan Wrigley:</strong> As the years go on. Yeah, thank you for talking to me.</p>\n\n\n\n<p>[00:39:41] <strong>Louise Towler:</strong> You&#8217;re welcome. Thank you.</p>\n</div>\n\n\n\n<p>On the podcast today we have <a href=\"https://www.linkedin.com/in/louisetowler/\">Louise Towler</a>. She joined me at the recent WordCamp Europe in Athens to talk about websites and making them more sustainable.</p>\n\n\n\n<p>Louise is the founder of <a href=\"https://indigotree.co.uk/\">Indigo Tree</a>, a UK based agency with deep expertise in WordPress websites.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>This presentation is the focus of today&#8217;s podcast, and we cover quite a lot of ground.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>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 <em>and</em> improve performance.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>If you’re interested in how your sites can become more sustainable, this podcast is for you.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Useful links.</h2>\n\n\n\n<p><a href=\"https://europe.wordcamp.org/2023/session/digital-sustainability-the-benefits-for-business-and-the-environment/\">Louise WordCamp Europe presentation &#8211; Digital sustainability: The benefits for business and the environment</a></p>\n\n\n\n<p><a href=\"https://indigotree.co.uk/\">Indigo Tree website</a></p>\n\n\n\n<p><a href=\"https://perfmatters.io/\">Perf Matters plugin</a></p>\n\n\n\n<p><a href=\"https://www.gravityforms.com/\">Gravity Forms website</a></p>\n\n\n\n<p><a href=\"https://greensoftware.foundation/\">Green Software Foundation website</a></p>\n\n\n\n<p><a href=\"https://wordpress.slack.com/archives/C03JNV77Y57\">Sustainability Slack Channel</a></p>\n\n\n\n<p><a href=\"https://www.wholegraindigital.com/\">Wholegrain Digital website</a></p>\";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 14:00:00 +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:14:\"Nathan Wrigley\";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:16;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:54:\"Do The Woo Community: What the Client Thinks They Know\";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=75453\";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:53:\"https://dothewoo.io/what-the-client-thinks-they-know/\";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:385:\"<p>Clients consider they have learned a lot through GPT or by Googling it. They assume they know what will work best for them.</p>\n<p>&gt;&gt; The post <a rel=\"nofollow\" href=\"https://dothewoo.io/what-the-client-thinks-they-know/\">What the Client Thinks They Know</a> appeared first on <a rel=\"nofollow\" href=\"https://dothewoo.io\">Do the Woo - a WooCommerce Builder Community</a>	.</p>\";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:\"<p>Listen in on our Woo AgencyChat where Shadi and Jimmy talk about the journey of productizing your services.</p>\n<p>&gt;&gt; The post <a rel=\"nofollow\" href=\"https://dothewoo.io/productizing-your-agency-services-with-shadi-manna-and-jimmy-rosen/\">Productizing Your Agency Services with Shadi Manna and Jimmy Rosén</a> appeared first on <a rel=\"nofollow\" href=\"https://dothewoo.io\">Do the Woo - a WooCommerce Builder Community</a>	.</p>\";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:\"<p>WordCamp Dhaka (Bangladesh) 2023 has been <a href=\"https://dhaka.wordcamp.org/2023/\">cancelled</a> 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. </p>\n\n\n\n<p>The Community Team <a href=\"https://dhaka.wordcamp.org/2023/\">published a statement</a> on the event&#8217;s website, which cited the interference of corporate interests: </p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>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&nbsp;<a href=\"https://make.wordpress.org/community/handbook/wordcamp-organizer/become-an-organizer/representing-wordpress/\">globally shared values</a>. The Community team cannot support the event if a WordCamp is not aligned with these values.</p>\n\n\n\n<p><a href=\"https://make.wordpress.org/community/handbook/meetup-organizer/meetup-program-basics/#the-five-good-faith-rules\">WordPress events benefit the WordPress community as a whole, not specific businesses or individuals</a>. 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.</p>\n</blockquote>\n\n\n\n<p>The Community Team urged the Dhaka community to focus on collaborative organization, companies uplifting the community, and greater diversity in participation.</p>\n\n\n\n<p>In an equally vague <a href=\"https://make.wordpress.org/community/2023/07/03/incident-report-recent-cancelation-of-a-wordcamp/\">incident report</a> on WordPress.org, which doesn&#8217;t even identify the WordCamp that was cancelled, Community Team contributor Sam Suresh called it &#8220;an unfortunate but necessary decision.&#8221; He summarized the team&#8217;s reasons for the decision:</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>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.</p>\n</blockquote>\n\n\n\n<p>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.</p>\n\n\n\n<p>&#8220;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,&#8221; Suresh said. &#8220;As a community, <a href=\"https://make.wordpress.org/handbook/community-code-of-conduct/#our-expectations\">we will not tolerate harassment or influencing unacceptable behaviors</a>.&#8221;</p>\n\n\n\n<p>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&#8217;s nebulous posts on the matter seem to have further scandalized the situation, instead of offering clarity and transparency.</p>\n\n\n\n<p>&#8220;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,&#8221; WordPress marketing and meta contributor Sé Reed commented.</p>\n\n\n\n<p>&#8220;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 &#8216;official&#8217; role(s).&#8221;</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>&#8220;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,&#8221; Reed said.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>&#8220;I’m on the fence about knowing peoples’ names here, but I think people definitely need to know the <strong>companies</strong> involved; actively trying to sabotage a WordPress WordCamp is a serious breach of trust for the community,&#8221; WebDevStudios Director of Engineering Mitch Cantor said. &#8220;Especially when they may turn around and then make money from that said community they tried to sabotage.&#8221;</p>\n\n\n\n<p>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&#8217; globally shared values.</p>\n\n\n\n<p>&#8220;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,&#8221; Reed said.</p>\";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:\"<p>WordPress 6.3 Beta 3 is ready for download and testing!</p>\n\n\n\n<p><strong>This version of the WordPress software is under development.</strong> <strong>Please do not install, run, or test this version on production or mission-critical websites.</strong> Instead, it is recommended you evaluate Beta 3 on a test server and site. </p>\n\n\n\n<p>Get an overview of the <a href=\"https://make.wordpress.org/core/6-3/\">6.3 release cycle</a>, and check the <a href=\"https://make.wordpress.org/core/\">Make WordPress Core blog</a> for <a href=\"https://make.wordpress.org/core/tag/6-3/\">6.3-related posts</a> 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 <a href=\"https://make.wordpress.org/core/2023/02/04/phase-2-finale/\">Phase 2</a>.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Beta 3 highlights</h2>\n\n\n\n<p>Thanks to the many WordPress beta testers, this release contains approximately 34 (Site Editor) and 40+ (Trac) updates since the <a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">Beta 2 release</a>. Nice work, team!</p>\n\n\n\n<p>Testers should note that the &#8220;Patterns Library&#8221; is <a href=\"https://github.com/WordPress/gutenberg/pull/52102\">now simply called <em>Patterns</em></a> in the UI. Additionally, pattern details now include a <a href=\"https://github.com/WordPress/gutenberg/pull/51954\">sync status</a> and a <a href=\"https://github.com/WordPress/gutenberg/pull/51990\">lock icon</a> is added for theme patterns.</p>\n\n\n\n<p>Browse the technical details for issues addressed since Beta 2 using these queries:</p>\n\n\n\n<ul>\n<li><a href=\"https://github.com/WordPress/gutenberg/commits/wp/6.3\">GitHub commits for 6.3</a></li>\n\n\n\n<li>Closed <a href=\"https://core.trac.wordpress.org/query?status=accepted&status=closed&changetime=06%2F28%2F2023..07%2F03%2F2023&milestone=6.3&col=id&col=milestone&col=owner&col=type&col=priority&order=id\">Trac tickets</a> since June 28</li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">Test the new features in WordPress 6.3</h2>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>While testing the upgrade process is essential, trying out new features is too. Review the many <a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">new features in WordPress 6.3</a> and focus your testing efforts on those areas in particular.</p>\n\n\n\n<ul>\n<li>Encountered an issue? Please report it to the <a href=\"https://wordpress.org/support/forum/alphabeta/\">Alpha/Beta area</a> in the support forums. If you are comfortable writing a reproducible bug report, you can <a href=\"https://core.trac.wordpress.org/newticket\">file one on WordPress Trac</a>. You can also check your issue against a list of <a href=\"https://core.trac.wordpress.org/tickets/major\">known bugs</a>.</li>\n\n\n\n<li>New to testing? This <a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">detailed guide</a> is a great place to start if you&#8217;ve never tested a beta release.</li>\n\n\n\n<li>Want to know more about testing releases in general? Follow along with the <a href=\"https://make.wordpress.org/test/\">testing initiatives in Make Core</a> and join the <a href=\"https://wordpress.slack.com/messages/core-test/\">#core-test channel</a> on the <a href=\"https://wordpress.slack.com/\">Making WordPress Slack</a>.</li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">Vulnerability bounty doubles during the Beta/RC phases</h2>\n\n\n\n<p>Between the Beta 1 release and the final release candidate (RC), the <a href=\"https://make.wordpress.org/security/2023/06/28/doubling-the-bounties-for-wordpress-6-3-beta/\">monetary reward for reporting new, unreleased security vulnerabilities is double</a>. Please follow responsible disclosure practices as detailed in the project’s security practices and policies outlined on the <a href=\"https://hackerone.com/wordpress\">HackerOne page</a> and in the <a href=\"https://wordpress.org/about/security/\">security white paper</a>.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Get WordPress 6.3 Beta 3</h2>\n\n\n\n<p>You can test WordPress 6.3 Beta 3 in three ways:</p>\n\n\n\n<ul>\n<li><strong>Option 1:</strong> Install and activate the <a href=\"https://wordpress.org/plugins/wordpress-beta-tester/\">WordPress Beta Tester</a> plugin (select the “Bleeding edge” channel and “Beta/RC Only” stream).</li>\n\n\n\n<li><strong>Option 2: </strong>Direct download the <a href=\"https://wordpress.org/wordpress-6.3-beta3.zip\">Beta 3 version (zip)</a>.</li>\n\n\n\n<li><strong>Option 3:</strong> Use the following WP-CLI command:<br /><code>wp core update --version=6.3-beta3</code></li>\n</ul>\n\n\n\n<p>The current target for the final release is <strong>August 8, 2023</strong>, which is about five weeks away. Your help testing this version ensures everything in this release is the best.</p>\n\n\n\n<h2 class=\"wp-block-heading\">A Beta 3 Haiku for You</h2>\n\n\n\n<p>Beta three, a peek<br />Summer here and winter there<br />A fourth in one week</p>\n\n\n\n<p><em>Thank you to the contributors who collaborated on this post: </em><a href=\"https://profiles.wordpress.org/dansoschin/\"><em>@DanSoschin</em></a>, <a href=\"https://profiles.wordpress.org/meher/\"><em>@Meher</em></a>, <a href=\"https://profiles.wordpress.org/jpantani/\"><em>@JPantani</em></a><em>, </em><a href=\"https://profiles.wordpress.org/eidolonnight/\"><em>@eidolonnight</em></a><em>, </em><a href=\"https://profiles.wordpress.org/davidbaumwald/\"><em>@davidbaumwald</em></a>, <a href=\"https://profiles.wordpress.org/priethor/\">@priethor</a>, and <a href=\"https://profiles.wordpress.org/dansoschin/\"><em>@DanSoschin</em></a> for the Haiku.</p>\";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 17:10:55 +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:20;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:\"WPTavern: Ultimate Member 2.6.7 Patches Privilege Escalation Vulnerability\";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=146476\";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:85:\"https://wptavern.com/ultimate-member-2-6-7-patches-privilege-escalation-vulnerability\";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:3293:\"<p>Authors of the Ultimate Member plugin have <a href=\"https://docs.ultimatemember.com/article/1866-security-incident-update-and-recommended-actions\">released version 2.6.7</a> with a patch for a privilege escalation vulnerability. Last week <a href=\"https://wptavern.com/hackers-actively-exploiting-unpatched-privilege-escalation-vulnerability-in-ultimate-member-plugin\">WPScan reported that Ultimate Member had still not fully patched the vulnerability</a> after multiple inadequate attempts. There was evidence that it was being actively exploited in the wild.</p>\n\n\n\n<p>Working through the complexities of this security issue, WPScan researcher Marc Montpas opened a <a href=\"https://core.trac.wordpress.org/ticket/58679#ticket\">ticket</a> on WordPress trac, identifying an issue with the meta key field in the usermeta table using accent insensitive collations:</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>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 <code>meta_key</code> field. This results in queries for <code>wp_cãpăbilitiës</code> to return the actual <code>wp_capabilities</code> row! See <code>update_metadata()</code> function in wp-includes/meta.php</p>\n\n\n\n<p>Imagine the attack surface this brings. In fact, don&#8217;t imagine, just look at the recent attacks in the wild.</p>\n</blockquote>\n\n\n\n<p>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&#8217;s security advisory details a few other changes that may affect third-party developers:</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>2.6.7 also separates form settings data and submitted data and operates them in 2 different variables. </p>\n\n\n\n<p>[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</p>\n</blockquote>\n\n\n\n<p>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&#8217;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:</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>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.</p>\n</blockquote>\n\n\n\n<p>All Ultimate Member users should update to the latest available version, 2.6.7, which has the patch for the vulnerability. The plugin&#8217;s developers are awaiting more feedback from WPScan and are evaluating all their extensions to ensure they are secure. </p>\";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 16:22:27 +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:21;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:\"WordPress.org blog: WP Briefing: Episode 59: A Polyglot’s 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:53:\"https://wordpress.org/news/?post_type=podcast&p=15281\";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://wordpress.org/news/2023/07/episode-59-a-polyglots-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:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:30292:\"<p>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&#8217; work to continue to help bring translation to WordPress.   </p>\n\n\n\n<p><em><strong>Have a question you’d like answered? You can submit them to&nbsp;<a href=\"mailto:wpbriefing@wordpress.org\">wpbriefing@wordpress.org</a>, either written or as a voice recording.</strong></em></p>\n\n\n\n<h2 class=\"wp-block-heading\">Credits</h2>\n\n\n\n<p>Host: <a href=\"https://profiles.wordpress.org/chanthaboune/\">Josepha Haden Chomphosy</a><br />Guests: <a href=\"https://profiles.wordpress.org/akirk/\">Alex Kirk</a><br />Editor: <a href=\"https://profiles.wordpress.org/dustinhartzler/\">Dustin Hartzler</a><br />Logo: <a href=\"https://profiles.wordpress.org/javiarce/\">Javier Arce</a><br />Production: <a href=\"https://profiles.wordpress.org/bjmcsherry/\">Brett McSherry</a> and <a href=\"https://profiles.wordpress.org/eidolonnight/\">Nicholas Garofalo</a><br />Song: Fearless First by Kevin MacLeod</p>\n\n\n\n<h2 class=\"wp-block-heading\">Show Notes</h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/polyglots/\">Polyglots team</a></li>\n\n\n\n<li><a href=\"https://wordpress.org/about/roadmap/\">Gutenberg Project roadmap</a></li>\n\n\n\n<li><a href=\"https://wordpress.org/plugins/glotpress/\">GlotPress plugin</a></li>\n\n\n\n<li><a href=\"https://translate.wordpress.org/\">Translating WordPress</a> &#8211; Contribute to WordPress core, themes, and plugins by translating them into your language.</li>\n\n\n\n<li><a href=\"https://developer.wordpress.org/playground/\">WordPress Playground</a> &#8211; WordPress that runs entirely in your browser.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/polyglots/2023/05/08/translate-live-updates-to-the-translation-playground/\">Translate Live: Updates to the Translation Playground</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/polyglots/handbook/about/roles-and-capabilities/\">Polyglots Roles and Capabilities</a> &#8211; Including the <a href=\"https://make.wordpress.org/polyglots/handbook/about/roles-and-capabilities/#general-translation-editor\">GTE</a> and <a href=\"https://make.wordpress.org/polyglots/handbook/about/roles-and-capabilities/#project-translation-editor\">PTE</a> roles.</li>\n\n\n\n<li><a href=\"https://href.li/?https://2023.wpcampus.org/\">WPCampus 2023</a> &#8211; A hybrid event, July 12th through the 14th, at Tulane University in New Orleans, Louisiana. Topics focus on the growth of higher education, accessibility, WordPress, and anyone who works in higher education.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/project/2023/06/23/launch-your-wordpress-contributor-journey-through-the-mentorship-program-pilot/\">Launch your WordPress Contributor Journey through the Mentorship Program Pilot</a> &#8211; A cohort-based onboarding experience with guided courses and live workshops for those interested in contributing to the project but unsure where to begin.</li>\n\n\n\n<li><a href=\"https://make.wordpress.org/meta/2023/06/20/make-team-dashboards/\">Make Team Dashboards</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">Transcript</h2>\n\n\n\n<span id=\"more-15281\"></span>\n\n\n\n<p><em>( Intro music )</em></p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:00:10]&nbsp;</strong></p>\n\n\n\n<p>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&#8217;m your host, Josepha Haden Chomphosy. Here we go.</p>\n\n\n\n<p><em>( Intro music )</em></p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:00:39]&nbsp;</strong></p>\n\n\n\n<p>I have with me Alex Kirk, who is a longtime WordPress contributor and who has been instrumental in recent innovations in the Polyglots&#8217; 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&#8217;s to come in that specific roadmap.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:00:59]&nbsp;</strong></p>\n\n\n\n<p>So without further ado, Alex Kirk, welcome to the WordPress Briefing.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:01:03]</strong></p>\n\n\n\n<p>Hello, how are you doing?&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:01:05]</strong></p>\n\n\n\n<p>I&#8217;m good. I&#8217;m good. Can you, let&#8217;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&#8217;t know yet?&nbsp;</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:01:19]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:01:46]</strong></p>\n\n\n\n<p>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?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:01:56]</strong></p>\n\n\n\n<p>Yeah, there&#8217;s no clear path, but it&#8217;s our mission to find it. So that&#8217;s part of what makes things interesting.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:02:05]</strong></p>\n\n\n\n<p>Cool. So for folks who don&#8217;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?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:02:16]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:02:55]</strong></p>\n\n\n\n<p>Probably, WordPress.org is pretty, pretty massive. Also, I think it&#8217;s great that you said that GlotPress was created a couple of years ago, like that, that indicates to me that you&#8217;re working on a really different timescale than a lot of folks are in WordPress.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:03:10]</strong></p>\n\n\n\n<p>So Alex, tell me a little bit about what it takes to ship translated WordPress software. So, I mean, for people who don&#8217;t need translated WordPress, like obviously we don&#8217;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?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:03:32]</strong></p>\n\n\n\n<p>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&#8217;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&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:03:32]</strong></p>\n\n\n\n<p>So, we&#8217;ve got people who have lots of experience in translation. And specifically in translating WordPress or WordPress plugins. And they&#8217;re kind of the, the people who help ensure good quality of translation. So anybody who&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:05:03]</strong></p>\n\n\n\n<p>You know, when you have like a small thing that&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:05:20]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:05:35]</strong></p>\n\n\n\n<p>And is 90% the threshold for plugins only, or is that also the threshold for like themes and the CMS itself?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:05:34]</strong></p>\n\n\n\n<p>Well. We strive for 100%, I would say.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:05:47]</strong></p>\n\n\n\n<p>Good. <em>( laughs )</em></p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:05:48]</strong></p>\n\n\n\n<p>And, 90% more of a motivational point. To be actually honest, I&#8217;m not sure if the threshold is 90% for every project or even if it&#8217;s actually 90%. It&#8217;s different between different GlotPress installations and it&#8217;s basically something that is made as a setting that can be changed. There&#8217;s, it&#8217;s an arbitrary number. Typically you&#8217;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&#8217;t you probably want everybody to search for the English one to find the solution? But that set-aside, it&#8217;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&#8217;s good enough to be shipped.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:07:02]</strong></p>\n\n\n\n<p>Gotcha. I see, I see. Okay. Well, we talked a bit earlier about GlotPress&#8217;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?&nbsp;</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:07:19]</strong></p>\n\n\n\n<p>Yeah, so I think for GlotPress there&#8217;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&#8217;ve added a couple of things that have been very helpful for translators. So one of them was adding the commenting functionality, so yeah.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:07:35]</strong></p>\n\n\n\n<p>Super helpful. Shocked it wasn&#8217;t there before. Sorry, translators. Sorry, all of our polyglots.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:07:40]</strong></p>\n\n\n\n<p>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&#8217;s approved state, which basically a translation we say it&#8217;s set to current, and there&#8217;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&#8217;t fully conform to what&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:08:16]</strong></p>\n\n\n\n<p>And that has been something that we felt wasn&#8217;t a very good and enticing way of telling people like, we appreciate your work. It wasn&#8217;t just quite right, but it&#8217;s more of a rejection. So this is how we came up with this like, let&#8217;s give people the option to say what was wrong and give them a chance to try again without making them feel rejected.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:08:38]</strong></p>\n\n\n\n<p>Yeah. Sort of a &#8220;No, but&#8230;&#8221; as opposed to a, just refusal to receive it.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:08:45]</strong></p>\n\n\n\n<p>And other things that we&#8217;ve worked on is, like, with the recent search of AI, like getting help from AI on translation and also on reviews. So, there&#8217;s some interesting things that you can do with AI in that regard; that one important aspect of translations, it&#8217;s also that we&#8217;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.&nbsp;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:09:25]</strong></p>\n\n\n\n<p>That is great. That&#8217;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&#8217;ll just like translate it all and hope that computers get it right when we know pretty certainly that computers don&#8217;t always get the translations right. But that&#8217;s not what you&#8217;re talking about, right? What you&#8217;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&#8217;s correct, right?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:09:59]</strong></p>\n\n\n\n<p>That&#8217;s exactly it. So basically, we give suggestions to the translators, and then they can modify a translation before they press save. It&#8217;s more of a, like supporting them in getting the translations, like looking up words more quickly and all of that.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:10:16]</strong></p>\n\n\n\n<p>That&#8217;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?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:10:27]</strong></p>\n\n\n\n<p>So one direction that we&#8217;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&#8217;s like GlotPress installed, there&#8217;s translation projects created, something that we call &#8220;translation sets&#8221;. So for languages, you want to translate it to, it&#8217;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&#8217;ve added is a way for you to basically be able to translate the plugins and themes that you&#8217;ve got installed in your WordPress into the language that you&#8217;re interested in.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:11:07]</strong></p>\n\n\n\n<p>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&#8217;s the way to, that&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:11:35]</strong></p>\n\n\n\n<p>So that&#8217;s with local GlotPress?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:11:37]</strong></p>\n\n\n\n<p>That&#8217;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&#8217;ve got like all the GlotPress software there.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:11:56]</strong></p>\n\n\n\n<p>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&#8217;re making, basically turning the screen from red to green.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:12:20]</strong></p>\n\n\n\n<p>Yeah. Yeah. So that&#8217;s something now that you can do in your local WordPress installation.&nbsp;</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:12:26]</strong></p>\n\n\n\n<p>Basically, it&#8217;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&#8217;ve got different dialects or like special words that we use. And if I wanted to create a website that&#8217;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&#8217;s a, it&#8217;s like a very targeted market. But if I have a local GlotPress, I can do those translations there.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:13:11]</strong></p>\n\n\n\n<p>That seems awfully beneficial, especially as dialects. I&#8217;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&#8217;s saying when you&#8217;re speaking all the same thing, but it&#8217;s kind of a little bit it sounds a little bit different.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:13:37]</strong></p>\n\n\n\n<p>That&#8217;s certainly a thing in the US, the distinct dialects across our country. And so I imagine that that&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:14:01]</strong></p>\n\n\n\n<p>Is that the same or different as the live translations, Translate Live, that we talked about at the WordCamp Europe a couple weeks back?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:14:12]</strong></p>\n\n\n\n<p>Right. So, Translate Live is kind of the next step after local GlotPress. It&#8217;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&#8217;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&#8217;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.&nbsp;</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:15:07]</strong></p>\n\n\n\n<p>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&#8217;ve got inline translation. We add the glossary so they do make sure that you translate things the same way that they&#8217;re expected, and you don&#8217;t have to install the plugin.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:15:33]</strong></p>\n\n\n\n<p>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&#8217;re in the table view, those strings might be somewhere buried in the middle, and yeah, it&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:16:02]</strong></p>\n\n\n\n<p>Yeah. So, moving translations away from table-based translations where you kind of have to know what you&#8217;re looking for. So the Translate Live, along with local GlotPress, along with WP Playground, is going to make it so that it&#8217;s easier to see visually what needs to be translated, where, what&#8217;s most valuable to translate for your mid users and your end users, basically.</p>\n\n\n\n<p>Yeah?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:16:30]</strong></p>\n\n\n\n<p>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&#8217;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&#8217;s my plugin like in this environment. I mean, this is not technically something that&#8217;s related to local GlotPress, but in this translation live ui, it&#8217;s very easy to change languages and see your plugin in another language.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:17:06]</strong></p>\n\n\n\n<p>I mean, it&#8217;s not specifically related to, to Translations Live, but also, I think that if we&#8217;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&#8217;s still a little bit far out on our roadmap. We certainly have an opportunity to have the best implementation of that.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:17:27]</strong></p>\n\n\n\n<p>And even if like that specific use case that you&#8217;re talking about isn&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:18:00</strong>]</p>\n\n\n\n<p>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&#8217;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.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:18:22]</strong></p>\n\n\n\n<p>So there were a couple of different things that you mentioned over the course of our conversation. We&#8217;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&#8217;s listening to this podcast who wants to become a GTE someday, where would they go to do that?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:18:54]</strong></p>\n\n\n\n<p>So the path to GTE is a PTE.&nbsp;<em>( laughs )</em></p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:18:59]</strong></p>\n\n\n\n<p>So, we&#8217;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&#8217;re very firm in your language. And this might make you be noticed in the community.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:19:16]</strong></p>\n\n\n\n<p>So we&#8217;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&#8217;ll be able to approve translations. So, you&#8217;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.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:19:42]</strong></p>\n\n\n\n<p>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&#8217;s, usually you&#8217;ll be in, in that position with other GTEs.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:20:04]</strong></p>\n\n\n\n<p>So there is, like, in each community, there is like, we&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:20:35]</strong></p>\n\n\n\n<p>And if folks are not familiar where the Polyglots team works and meets, where would they find you all?</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:20:41]</strong></p>\n\n\n\n<p>At make.WordPress.org/polyglots.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:20:45]</strong></p>\n\n\n\n<p>Perfect. Alex, this has been such a fascinating conversation. Thank you so much for joining me today.</p>\n\n\n\n<p><strong>[Alex Kirk&nbsp; 00:20:50]</strong></p>\n\n\n\n<p>Thank you very much.&nbsp;</p>\n\n\n\n<p><em>( Intermission music )</em></p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:20:59]</strong></p>\n\n\n\n<p>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&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:21:17]</strong></p>\n\n\n\n<p>It&#8217;s a hybrid event. There is an in-person component on the beautiful campus of Tulane University in New Orleans, Louisiana. I&#8217;ll add information about that in our show notes for anyone who would like to join in person or online.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:21:32]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:21:39]</strong></p>\n\n\n\n<p>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&#8217;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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:21:59]</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:22:20]</strong></p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:22:38]</strong></p>\n\n\n\n<p>And that, my friends, is your small list of big things.</p>\n\n\n\n<p><strong>[Josepha Haden Chomphosy&nbsp; 00:22:42]</strong></p>\n\n\n\n<p>Thanks for tuning in today for the WordPress Briefing. I&#8217;m your host, Josepha Haden Chomphosy, and I&#8217;ll see you again in a couple of weeks.</p>\n\n\n\n<p><em>( Outro music )</em></p>\";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 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:14:\"Brett McSherry\";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:22;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:49:\"Do The Woo Community: Opportunities on Do the Woo\";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=75409\";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:48:\"https://dothewoo.io/opportunities-on-do-the-woo/\";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:360:\"<p>There are many ways to be a guest or host on the podcast. Or maybe you have an idea you would like to pitch.</p>\n<p>&gt;&gt; The post <a rel=\"nofollow\" href=\"https://dothewoo.io/opportunities-on-do-the-woo/\">Opportunities on Do the Woo</a> appeared first on <a rel=\"nofollow\" href=\"https://dothewoo.io\">Do the Woo - a WooCommerce Builder Community</a>	.</p>\";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 08:10:00 +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:23;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:104:\"Gutenberg Times: Extending Gutenberg and the block editor, testing WordPress 6.3 – Weekend Edition 259\";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=24561\";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:110:\"https://gutenbergtimes.com/extending-gutenberg-and-the-block-editor-testing-wordpress-6-3-weekend-edition-259/\";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:14380:\"<p>Howdy, </p>\n\n\n\n<p>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: <a href=\"https://twitter.com/bph/status/1675157669479366657\">here</a>, <a href=\"https://twitter.com/bph/status/1675123509117288448\">here</a>, <a href=\"https://twitter.com/bph/status/1675106732823965696\">here</a>, and on <a href=\"https://www.linkedin.com/feed/update/urn:li:activity:7080834770032586754/\">LinkedIN</a>. Language switching is as difficult as context switching. </p>\n\n\n\n<p>WordPress 6.3 Beta 1 is released, as well as Gutenberg 16.1.  More below. </p>\n\n\n\n<p>Yours, 💕<br /><em>Birgit</em></p>\n\n\n\n\n\n\n<div class=\"wp-block-group has-light-background-background-color has-background is-layout-flow wp-block-group-is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<p><strong>Table of Contents</strong></p>\n\n\n\n<div class=\"wp-block-sortabrilliant-guidepost\"><ul><li><a href=\"https://gutenbergtimes.com/feed/#0-word-press-release-information\">Developing Gutenberg and WordPress</a><ul><li><a href=\"https://gutenbergtimes.com/feed/#1-word-press-6-3\">WordPress 6.3 </a></li><li><a href=\"https://gutenbergtimes.com/feed/#2-gutenberg-16-1\">Gutenberg 16.1 </a></li></ul></li><li><a href=\"https://gutenbergtimes.com/feed/#0-p\">Plugins, Themes, and Tools for #nocode site builders and owners</a></li><li><a href=\"https://gutenbergtimes.com/feed/#4-theme-development-for-full-site-editing-and-blocks\">Theme Development for Full Site Editing and Blocks</a></li><li><a href=\"https://gutenbergtimes.com/feed/#3-building-themes-for-fse-and-word-press\">Building Blocks and Tools for the Block editor. </a></li></ul></div>\n</div></div>\n\n\n\n\n<div class=\"wp-block-group has-light-background-background-color has-background is-layout-constrained wp-block-group-is-layout-constrained\"><div class=\"wp-block-group__inner-container\">\n<p><strong>If you haven&#8217;t yet, it&#8217;s time to reseaver your seat! for <a href=\"https://us02web.zoom.us/webinar/register/7516851799317/WN_AFgYtmyaRviAY3b2oGP2pg\">next  week&#8217;s Gutenberg Live Q &amp; A on July 6th, 2023, at 17:00 UTC</a> </strong></p>\n\n\n\n<p class=\"has-accent-color has-text-color has-large-font-size\"><strong>Leveraging Gutenberg&#8217;s architecture to take plugin development to new levels.</strong></p>\n\n\n\n<p>Learn how Gutenberg components and scripts can be used outside the block editor to revamp a plugin&#8217;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. </p>\n\n\n\n<a href=\"https://us02web.zoom.us/webinar/register/7516851799317/WN_AFgYtmyaRviAY3b2oGP2pg\"><img /></a>\n</div></div>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"0-word-press-release-information\">Developing Gutenberg and WordPress</h2>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"1-word-press-6-3\">WordPress 6.3 </h3>\n\n\n\n<p>On Tuesday, <a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">WordPress 6.3 Beta 2</a> was released, after Beta 1 wasn&#8217;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. </p>\n\n\n\n<p>Please, <a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">help test WordPress 6.3</a>, and report issue you encounter. </p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"2-gutenberg-16-1\">Gutenberg 16.1 </h3>\n\n\n\n<p>Gutenberg 16.1 was released led by Isabel Brison and Ramon Dodd. In their release post, <a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/\">What’s new in Gutenberg 16.1? (29 June)</a>, they highlight the following functionality: </p>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/#your-templates-and-patterns-your-library\">Your templates and patterns, your library</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/#create-your-site-without-distraction\">Create your site without distraction</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/#text-blocks-now-with-footnotes\">Text blocks: now with footnotes</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/#achieve-more-with-the-site-editor-sidebar\">Achieve more with the Site editor sidebar</a></li>\n</ul>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>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. <a href=\"https://gutenbergtimes.com/podcast/gutenberg-changelog-85-gutenberg-16-1-wordpress-6-3/\">The episode and the show notes are already available</a>. The transcript is still in the works.</p>\n\n\n\n<img />To book cases, two developers having fun and a podcast episode \n\n\n\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<p class=\"is-style-no-vertical-margin\"><strong>🎙️ </strong> New episode:  <a href=\"https://gutenbergtimes.com/podcast/gutenberg-changelog-85-gutenberg-16-1-wordpress-6-3/\">Gutenberg Changelog #85 – Gutenberg 16.1, WordPress 6.3</a> with special guest, Tammie Lister and host Birgit Pauli-Haack</p>\n</div></div>\n\n\n\n<p><strong>Sarah Gooding</strong> also reported on the Gutenberg 16.1 in her article: <strong><a href=\"https://wptavern.com/gutenberg-16-1-introduces-pattern-creation-and-library-adds-distraction-free-mode-to-site-editor\">Gutenberg 16.1 Introduces Pattern Creation and Library, Adds Distraction Free&nbsp;Mode to Site Editor</a>, </strong>highlighting additional functionality found in this mamooth release.</p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>In his latest video, <a href=\"https://www.youtube.com/watch?v=s1L28GuA-y0\"><strong>Unlocking the Power of Navigation in WORDPRESS 6.3: What YOU Need to Know</strong></a>, <strong>Dave Smith</strong>, 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. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>Anne McCarthy and Emily Clark will co-host a <a href=\"https://make.wordpress.org/core/2023/06/29/hallway-hangout-performance-improvements-for-wordpress-6-3/\"><strong>Hallway Hangout to discussion WordPress 6.3 performance improvement</strong></a> 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. </p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"0-p\">Plugins, Themes, and Tools for #nocode site builders and owners</h2>\n\n\n\n<p><strong>Mike McAlister</strong> advocates for <a href=\"https://olliewp.com/dont-call-it-gutenberg-anymore/\"><strong>Don’t call it Gutenberg anymore (unless you actually mean to)</strong></a>. &#8220;<strong>it’s time to drop the Gutenberg vocabulary</strong>&nbsp;from our day to day usage, unless we’re&nbsp;<em>actually</em>&nbsp;talking about the Gutenberg project or development plugin.&#8221; 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. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Rich Tabor </strong>published a new Pattern in the directory on WordPress.org: <a href=\"https://wordpress.org/patterns/pattern/two-column-matted-gallery-images/\"><strong>Two Column, Matted Gallery Images</strong></a>. &#8220;I really want to keep pushing whats possible with all this new design tooling in WordPress.&#8221; Tabor <a href=\"https://twitter.com/richard_tabor/status/1674877679084994561\">tweeted.</a> 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 &#8220;synched patterns&#8221;. </p>\n\n\n\n<img />\n\n\n\n<h2 class=\"wp-block-heading\" id=\"4-theme-development-for-full-site-editing-and-blocks\">Theme Development for Full Site Editing and Blocks</h2>\n\n\n\n<p>In his, <strong>Benjamín Pérez Sout</strong> at Yotako,vannounces the new plugin release that allows users to <a href=\"https://blog.yotako.io/new-release-figma-adobexd-editon-as-gutenberg-blocks/\"><strong> Edit your Figma &amp; Adobe XD designs as WordPress Gutenberg blocks</strong></a>. The toolset of Yotaku provides some amazing synergies between AI and various design tools to Gutenberg Blocks. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Ryan Welcher continued his series <em>Creating a block theme for developers</em> with <a href=\"https://www.twitch.tv/videos/1846930916\">Part 4</a> and <a href=\"https://www.twitch.tv/videos/1858860550\">Part 5 </a></strong>on Twitch. If you want to catch up on Parts 1 through 3, they are available on <a href=\"https://www.youtube.com/ryanwelchercodes\"><strong>Welcher&#8217;s YouTube Channel</strong></a></p>\n\n\n\n\n<p><strong>&nbsp;<a href=\"https://make.wordpress.org/core/handbook/references/keeping-up-with-gutenberg-index/\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;Keeping up with Gutenberg &#8211; Index 2022&#8221;</a>&nbsp;</strong><br />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.  <a href=\"https://make.wordpress.org/core/handbook/references/keeping-up-with-gutenberg-index/keeping-up-with-gutenberg-index-2020/\"><em>The index 2020 is here</em></a></p>\n\n\n\n\n<h2 class=\"wp-block-heading\" id=\"3-building-themes-for-fse-and-word-press\">Building Blocks and Tools for the Block editor. </h2>\n\n\n\n<p>The recording of this week&#8217;s <a href=\"https://wordpress.tv/2023/06/30/developer-hours-exploring-editor-extensibility/\"><strong>Developer Hours: Exploring Editor Extensibility</strong></a> is now online with <strong>Michael Burridge</strong>, <strong>Nick Diego</strong>, and <strong>Ryan Welcher</strong> giving demos on various ways developer can already extend blocks and the editor experience. They also shared lots of resources and examples. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Igor Benic</strong> explained in his blog post <a href=\"https://www.ibenic.com/how-to-programmatically-add-a-block-in-the-wordpress-block-editor/\"><strong>How to Programmatically add a block in the WordPress Block Editor</strong></a>. &#8220;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.&#8221; he wrote and showed how to use &#8211; <code>wp.blocks.createBlock</code> &#8211;<code> wp.data.dispatch(\'core/block-editor\').insertBlocks</code> to accomplish the task. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>Working with Blocks also means getting data via the Rest API. The team of <em>Learn WordPress </em>just published the new course on <a href=\"https://learn.wordpress.org/course/developing-with-the-wordpress-rest-api/\"><strong>Introduction to developing with the WordPress REST API</strong></a>. &#8220;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.&#8221; they wrote. </p>\n\n\n\n\n<p><strong><a href=\"https://gutenbergtimes.com/need-a-zip-from-master/\">Need a plugin .zip from Gutenberg&#8217;s master branch?</a></strong><br />Gutenberg Times provides daily build for testing and review. <br />Have you been using it? Hit reply and let me know.</p>\n\n\n\n<p><img alt=\"GitHub all releases\" src=\"https://img.shields.io/github/downloads/bph/gutenberg/total?style=for-the-badge\" /></p>\n\n\n\n\n<p class=\"has-text-align-right has-small-font-size\"><em>Questions? Suggestions? Ideas? Don&#8217;t hesitate to send <a href=\"mailto:pauli@gutenbergtimes.com\">them via email</a> or send me a message on WordPress Slack or Twitter @bph</em>. </p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">For questions to be answered on the <a href=\"http://gutenbergtimes.com/podcast\">Gutenberg Changelog</a>, send them to <a href=\"mailto:changelog@gutenbergtimes.com\">changelog@gutenbergtimes.com</a></p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n\n<p>Featured Image: Train Station at Leipzig, Germany. Photo by Birgit Pauli-Haack</p>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity is-style-wide\" />\n\n\n\n<p class=\"has-text-align-left\"><strong>Don&#8217;t want to miss the next Weekend Edition? </strong></p>\n\n\n\n<form class=\"wp-block-newsletterglue-form ngl-form ngl-portrait\" action=\"https://gutenbergtimes.com/feed/\" method=\"post\"><div class=\"ngl-form-container\"><div class=\"ngl-form-field\"><label class=\"ngl-form-label\" for=\"ngl_email\"><br />Type in your Email address to subscribe.</label><div class=\"ngl-form-input\"><input type=\"email\" class=\"ngl-form-input-text\" name=\"ngl_email\" id=\"ngl_email\" /></div></div><button type=\"submit\" class=\"ngl-form-button\">Subscribe</button><p class=\"ngl-form-text\">We hate spam, too and won&#8217;t give your email address to anyone except Mailchimp to send out our Weekend Edition</p></div><div class=\"ngl-message-overlay\"><div class=\"ngl-message-svg-wrap\"></div><div class=\"ngl-message-overlay-text\">Thanks for subscribing.</div></div><input type=\"hidden\" name=\"ngl_list_id\" id=\"ngl_list_id\" value=\"26f81bd8ae\" /><input type=\"hidden\" name=\"ngl_double_optin\" id=\"ngl_double_optin\" value=\"yes\" /></form>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity is-style-wide\" />\";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:\"<p>Tammie Lister and Birgit Pauli-Haack discuss Gutenberg 16.1 and WordPress 6.3 and what’s coming to 6.3<br /></p>\n\n\n\n<p>Add a summary/excerpt here</p>\n\n\n\n<p><a href=\"https://gutenbergtimes.com/podcast/gutenberg-changelog-85-gutenberg-16-1-wordpress-6-3/#shownotes\">Show Notes</a> / <a href=\"https://gutenbergtimes.com/podcast/gutenberg-changelog-85-gutenberg-16-1-wordpress-6-3/#transcript\">Transcript</a></p>\n\n\n\n<ul>\n<li>Music:&nbsp;<a href=\"https://soundcloud.com/xirclebox\">Homer Gaines</a></li>\n\n\n\n<li>Editor:&nbsp;<a href=\"https://www.linkedin.com/in/sandy-reed/\">Sandy Reed</a></li>\n\n\n\n<li>Logo:&nbsp;<a href=\"https://markuraine.com/\">Mark Uraine</a></li>\n\n\n\n<li>Production:&nbsp;<a href=\"https://icodeforapurpose.com\">Birgit Pauli-Haack</a></li>\n</ul>\n\n\n\n<p class=\"has-larger-font-size\" id=\"shownotes\"><strong>Show Notes</strong></p>\n\n\n\n<p><a href=\"https://www.hostinger.com/blog/tammie-lister-podcast\">Podcast With Tammie Lister: How Gutenberg Evolves and the Future of WordPress</a> with Emma Young at Hostinger</p>\n\n\n\n<p><a href=\"https://www.youtube.com/watch?v=X8Op-q_8s6M\">Creating Gutenberg &#8211; Live Q &amp; A w/ leads Tammie Lister, Joen Asmussen and Matias Ventura</a></p>\n\n\n\n<h2 class=\"wp-block-heading\">Upcoming Live Q &amp; As</h2>\n\n\n\n<p>July 6th, 2023 &#8211; 17:00 UTC  <strong><a href=\"https://us02web.zoom.us/webinar/register/9616879430415/WN_AFgYtmyaRviAY3b2oGP2pg\">Leveraging Gutenberg&#8217;s architecture to take plugin development to new levels</a></strong></p>\n\n\n\n<p>July 21, 2023-17:00 UTC <a href=\"https://us02web.zoom.us/webinar/register/7516879458017/WN_lqwBBSkSR1Wcdf8BUr5udQ\"><strong>Live Q &amp; A with designers and developers for WordPress VIP. </strong></a>They created a bridge between Figma Design themes and the theme.json file for classic and block themes</p>\n\n\n\n<h2 class=\"wp-block-heading\">WordPress 6.3</h2>\n\n\n\n<p><a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">WordPress 6.3 Beta 2</a></p>\n\n\n\n<p><a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">Help Test WordPress 6.3</a></p>\n\n\n\n<h2 class=\"wp-block-heading\">Gutenberg 16.1</h2>\n\n\n\n<p><a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/\">What’s new in Gutenberg 16.1? (29 June)</a></p>\n\n\n\n<p><a href=\"https://wptavern.com/gutenberg-16-1-introduces-pattern-creation-and-library-adds-distraction-free-mode-to-site-editor\">Gutenberg 16.1 Introduces Pattern Creation and Library, Adds Distraction Free&nbsp;Mode to Site Editor</a></p>\n\n\n\n<h2 class=\"wp-block-heading\">Interactivity API</h2>\n\n\n\n<p><a href=\"https://make.wordpress.org/core/2023/03/30/proposal-the-interactivity-api-a-better-developer-experience-in-building-interactive-blocks/\">Proposal: The Interactivity API – A better developer experience in building interactive blocks</a></p>\n\n\n\n<p>WordPress.TV: <a href=\"https://wordpress.tv/2023/04/18/developer-hours-introduction-to-the-interactivity-api/\">Developer Hours: Introduction to the Interactivity API</a></p>\n\n\n\n<p class=\"has-large-font-size\">Stay in Touch</p>\n\n\n\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<ul>\n<li>Did you like this episode? <a href=\"https://lovethepodcast.com/gutenbergchangelog\"><strong>Please write us a review </strong></a></li>\n\n\n\n<li>Ping us on Twitter or send DMs with questions. <a href=\"https://twitter.com/gutenbergtimes\">@gutenbergtimes </a>and <a href=\"https://twitter.com/bph\">@bph</a>.</li>\n\n\n\n<li><em>If you have questions or suggestions, or news you want us to include, send them to <a href=\"mailto:changelog@gutenbergtimes.com\">changelog@gutenbergtimes.com</a>. </em></li>\n\n\n\n<li><em>Please write us a review on iTunes! <a href=\"https://gutenbergtimes.com/itunes/\">(Click here to learn how)</a></em></li>\n</ul>\n</div></div>\n\n\n\n<p class=\"has-large-font-size\" id=\"transcript\"><strong>Transcript</strong></p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: So hello and welcome to our 85th episode of the Gutenberg Changelog podcast. In today&#8217;s episode, we will talk about Gutenberg 6.1, WordPress 6.3 and that&#8217;s pretty much it. We have a full program alone with that. I&#8217;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&#8217;m so happy that Tammie Lister joins me today. She&#8217;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?</p>\n\n\n\n<p><em>Tammie Lister</em>: I am great. Thank you so much for having me.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Oh, it&#8217;s so wonderful. And for our longtime listeners, you are no stranger. You&#8217;ve been on the Gutenberg Live Q&amp;A few years ago, and you were part of the last year&#8217;s developer hours, and it&#8217;s actually the first time that you&#8217;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&#8217;re doing now.</p>\n\n\n\n<p><em>Tammie Lister</em>: 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&#8217;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&#8217;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&#8217;ve been really lucky since I worked on that project, to have quite an adventure working in various roles from design.</p>\n\n\n\n<p>And at the moment, I&#8217;m really lucky to be balancing back my developer skills. I&#8217;ve always done both, but at the moment I&#8217;m really focusing on how can I raise back up those skills, and I&#8217;m really lucky to be doing that in an agency role. So I am now getting to work with this amazing thing that we&#8217;ve created in the editor and getting to implement it within the agency at a development level so that I&#8217;m having all sorts of fun now.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, I can imagine that. That&#8217;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…</p>\n\n\n\n<p><em>Tammie Lister</em>: Only a few.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: That will come or that has been in the background or in the other current of all the new features, where&#8217;s the extensibility or how can we extend this?&nbsp;</p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Announcements</strong></h3>\n\n\n\n<p>So before we dive into the recent releases, I want to tell you dear listeners all about the two live Q&amp;As that are coming up in July. So next week, we have on July 6, 2023 at 17:00 UTC and I&#8217;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&#8217;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.</p>\n\n\n\n<p>So this is a case study of GiveWP 3.0, how that&#8217;s come about and we will have a guest, Jason Adams, who&#8217;s the director of development and Jon Waldstein, who&#8217;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&#8217;s quite excited about it, and I&#8217;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.</p>\n\n\n\n<p>So if you&#8217;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&amp;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&#8217;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&amp;A. I&#8217;m really happy that we&#8217;re putting it together.</p>\n\n\n\n<p>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&amp;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&#8217;s that.</p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>What’s Released &#8211; WordPress 6.3</strong></h3>\n\n\n\n<p>We are coming to the what&#8217;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?</p>\n\n\n\n<p><em>Tammie Lister</em>: No, I got up as far as about just hitting 11:00 UK time at night and I could see it wasn&#8217;t going to be the 11:00, so I left the amazing people that were doing and I&#8217;d kept going that far, and I bowed out and got some sleep because it was the second night running.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, there was a second shift coming in from Australia.</p>\n\n\n\n<p><em>Tammie Lister</em>: Which is amazing. That&#8217;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&#8217;s the important thing. It&#8217;s been two days we&#8217;ve been working to get this out.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, the make blog has one was the delay for one day and then also the explanation why it&#8217;s now called beta two instead of beta one.</p>\n\n\n\n<p><em>Tammie Lister</em>: Systems are hard.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;m looking behind the scenes and how timely a lot of PRs are to getting into the beta. And then it&#8217;s not only that there&#8217;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.</p>\n\n\n\n<p><em>Tammie Lister</em>: Yeah. And I think you never know the unknowns until you know them and then you document, and then you try and that&#8217;s the important part of this amazing journey that is these big projects. You can predict most things but it&#8217;s always going to be the thing that you don&#8217;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&#8217;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&#8217;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&#8217;s going to be some like, &#8220;Okay, so that could happen.&#8221; Okay, now we document this, now we learn this and that&#8217;s great.</p>\n\n\n\n<p>There&#8217;s stuff I now want to learn about. My curious brain is like, &#8220;Okay, well this went wrong. Okay, so how do we learn?&#8221; And that&#8217;s great because our documentation gets better. That&#8217;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.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Right, yeah. As you know, this big project, nobody really knows everything. So the collaborative effort is…</p>\n\n\n\n<p><em>Tammie Lister</em>: 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&#8217;s amazing. You&#8217;ve just got to be very humble and just go, &#8220;Okay, on we go.&#8221; 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.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: And I saw a lot of also the humbleness stuff. I don&#8217;t know, does somebody else is able to help me?</p>\n\n\n\n<p><em>Tammie Lister</em>: I don&#8217;t know, but I might know someone who does in their mental Rolodex going through a list of people, and that&#8217;s amazing to do. It&#8217;s not like I might know, I&#8217;m going to struggle with it for a while and then I&#8217;m not going to come up with a good solution. That does not help anybody.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: No, no, no. At that moment, you need somebody who knows. But it&#8217;s also…</p>\n\n\n\n<p>Tammie Lister: It would help otherwise you make it worse. It&#8217;s like the I will fix this and make it worse. Nobody needs that at 10:00 at night.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah. Not on a software that&#8217;s used by millions of people.</p>\n\n\n\n<p><em>Tammie Lister</em>: But a beta is a beta. And I think that&#8217;s the amazing thing we all have to&#8230; Now, let&#8217;s test it now let&#8217;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.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, we&#8217;re getting to that. But I just wanted to do a shout-out for Brian Alexander who&#8217;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 <a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">make.webpress.org/test</a>, that&#8217;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&#8217;s really necessary. And like every beta, it&#8217;s beta, but the bugs that we find now in the beta two, three and four, we don&#8217;t have to fix later when the release is done. So yes.</p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Gutenberg 16.1</strong></h3>\n\n\n\n<p>What also was released was Gutenberg 16.1 and that&#8217;s when 255 PRs merged with this release by 69 contributors and it&#8217;s just amazing what all went in there. It&#8217;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&#8217;s the last plugin release for enhancements and new features to come in. After that, it&#8217;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?</p>\n\n\n\n<p><em>Tammie Lister</em>: 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&#8217;s also maybe this point is why there was so much as well. It&#8217;s not the final-final release, it&#8217;s like Photoshop when you name a final-final 01 file or something, but it&#8217;s a closure and I think having a navigation block, having things changed, all these things, it&#8217;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.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;s navigation and then there is the sidebar menu in the site editor that also has a navigation piece to it.</p>\n\n\n\n<p><em>Tammie Lister</em>: But bringing that functionality means that you then&#8230; There&#8217;s this weird separation, but it allows that to feel more cohesive and native. That&#8217;s the best words I can think of it. I think navigation&#8217;s going to take a little while to get a lot of people using because navigation&#8217;s over here and all these kinds of things. It&#8217;s that maturity of that feature and the dependability of that feature and the work there. I&#8217;ve definitely started feeling that it feels more robust to use with these changes.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah.</p>\n\n\n\n<p><em>Tammie Lister</em>: It&#8217;s pretty exciting.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: And I finally feel the same way. I was always a little hesitant to touch the navigation because I knew it wasn&#8217;t finished. So I didn&#8217;t want…</p>\n\n\n\n<p><em>Tammie Lister</em>: You sneeze near it, it&#8217;ll fall over, bless it. And I say that having worked on it myself, but it&#8217;s just a really hard problem. Turns out navigation&#8230; Linking alone is a hard problem, but navigation is linking plus plus plus. It&#8217;s a really difficult problem. If you just write code, it felt easier. But if soon as you add any interface, it&#8217;s really difficult.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: And it&#8217;s also such a prominent piece of a website that you build, that it really needs to…</p>\n\n\n\n<p><em>Tammie Lister</em>: And people are very bonded to a particular way of using navigation in WordPress as well. So we&#8217;ve got to retrain that mindset.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;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&#8217;s where you assemble your menu or the many menus.</p>\n\n\n\n<p><em>Tammie Lister</em>: I like that consciousness of creating them somewhere else. There there&#8217;s so many opinions on separation and workflows. I feel like&#8230; This is a complete personal opinion, but making navigation too easy, I think that you end up with too many navigation everywhere. That&#8217;s always been one of our problems, that you end up with people drowning in menus. So I think that there&#8217;s a balance that there&#8217;s a maturity of navigation. I think that&#8217;s where the overlap of this.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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.</p>\n\n\n\n<p><em>Tammie Lister</em>: The best words I can use is assembly there. I don&#8217;t know if that&#8217;s a good word, but it feels like assembly there, functionality doing here. And then that&#8217;s what it feels like. The different mental models that I&#8217;m moving in between when I&#8217;m doing things and I&#8217;m for that, different areas having very distinct different mental models when I&#8217;m doing it.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: And I like that too because I can&#8217;t have two different thoughts in my head at the same time and be productive.</p>\n\n\n\n<p><em>Tammie Lister</em>: Life&#8217;s too short.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah. So that&#8217;s why I like the next item, that the footnotes block is now coming to text blocks and that&#8217;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.</p>\n\n\n\n<p>So if you say, &#8220;Oh, I put a footnote in the middle of a paragraph, but also I need another one on top of it,&#8221; it recounts them so automatically. So that&#8217;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&#8217;s the nature of the beast and there is no automation for that. But I&#8217;m really happy that this block comes and it will be in 6.3.</p>\n\n\n\n<p><em>Tammie Lister</em>: Footnotes has an adventure for many years. I think footnotes is one of those, to me, it&#8217;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&#8217;s whether you choose to use or not. There&#8217;s no doubt whether you would want, you wouldn&#8217;t even have a plugin. It would be base functionality. So I think I am very glad to see it. Also, it&#8217;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&#8217;m really pleased to see it.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah.</p>\n\n\n\n<p><em>Tammie Lister</em>: And that experimenting outside to then bring in, I think is a real good way forward to start seeing the interface as well.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;s also quite versatile.</p>\n\n\n\n<p><em>Tammie Lister</em>: That&#8217;s really important depending on what article you&#8217;re writing as well. I do not claim to know any different medical whatever articles, but I&#8217;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.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, absolutely. Absolutely, yeah.</p>\n\n\n\n<p><em>Tammie Lister</em>: The next big one.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yep, go ahead.</p>\n\n\n\n<p><em>Tammie Lister</em>: I feel like there&#8217;s a whole episode here on patterns and I guess the big one here is the naming and language to me is&#8230; 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&#8217;s a small big thing I guess because it&#8217;s a big thing, but it&#8217;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&#8217;s a mature functional pattern that has all the things that patterns are getting like syncing, all these things. And that&#8217;s what patterns are getting now.</p>\n\n\n\n<p>So I don&#8217;t know what you feel, but that to me it&#8217;s just maturity of patterns, you have blocks, patterns, template parts, templates. It makes sense.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Oh yeah, yeah. They&#8217;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&#8217;t have any updates, so every time you put them into a canvas, they are all disintegrating. They don&#8217;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, &#8220;Oh, this is a marvelous pattern. Can I store that on my site?&#8221; And now you can.</p>\n\n\n\n<p>And it&#8217;s the same interface or same workflow that you are accustomed to when you create a reusable block and there&#8217;s only one change there&#8230; Well, one attribute, it&#8217;s called sync this over all the instances, yes or no, it&#8217;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&#8217;s a pattern which does not update. But this is also, and you say, &#8220;Okay, but I want, when I change the style of my pattern, I want it to be replicated over all the instances.&#8221; It&#8217;s coming. This is the first step. This is the first step to unify the wording, unify the interface. And then also, you don&#8217;t have this duplicate mental model anymore. You find them and you can edit them at the same spaces. It&#8217;s called my custom patterns. That&#8217;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&#8217;s a great step and it&#8217;s one that we have been really all waiting for.</p>\n\n\n\n<p><em>Tammie Lister</em>: 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&#8217;t have to then build a system on top because then the system will be easily done within, you don&#8217;t then have to bring the system. So I am very excited about this. It is the start. It is something that I would&#8217;ve liked a couple of years ago, but we had so much to do. We&#8217;ll get there. And I think that is the thing of there&#8217;s so much changing to do. Patterns are really getting strong. When they first came out, it felt like, &#8220;Oh, you can do patterns.&#8221; But they are so powerful. People get patterns way more than blocks as well. If you explain a block, people are like, &#8220;You don&#8217;t need to make blocks.&#8221; And I think we&#8217;re going to see less blocks people making and more patterns with this because patterns are just more useful then.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: That&#8217;s what I have been seeing as well is also that people say, &#8220;Okay, I don&#8217;t have to create a custom block just because I want a group of blocks in my site.&#8221;</p>\n\n\n\n<p><em>Tammie Lister</em>: As much as I love block variations, I love all these things that you can do because blocks were amazing. I&#8217;d like to see less because then it means that patterns are doing what they&#8217;re meant to do because that&#8217;s what humans see. The interface that we&#8217;re having for pattern browsing and all that, we&#8217;re getting onto the management stuff that&#8217;s also part of this, that is just better as a human. Those human interfaces, once humans are using that, that&#8217;s way better than the tiny little pickers that we have for blocks.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;t have template parts, yeah?</p>\n\n\n\n<p><em>Tammie Lister</em>: Yes.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Or we didn&#8217;t know yet how they&#8217;re going to fit in into the block themes and in pattern, we&#8217;re just at the beginning, but we didn&#8217;t know how to lock them. How to lock certain pieces of it.</p>\n\n\n\n<p><em>Tammie Lister</em>: When I say that, that&#8217;s just eagerness and that&#8217;s also…</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yes, impatience. I see it, I want it.</p>\n\n\n\n<p><em>Tammie Lister</em>: 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&#8217;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&#8217;s just a better experience for everybody.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Right, right. Or you see the power now and you say, &#8220;Oh, wouldn&#8217;t it be great? And then you have to wait.</p>\n\n\n\n<p><em>Tammie Lister</em>: If no one ever has to go through a load of patterns and I&#8217;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&#8217;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&#8217;s amazing. We have all the toys.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: And there&#8217;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&#8217;t happened yet, but now it&#8217;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&#8217;t have this what Helen Hou-Sandí always calls the save and pray feature there.</p>\n\n\n\n<p><em>Tammie Lister</em>: What you see might maybe what you get, but possibly not.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Probably different, yes. And it&#8217;s amazing to see this in block themes. You also see all the style variations and how they would change your website and it&#8217;s really amazing. And it&#8217;s in 16.1 and it will come to 6.3 soon.</p>\n\n\n\n<p><em>Tammie Lister:</em> And moving on to the site editor, the distraction free. We&#8217;ve had distraction free, so it&#8217;s like ta-da. But having that with the site editor, been able to create and just go get away. I remember&#8230; Age, that Dreamweaver full screen mode. And you now got that. The day where you could suddenly do visual in Dreamweaver, we&#8217;ve now got that in WordPress. Wow. It&#8217;s incredible to think that we can do that and you&#8217;ve got that without some of the ickiness. Bless it. Without tables. But we&#8217;ve now got that and that means that you can really focus on what you&#8217;re creating. And sometimes like if you&#8217;re doing some of these three-column query or whatever when you&#8217;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.</p>\n\n\n\n<p>We talked earlier about modes when you&#8217;re doing things that really helps you with that creation mode, there&#8217;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&#8217;t know what you feel, but I think this is just a small improvement to life.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Absolutely.</p>\n\n\n\n<p><em>Tammie Lister</em>: Quality of life improvement.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Absolutely. And it&#8217;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&#8217;s really a better life there.</p>\n\n\n\n<p><em>Tammie Lister</em>: Know what you&#8217;re getting rather than guessing what you&#8217;re getting.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: And test this, please test this so much.</p>\n\n\n\n<p><em>Tammie Lister</em>: Yeah. And again, that&#8217;s the part of this. A lot of these things, they&#8217;re going in and they&#8217;ve been tested by the people that are creating them and they&#8217;re amazing humans, but they are not the people that are going to be poking it. It&#8217;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.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;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, &#8220;Okay, you can edit that now and when you&#8217;re in the template, you get all this whole title kind of thing.&#8221; It names the things that are in there. And when you&#8217;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.</p>\n\n\n\n<p>And I think that the guardrails there really help with the mental image as well. This is a template, I don&#8217;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&#8230; that&#8217;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&#8217;s all in its context. How will it show up on the site? There is no, &#8220;Oh, okay. There is something on the sidebar that&#8217;s interfering with my page.&#8221; And it&#8217;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.</p>\n\n\n\n<p><em>Tammie Lister:</em> I love what you said as well about having something in and then taking it away. I think that&#8217;s really, really important because sometimes when something&#8217;s completely new, it doesn&#8217;t work because it&#8217;s new, it&#8217;s not because it&#8217;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&#8217;ve got things together. So sometimes you&#8217;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.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;re not a developer, it&#8217;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&#8217;t know yet how it&#8217;s going, how it&#8217;s going to work. So let&#8217;s put it with the features in and then see what other people think about it and then reiterate on it.</p>\n\n\n\n<p><em>Tammie Lister</em>: It&#8217;s part of the freedom of creating in the open and part of what we&#8217;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, &#8220;Oops, nope, let&#8217;s try this.&#8221; Or, &#8220;Okay, well this idea didn&#8217;t work this time.&#8221; We&#8217;ve still got it in the code base. It&#8217;s just back now. We haven&#8217;t completely lost it.</p>\n\n\n\n<p>In core, ideas go and get lost because it&#8217;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&#8217;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&#8217;s like, &#8220;Yay, they finally shipped.&#8221;</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah. And it&#8217;s not because they couldn&#8217;t ship it earlier. It&#8217;s also you didn&#8217;t know yet how other pieces that needed to fit.</p>\n\n\n\n<p><em>Tammie Lister</em>: It&#8217;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&#8217;t know, that metaphor went really weird, but right?</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Well, only chocolate lovers love chocolate cake, right?</p>\n\n\n\n<p><em>Tammie Lister</em>: Yeah. And sometimes you are not delivering chocolate cake, you are delivering a Victorian sponge and to the wrong crowd. I don&#8217;t know.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Those metaphors are really…</p>\n\n\n\n<p><em>Tammie Lister</em>: It&#8217;s not working. Backtrack, what&#8217;s the next thing?</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Let&#8217;s try it again. We all have experiences, but it&#8217;s not in WordPress. So creating something really, really new in WordPress with a lot of backwards compatibility promises, it&#8217;s really hard.&nbsp;</p>\n\n\n\n<p><em>Tammie Lister</em>: 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?</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah.</p>\n\n\n\n<p><em>Tammie Lister</em>: It&#8217;s not the same.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, yeah. But this editing piece, I think it&#8217;s really so much better now and I think it meets the vision now. So what&#8217;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&#8217;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&#8217;s really good to have those template details in the site editor on the sidebar, it gives you a little bit more context.</p>\n\n\n\n<p><em>Tammie Lister</em>: 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&#8217;s maturity of the burn block, how many sites have burned every one of them? And having something like that is really big. It&#8217;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&#8217;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.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: You can use them, you can create styles with them. You can have different variations on the buttons and you don&#8217;t have to create a new block for the buttons.</p>\n\n\n\n<p><em>Tammie Lister:</em> Yes.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;s catching up with other documentation or writing tools where you have that. But yeah, it&#8217;s good to have it in there.</p>\n\n\n\n<p><em>Tammie Lister</em>: And image block has as aspect ratio control. For some reason, I wanted to say radio control. That was exciting. I think that&#8217;s a whole different thing.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Multimedia, an image has radio.</p>\n\n\n\n<p><em>Tammie Lister</em>: 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&#8217;s really what a lot of this is maturity of these tools, I think.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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.</p>\n\n\n\n<p><em>Tammie Lister</em>: Could ruin a party, that really can.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah. I&#8217;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&#8230; they&#8217;re aiming for 6.4, which is not so far away, actually. September is the next beta. So it&#8217;s really going forward. There were some questions in the community about the interactivity API. A lot of people are very excited about it.</p>\n\n\n\n<p><em>Tammie Lister</em>: We&#8217;re going to have some really nice toys for Christmas.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: And November 8th is I think the release of 6.4. So let&#8217;s get those toys wrapped up for Christmas.</p>\n\n\n\n<p><em>Tammie Lister</em>: That&#8217;s actually going to be some really interesting testing, I think. Some difference in testing because yes, we&#8217;ve done, but how you test some of that stuff is going to be a little bit different, I think.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah. And we need a lot more examples.</p>\n\n\n\n<p><em>Tammie Lister</em>: That&#8217;s where I&#8217;m going. How do you push some of that stuff?</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah. And definitely there&#8217;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.</p>\n\n\n\n<p><em>Tammie Lister</em>: The next one, I&#8217;m going past so much, this is such a long list. It&#8217;s amazing. It is in the design tool section and that&#8217;s a sticky position. That&#8217;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&#8217;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&#8217;m really excited anytime that any of our refinement happens to any of our design tools.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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.</p>\n\n\n\n<p><em>Tammie Lister</em>: Sticky is hard. Sticky is hard to stick.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: You never get it to stick. And it needed to be a root wrapper or root block to make it sticky. You couldn&#8217;t do it in a column block where you have a sidebar and make that sticky.</p>\n\n\n\n<p><em>Tammie Lister</em>: Because CSS.</p>\n\n\n\n<p><em>Birgit Pauli-Haack:</em> Because of CSS, yes. Yeah. So there is another attempt to make this work and needs definitely testing.</p>\n\n\n\n<p><em>Tammie Lister:</em> 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&#8217;s super exciting, what Christmas is going to bring there with all these tools.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;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&#8217;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&#8217;s a great addition to…</p>\n\n\n\n<p><em>Tammie Lister</em>: Just what people expect. Again, and I do not belittle it by saying that. It&#8217;s more just, it just raises it up. It&#8217;s what people expect, it&#8217;s what people want. So it&#8217;s amazing.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: It really raises the quality of the tools that you use, that it actually helps you also with the little things. Images are important.</p>\n\n\n\n<p><em>Tammie Lister</em>: Quality of life. Really, the release is quality of life and completion, which is a beautiful summer thing.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: And refinement.</p>\n\n\n\n<p><em>Tammie Lister</em>: Yeah. So I think we&#8217;re going to talk maybe a little bit later about the command section, but we&#8217;re into commands.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: We&#8217;re good?</p>\n\n\n\n<p><em>Tammie Lister</em>: Going down the list, there&#8217;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&#8217;t know if you want to talk about commands right now or later?</p>\n\n\n\n<p>Birgit Pauli-Haack: We could. So we have a name now for it.</p>\n\n\n\n<p><em>Tammie Lister</em>: We do.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: In the development, it was always called the command center, but now it&#8217;s command palette and it tries to convey that&#8217;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&#8217;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&#8217;s not the center of it because it&#8217;s not a mission control palette or something like that. Or dashboard, it&#8217;s just you have a thought that you wanted…</p>\n\n\n\n<p><em>Tammie Lister</em>: It&#8217;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&#8217;s new. So by having these there, and this is just to start again, I think it&#8217;s worth of saying these are an example that someone could look at and be like, &#8220;Oh, that&#8217;s how you write one,&#8221; as well. So I am super curious to do that myself and be like, &#8220;Oh, okay, that&#8217;s how you write one. Okay.&#8221; 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&#8217;t catch on.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: I always call him Fred.</p>\n\n\n\n<p><em>Tammie Lister</em>: 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&#8217;s translatable, as long as we agree to something, we get it in, things can change. But let&#8217;s get it in and iterate. So these are great examples to then copy, rehash, and learn from. So I think 6.4, we&#8217;ll probably see more. And then I imagine there&#8217;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&#8217;s going to be very exciting to see what people create.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, I&#8217;m really happy about that. I would&#8217;ve never thought that my website tool would have these quick commands that I can just call up and then do stuff.</p>\n\n\n\n<p><em>Tammie Lister</em>: So the way that I think of it is a combination of&#8230; Because initially, I was Alfred was where my mind went because it&#8217;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&#8217;s also workflow. So it&#8217;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&#8217;re going to see some really exciting things come from that.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, I totally agree with that.</p>\n\n\n\n<p><em>Tammie Lister</em>: New toys.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: New toys for everybody when the biggest toy is probably creating those commands and find, &#8220;Yeah, oh I can do this. It&#8217;s not that hard.&#8221;</p>\n\n\n\n<p><em>Tammie Lister</em>: 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.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, I totally get it. I want to get into programming so much and lock myself away for two weeks and do all this.</p>\n\n\n\n<p><em>Tammie Lister</em>: You don&#8217;t have to lock yourself away for it, but that&#8217;s all right.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah. So I&#8217;m scrolling and scrolling and scrolling. I don&#8217;t see anything anymore.</p>\n\n\n\n<p><em>Tammie Lister</em>: So much. And I think that&#8217;s the thing. If we are going through the bug fixes and the enhancements and there&#8217;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&#8217;t. I love that we&#8217;re down to that end of polishing, is my reflection on that. So I think that is really, really exciting that there&#8217;s so much polishing here.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, and I think that was actually the outlook for 6.3, that most of the features get in and then we&#8217;re almost already…</p>\n\n\n\n<p><em>Tammie Lister</em>: This is a giant section of those, which I love.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Are we done? I think we&#8217;re done. Oh yeah.</p>\n\n\n\n<p><em>Tammie Lister</em>: Yeah.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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.</p>\n\n\n\n<p><em>Tammie Lister:</em> Yeah.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: That&#8217;s what you were talking about.</p>\n\n\n\n<p><em>Tammie Lister</em>: And I think that&#8217;s the thing that&#8217;s there. It&#8217;s probably testing coming in for command as well, but it&#8217;s all maturity of that. As I&#8217;m scrolling down, I&#8217;m seeing improving, improving, improving, improving.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah. No, I think we made it. Yay.</p>\n\n\n\n<p><em>Tammie Lister</em>: Yay.</p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>WordPress 6.3 Beta</strong></h3>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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.</p>\n\n\n\n<p><em>Tammie Lister</em>: 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, &#8220;Oh, that burden is perfectly placed,&#8221; I am really paraphrasing here, &#8220;That burden might not be perfectly placed.&#8221; 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&#8217;s where I&#8217;m going with this. So we are going to see that. We are going to see, &#8220;Oh dear, this breaks this under this circumstance when we actually tested it under this load or we tested it under this situation.&#8221; Because you can test under all the situations you think, but you don&#8217;t have that until you are real world testing or you&#8217;re testing. And as the betas get towards the higher numbers, we&#8217;re on two now. So we&#8217;re probably going to go at least four I would say, I don&#8217;t know.</p>\n\n\n\n<p><em>Birgit Pauli-Haack:</em> I agree, I agree.</p>\n\n\n\n<p><em>Tammie Lister</em>: I want to be optimistic. But realism kicks in here a little bit. You&#8217;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&#8217;s a little bit late. It&#8217;s like shouting after the sheep have left the field. But if you say something now, it can be fixed. So if something doesn&#8217;t work with the plugin that is the only reason your client&#8217;s site works, now&#8217;s the reason to say basically.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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.&nbsp;</p>\n\n\n\n<p><em>Tammie Lister</em>: Going back to my button moving.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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&#8217;s what&#8217;s in there. It&#8217;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, &#8220;Well, if I&#8217;m looking for fonts, I won&#8217;t go to library. I go to my styles and that&#8217;s a separate place.&#8221;</p>\n\n\n\n<p>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&#8217;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, &#8220;I need to think of library.&#8221; When you see patterns, that&#8217;s where you want to go. So that&#8217;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…</p>\n\n\n\n<p><em>Tammie Lister</em>: Really, screenshots is release candidate as much as it feels late, it&#8217;s not. There&#8217;s several weeks and that&#8217;s when you&#8217;ll find a lot of documentation takes it as well. I&#8217;ll working on the about page and we&#8217;re going to be doing the graphics around there as much as possible. But honestly, the final-final 01 PSD graphics&#8230; I don&#8217;t have to deal with PSDs, that&#8217;s when you take them because things rightly about translation.</p>\n\n\n\n<p>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&#8217;re working our own language system and we&#8217;re saying these things are called this because it makes sense in our ecosystem. So I welcome that we&#8217;re finally clarifying some language and not just confusing everybody because it&#8217;s always been very confusing. We&#8217;re finally settling on some terms and we are then documenting what they are called because one of the problems we&#8217;ve always done is called something and then not written it down. So actually doing that is really helpful.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah. Release candidate is scheduled for the 27th of July, so it&#8217;s another four weeks to go. So caution.</p>\n\n\n\n<p><em>Tammie Lister</em>: 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&#8217;s going to change because humans in software.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah, it&#8217;s going to change. And computers, right? Computers are involved, all bets are off, right?</p>\n\n\n\n<p><em>Tammie Lister</em>: Yeah. And that&#8217;s okay, right?</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Yeah.</p>\n\n\n\n<p><em>Tammie Lister</em>: That&#8217;s totally okay. Just if you&#8217;re going on holiday, maybe have a friend do your screenshot for your blog post.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: All right. So before we all come to an end, just a reminder, the two live Q&amp;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&#8230; How can people get in touch with you, Tammie?</p>\n\n\n\n<p><em>Tammie Lister</em>: I&#8217;m karma Toast on all the things and I&#8217;m still around core, I&#8217;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&#8217;d love to say hi, but reaching out, I&#8217;m always welcome.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: 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 <a href=\"mailto:changelog@gutenbergtimes.com\">changelog@gutenbergtimes.com</a>. That&#8217;s <a href=\"mailto:changelog@gutenbergtimes.com\">changelog@gutenbergtimes.com</a>. So thank you so much Tammie. It has been a great pleasure geeking out with you over Gutenberg.</p>\n\n\n\n<p><em>Tammie Lister</em>: It&#8217;s been a pleasure. It&#8217;s always great talking to you. Thank you so much for having me.</p>\n\n\n\n<p><em>Birgit Pauli-Haack</em>: Thank you so much, and you all have a good weekend and a good week and I&#8217;ll see you all or hear you all in the next two weeks. Take care, bye-bye.</p>\n\n\n\n<p> </p>\";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:\"<p>A new era has begun for WordPress.org&#8217;s Plugin Review Team. Mika Epstein, who has served for the past decade, is stepping down, but not before<a href=\"https://make.wordpress.org/plugins/2023/06/29/plugin-review-team-update-the-next-phase-begins/\"> launching a new crew of volunteers</a>.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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 <a href=\"https://profiles.wordpress.org/davidperez/\">David Pérez</a>, <a href=\"https://profiles.wordpress.org/eherman24/\">Evan Herman</a>, <a href=\"https://profiles.wordpress.org/frantorres/\">Francisco Torres</a>, <a href=\"https://profiles.wordpress.org/lukecarbis/\">Luke Carbis</a>, <a href=\"https://profiles.wordpress.org/martatorre/\">Marta Torre</a>, and <a href=\"https://profiles.wordpress.org/pacomarchante/\">Paco Marchante</a>. Their efforts are already in demand as they work to tackle a large backlog of plugins. </p>\n\n\n\n<p>&#8220;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,&#8221; Epstein said. &#8220;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.&#8221; </p>\n\n\n\n<p>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 <a href=\"https://make.wordpress.org/plugins/handbook/apply/\">submit an application</a>, 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.</p>\";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:\"<h2 class=\"wp-block-heading\" id=\"h-this-week-at-wordpress-org-april-3-2023\">This Week at WordPress.org (June 26, 2023)</h2>\n\n\n<div class=\"has-background has-theme-palette-8-background-color wp-block-post-excerpt\"><p class=\"wp-block-post-excerpt__excerpt\">Release season is upon us as we approach WordPress 6.3&#8217;s August 8th release. Your help is needed testing the latest changes. <br /><br />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. <br /><br />Stop by the Plugin team to wish Mika a happy retirement as she hands over the work to the 6 new Plugin Review teammembers. <br /><br />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. <br /> </p></div>\n\n\n<div class=\"wp-block-spacer\"></div>\n\n\n\n<div class=\"wp-block-kadence-infobox kt-info-box_94d1bd-77\"><div class=\"kt-blocks-info-box-link-wrap kt-blocks-info-box-media-align-left kt-info-halign-left\"><div class=\"kt-blocks-info-box-media-container\"><div class=\"kt-blocks-info-box-media kt-info-media-animate-none\"><div class=\"kadence-info-box-icon-container kt-info-icon-animate-none\"><div class=\"kadence-info-box-icon-inner-container\"><span class=\"kb-svg-icon-wrap kb-svg-icon-fas_rocket kt-info-svg-icon\"></span></div></div></div></div><div class=\"kt-infobox-textcontent\"><h2 class=\"kt-blocks-info-box-title\">WP6.3b2 • Test • WPDiversity • Mentorship • Plugin Team Next Steps</h2><p class=\"kt-blocks-info-box-text\">β <a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">WordPress 6.3 Beta 2</a><br /><br /><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f9d1-1f3fd-200d-1f4bb.png\" alt=\"🧑🏽‍💻\" class=\"wp-smiley\" /> <a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">Help Test WordPress 6.3</a><br /><br /><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f9d5-1f3ff.png\" alt=\"🧕🏿\" class=\"wp-smiley\" /> <a href=\"https://make.wordpress.org/community/2023/06/22/attention-wordpress-event-organizers-this-important-workshop-on-july-20-2023-is-for-you/\">Attention WordPress event organizers: This important workshop on July 20, 2023 is for you!</a><br /><br /><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f50c.png\" alt=\"🔌\" class=\"wp-smiley\" /> <a href=\"https://make.wordpress.org/plugins/2023/06/29/plugin-review-team-update-the-next-phase-begins/\">Plugin Review Team Update: The next phase begins</a><br /><br /><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f9d1-1f3fb-200d-1f3eb.png\" alt=\"🧑🏻‍🏫\" class=\"wp-smiley\" /> <a href=\"https://make.wordpress.org/project/2023/06/23/launch-your-wordpress-contributor-journey-through-the-mentorship-program-pilot/\">Launch your WordPress Contributor Journey through the Mentorship Program Pilot</a><br /><br /></p></div></div></div>\n\n\n\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-_b57166-6e\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\" /></div></div>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-news\"><a href=\"https://wordpress.org/news\">News</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://wordpress.org/news/2023/06/people-of-wordpress-allison-dye/\">People of WordPress: Allison Dye</a></li>\n\n\n\n<li><a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">WordPress 6.3 Beta 2</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">Help Test WordPress 6.3</a></li>\n\n\n\n<li><a href=\"https://wordpress.org/news/2023/06/episode-58-a-new-wave-for-wordpress-events/\">WP Briefing: Episode 58: A New Wave for WordPress Events</a></li>\n</ul>\n\n\n\n<div class=\"wp-block-kadence-spacer aligncenter kt-block-spacer-_8f6276-eb\"><div class=\"kt-block-spacer kt-block-spacer-halign-center\"><hr class=\"kt-divider\" /></div></div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-5\">\n<div class=\"wp-block-column is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-3\">\n<div class=\"wp-block-column is-layout-flow\">\n<h2 class=\"wp-block-heading\">WordPress 6.3</h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/core/2023/06/30/6-3-release-parties-schedule-and-hosts/\">6.3 Release Parties Schedule and hosts</a></li>\n\n\n\n<li><a href=\"https://wordpress.org/news/2023/06/wordpress-6-3-beta-2/\">WordPress 6.3 Beta 2</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/design/2023/05/25/wordpress-6-3-design-kickoff/\">WordPress 6.3 design kickoff</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/05/25/bug-scrub-schedule-for-6-3/\">Bug Scrub Schedule for WordPress 6.3</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/05/18/wordpress-6-3-planning-roundup/\">WordPress 6.3 Planning Roundup</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/05/18/roadmap-to-6-3/\">Roadmap to 6.3</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">WordPress 6.4</h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/core/2023/06/05/wordpress-6-4-development-cycle/\">WordPress 6.4 Development Cycle</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\"><a href=\"https://make.wordpress.org/accessibility\">Accessibility</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/accessibility/2023/06/16/accessibility-team-meeting-notes-june-16-2023/\">Accessibility Team Meeting Notes: June 16, 2023</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-community\"><a href=\"https://make.wordpress.org/community\">Community</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/community/2023/06/29/recap-of-the-diverse-speaker-training-group-wpdiversity-amer-emea-on-june-28-2023/\">Recap of the Diverse Speaker Training group (#WPDiversity) AMER/EMEA on June 28, 2023</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/community/2023/06/22/attention-wordpress-event-organizers-this-important-workshop-on-july-20-2023-is-for-you/\">Attention WordPress event organizers: This important workshop on July 20, 2023 is for you!</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/community/2023/06/21/meetup-organizer-newsletter-june-2023/\">Meetup Organizer Newsletter: June 2023</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/community/2023/06/21/wceu-2023-community-table-recap/\">WCEU 2023 Community Table Recap</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/community/2023/06/19/next-generation-of-wordpress-events-updates/\">Next Generation of WordPress Events: Updates</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-core\"><a href=\"https://make.wordpress.org/core\">Core</a> </h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/core/2023/06/29/hallway-hangout-performance-improvements-for-wordpress-6-3/\">Hallway Hangout: Performance Improvements for WordPress 6.3</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/\">What’s new in Gutenberg 16.1? (29 June)</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/06/27/a-week-in-core-june-26-2023/\">A Week in Core – June 26, 2023</a></li>\n</ul>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-developer-blog\"><a href=\"https://developer.wordpress.org/news/\">Developer Blog</a></h3>\n\n\n\n<ul>\n<li><a href=\"https://developer.wordpress.org/news/2023/06/the-style-book-a-one-stop-shop-for-styling-block-themes/\">The Style Book: a one-stop shop for styling block themes</a></li>\n\n\n\n<li><a href=\"https://developer.wordpress.org/news/2023/06/navigating-the-block-editor-handbook/\">Navigating the Block Editor Handbook</a></li>\n\n\n\n<li><a href=\"https://developer.wordpress.org/news/2023/06/upgrading-the-site-editing-experience-with-custom-template-part-areas/\">Upgrading the site-editing experience with custom template part areas</a></li>\n</ul>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-meetings\">Meetings</h3>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/core/2023/06/27/dev-chat-summary-june-21-2023/\">Dev Chat Summary: June 21, 2023</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/core/2023/06/26/editor-chat-agenda-june-28th-2023/\">Editor Chat Agenda: June 28th, 2023</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">Design</h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/design/2023/05/25/wordpress-6-3-design-kickoff/\">WordPress 6.3 design kickoff</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/design/2023/06/06/design-share-may-22-jun-2/\">Design Share: May 22–Jun 2</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\"><a href=\"https://make.wordpress.org/docs\">Docs</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/docs/2023/06/23/online-monthly-docs-team-contributor-day-june-27-2023/\">Online monthly Docs Team Contributor Day June 27, 2023</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/docs/2023/06/23/summary-for-docs-team-meeting-june-20-2023/\">Summary for Docs Team meeting, June 20, 2023</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-hosting\"><a href=\"https://make.wordpress.org/hosting\">Hosting</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/hosting/2023/06/28/hosting-team-meeting-agenda-2023-06-28/\">Hosting Team meeting agenda 2023-06-28</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/hosting/2023/05/15/is-wordpress-compatible-with-php-8/\">Is WordPress compatible with PHP 8?</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\"><a href=\"https://make.wordpress.org/meta\">Meta</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/meta/2023/06/20/make-team-dashboards/\">Make Team Dashboards</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/meta/2023/06/15/triaging-open-issues-on-trac-for-make-teams/\">Triaging open issues on Trac for Make Teams</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/meta/2023/06/13/new-filter-controls-discover-commercial-and-community-in-the-theme-and-plugin-directory/\">New Filter Controls: Discover “Commercial” and “Community” in the Theme and Plugin Directory</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/meta/2023/06/11/linking-to-supporting-orgs/\">Linking to Supporting Orgs</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/meta/2023/06/09/new-curation-filter-in-pattern-directory/\">New curation filter in Pattern Directory</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-mobile\"><a href=\"https://make.wordpress.org/mobile\">Mobile</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/mobile/2023/04/11/contribute-to-the-future-of-the-wordpress-app/\">Contribute to the Future of the WordPress App</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-openverse\"><a href=\"https://make.wordpress.org/openverse\">Openverse</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/openverse/2023/06/30/catalog-performance-testing-results/\">Catalog Performance Testing Results</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/openverse/2023/06/27/community-meeting-recap-2023-06-27/\">Community Meeting Recap (2023-06-27)</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/openverse/2023/06/26/last-week-openverse-2023-06-19-2023-06-26/\">A week in Openverse: 2023-06-19 – 2023-06-26</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-performance\"><a href=\"https://make.wordpress.org/performance/\">Performance</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/core/2023/06/27/performance-chat-summary-27-june-2023/\">Performance Chat Summary: 27 June 2023</a></li>\n</ul>\n</div>\n\n\n\n<div class=\"wp-block-column is-layout-flow\">\n<h2 class=\"wp-block-heading\" id=\"h-plugins\"><a href=\"https://make.wordpress.org/plugins\">Plugins</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/plugins/2023/06/29/plugin-review-team-update-the-next-phase-begins/\">Plugin Review Team Update: The next phase begins</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-polyglots\"><a href=\"https://make.wordpress.org/polyglots\">Polyglots</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/polyglots/2023/06/28/agenda-weekly-polyglots-chat-june-28-2023-0700-utc/\">Agenda: Weekly Polyglots Chat – June 28, 2023 (07:00 UTC)</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-project\">Project</h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/project/2023/06/23/launch-your-wordpress-contributor-journey-through-the-mentorship-program-pilot/\">Launch your WordPress Contributor Journey through the Mentorship Program Pilot</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\">Support</h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/support/2023/06/wp-contributor-mentorship-program-support-team-edition/\">WP Contributor Mentorship Program: Support team edition</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\"><a href=\"https://make.wordpress.org/sustainability\">Sustainability</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/sustainability/2023/06/30/sustainability-chat-summary-june-30-2023/\">Sustainability Chat Summary, June 30, 2023</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-test\"><a href=\"https://make.wordpress.org/test\">Test</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">Help Test WordPress 6.3</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/test/2023/06/07/fse-program-testing-call-24-momery-makeover/\">FSE Program Testing Call #24: Momery Makeover</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-theme\"><a href=\"https://make.wordpress.org/theme\">Theme</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/themes/2023/06/28/themes-team-meeting-notes-june-27-2023/\">Themes Team Meeting Notes – June 27, 2023</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-training\"><a href=\"https://make.wordpress.org/training\">Training</a></h2>\n\n\n\n<ul>\n<li><a href=\"https://make.wordpress.org/training/2023/06/24/proposal-lets-actively-promote-the-learn-wordpress-platform-in-learn-wordpress-content/\">Proposal: Let’s actively promote the Learn WordPress platform in Learn WordPress content</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/training/2023/06/22/training-team-meeting-recap-20th-june-2023/\">Training Team Meeting Recap – 20th June 2023</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/training/2023/06/20/proposal-new-contributor-guide-program/\">Proposal: New Contributor Guide Program</a></li>\n\n\n\n<li><a href=\"https://make.wordpress.org/training/2023/06/19/brainstorm-table-lead-wordcamp-us-2023-contributor-day/\">Brainstorm &amp; Table Lead – WordCamp US 2023 Contributor Day</a></li>\n</ul>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-tutorials\"><a href=\"https://learn.wordpress.org/tutorials\">Tutorials</a></h3>\n\n\n\n<ul>\n<li><a href=\"https://learn.wordpress.org/tutorial/developing-for-multisite/\">Developing for Multisite</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/tutorial/how-to-start-using-wordpress-playground/\">How to start using WordPress Playground</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/tutorial/wpphotos-moderator-training/\">WPPhotos Moderator Training</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/tutorial/using-the-block-editor-tips-and-shortcuts-for-efficiency/\">Using the block editor: Tips and shortcuts for efficiency</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/tutorial/using-headings-for-accessibility-and-seo/\">How to use headings for accessibility and&nbsp;SEO</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/tutorial/advanced-multisite-management/\">Advanced Multisite Management</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/tutorial/fr-the-difference-between-reusable-blocks-block-patterns-templates-and-template-parts/\">Différences entre blocs réutilisables, compositions de blocs, modèles et éléments de modèle</a></li>\n</ul>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-online-workshops\">Online Workshops</h3>\n\n\n\n<ul>\n<li><a href=\"https://learn.wordpress.org/?meeting=common-wordpress-apis-dashboard-widgets\">Common WordPress APIs: Dashboard Widgets</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=wp-dev-livestream-sendig-block-theme-8\">WP dev livestream: Sendig block theme</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=introducing-domains-4\">Introducing… Domains!</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=introducing-domains-3\">Introducing… Domains!</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=tips-and-shortcuts-for-using-the-block-editor-streamlining-content-creation-apac\">Tips and shortcuts for using the block editor &amp; streamlining content creation (APAC)</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=tips-and-shortcuts-for-using-the-block-editor-streamlining-content-creation\">Tips and shortcuts for using the block editor &amp; streamlining content creation</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=using-the-row-and-stack-blocks-apac\">Using the row and stack blocks (APAC)</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=wp-dev-livestream-sendig-block-theme-7\">WP dev livestream: Sendig block theme</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=custom-tables-in-wordpress\">Custom tables in WordPress</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=developer-hours-exploring-editor-extensibility\">Developer Hours: Exploring Editor Extensibility</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=hallway-hangout-lets-chat-about-wordpress-6-3-and-block-theming\">Hallway Hangout: Let’s chat about WordPress 6.3 and block theming</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=the-wordpress-developer-quiz\">The WordPress developer Quiz</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=how-can-chat-gpt-help-wordpress-developers-and-designers\">How can Chat GPT help WordPress developers and designers?</a></li>\n\n\n\n<li><a href=\"https://learn.wordpress.org/?meeting=how-to-set-up-a-free-wordpress-test-website-and-explore-code-2\">How to set up a free WordPress test website (and explore code!)</a></li>\n</ul>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-courses\"><a href=\"https://learn.wordpress.org/courses\">Courses</a></h3>\n\n\n\n<ul>\n<li><a href=\"https://learn.wordpress.org/course/creating-a-4-page-business-website/\">Creating a 4-page business website</a></li>\n</ul>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-wptv\">WPTV</h2>\n\n\n\n<ul>\n<li><a href=\"https://wordpress.tv/category/year/2022/\">Latest WordPress TV videos</a></li>\n</ul>\n</div>\n</div>\n</div>\n</div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-related-news\">Related News:</h2>\n\n\n\n<ul>\n<li><a href=\"https://blog.jquery.com/2023/05/11/jquery-3-7-0-released-staying-in-order/\">jQuery 3.7.0</a></li>\n\n\n\n<li><a href=\"https://nodejs.org/en/blog/release/v20.2.0\">Node v20.2.0 released</a></li>\n\n\n\n<li><a href=\"https://www.php.net/archive/2023.php#2023-04-13-1\"></a><a href=\"https://www.php.net/archive/2023.php#2023-05-11-1\">PHP 8.2.6 Released!</a></li>\n\n\n\n<li><a href=\"https://www.php.net/archive/2023.php#2023-05-11-2\">PHP 8.1.19 Released!</a></li>\n\n\n\n<li><a href=\"https://262.ecma-international.org/13.0/\">TC39</a></li>\n\n\n\n<li><a href=\"https://github.com/composer/composer/releases/tag/2.5.5\">Composer 2.5.5</a></li>\n</ul>\n\n\n\n<p class=\"has-theme-palette-7-background-color has-background\">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. <br /><br /><strong>Are you interested in giving back and contributing your time and skills to WordPress.org?</strong> <img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f64f.png\" alt=\"🙏\" class=\"wp-smiley\" /> <a href=\"https://wordpress.org/support/article/contributing-to-wordpress/\">Start Here ›</a><br /><br /><strong>Get our weekly WordPress community news digest</strong> — Post Status&#8217; <a href=\"https://poststatus.com/news/week-in-review/\">Week in Review</a> — covering the WP/Woo news plus significant writing and podcasts. It&#8217;s also available in <a href=\"https://poststatus.com/newsletter\">our newsletter</a>. <img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f48c.png\" alt=\"💌\" class=\"wp-smiley\" /></p>\n\n\n\n<div class=\"wp-block-spacer\"></div>\n\n\n\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile has-background\"><a href=\"https://poststatus.com/\"><img src=\"https://poststatus.com/wp-content/uploads/2021/09/vertical-post-status-logo-250.png\" alt=\"Post Status\" class=\"wp-image-85823 size-full\" /></a><div class=\"wp-block-media-text__content\">\n<p class=\"has-text-align-left has-normal-font-size\" id=\"h-get-ready-for-remote-work\">You — and <a href=\"https://poststatus.com/#Agency\">your whole team</a> can <a href=\"https://poststatus.com/#choose-membership\">Join Post Status</a> too!</p>\n\n\n\n<p class=\"has-text-align-left has-small-font-size\"><strong>Build your network. Learn with others. Find your next job — or your next hire.</strong> Read the <strong>Post Status</strong> <a href=\"https://poststatus.com/newsletter/\">newsletter</a>. <img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/2709.png\" alt=\"✉\" class=\"wp-smiley\" /> Listen to <a href=\"https://poststatus.com/podcasts/\">podcasts</a>. <img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f399.png\" alt=\"🎙\" class=\"wp-smiley\" /> Follow <a href=\"https://twitter.com/post_status/\">@Post_Status</a> <img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f426.png\" alt=\"🐦\" class=\"wp-smiley\" /> and <a href=\"https://www.linkedin.com/company/post-status-llc/\">LinkedIn</a>. <img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f4bc.png\" alt=\"💼\" class=\"wp-smiley\" /></p>\n</div></div>\n\n\n\n<div class=\"wp-block-spacer\"></div>\n<p>This article was published at Post Status — the community for WordPress professionals.</p>\";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:\"<p><strong>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.</strong></p>\n\n\n\n<p><strong>The&nbsp;<em>People of WordPress</em>&nbsp;series shares inspiring stories of how people’s lives can change for the better through WordPress and its global community of contributors.</strong></p>\n\n\n\n<img width=\"1024\" height=\"537\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/fi-allison-dye.jpg?resize=1024%2C537&ssl=1\" alt=\"Allison Dye\" class=\"wp-image-15292\" />\n\n\n\n<p>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. </p>\n\n\n\n<h2 class=\"wp-block-heading\">My first encounter with WordPress</h2>\n\n\n\n<p>Allison said: &#8220;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.&#8221;</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>&#8220;There is something truly amazing about having a place to tell your story.&#8221;</p>\n<cite>Allison Dye</cite></blockquote>\n\n\n\n<p>Her family faced many doctors, nurse, specialists and hospital visits, but could not get an answer to the difficulties faced by Allison. She said: &#8220;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.&#8221;</p>\n\n\n\n<p>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.</p>\n\n\n\n<h2 class=\"wp-block-heading\">WordPress in the real world</h2>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<img width=\"768\" height=\"1024\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/allison-2.jpg?resize=768%2C1024&ssl=1\" alt=\"Allison stood in front of trees\" class=\"wp-image-15290\" />Allison enjoying time with nature and trees\n\n\n\n<p>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.</p>\n\n\n\n<p>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: &#8220;WordPress felt familiar, typing on the computer keys felt comfortable, and sharing my words with the world felt surreal.&#8221;</p>\n\n\n\n<p>Allison&#8217;s sense of ownership of the software became part of her strength. &#8220;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.&#8221;</p>\n\n\n\n<h2 class=\"wp-block-heading\">Finding work with WordPress</h2>\n\n\n\n<p>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: &#8220;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.&#8221;</p>\n\n\n\n<p>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 &#8216;there was a place for everyone&#8217;. The guiding strength and fascination Allison found and still finds today is in that community. Allison said: &#8220;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.&#8221;</p>\n\n\n\n<p>In 2020, she was hired by a WordPress company. She said: &#8220;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.&#8221;</p>\n\n\n\n<p>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: &#8220;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.&#8221;</p>\n\n\n\n<p>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. </p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>&#8220;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.&#8221;</p>\n<cite>Allison Dye</cite></blockquote>\n\n\n\n<p>As a fluent English and Italian speaker, Allison is able to support clients in different countries from where she lives. &#8220;I love that with WordPress I&#8217;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.&#8221;</p>\n\n\n\n<p>Allison also became a certified as an English As A Second Language (ESL) teacher. &#8220;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.&#8221;</p>\n\n\n\n<h2 class=\"wp-block-heading\">Welcomed into the WordPress community</h2>\n\n\n\n<img width=\"1024\" height=\"562\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/WPCoffeeTalk-Allie-Dye.png?resize=1024%2C562&ssl=1\" alt=\"Allie interviewed for a podcast on her use of WordPress\" class=\"wp-image-15293\" />Allie interviewed for a podcast on her use of WordPress\n\n\n\n<p>Allison attributes mentors and supporters in the WordPress community for helping her appreciate she really is part of it. Allison recalled: &#8220;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.&#8221;</p>\n\n\n\n<p>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 &#8216;honored typing my words, pieces of my story, and sharing them with a community of people&#8217;.</p>\n\n\n\n<p>She also joined the <a href=\"https://us.wordcamp.org/2021/\">WordCamp US 2021</a> online organizing team. </p>\n\n\n\n<p>Allison enjoys the fact that in the WordPress community, &#8216;everyone here is constantly working to be better and do better&#8217;.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Facing the future with strength from her friends and colleagues in WordPress</h2>\n\n\n\n<img width=\"675\" height=\"900\" src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/allison-1.jpg?resize=675%2C900&ssl=1\" alt=\"\" class=\"wp-image-15289\" />\n\n\n\n<p>Allison was later diagnosed with two additional neurological conditions: Functional Neurological Disorder and Migraine. She said: &#8220;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&#8217;s helped me along my way. I don&#8217;t know where I would even be without it.&#8221;</p>\n\n\n\n<p>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.<br /><br />Allison hopes reading of her experience will help others who are worried about not progressing in a WordPress career due to health concerns.</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>&#8220;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.&#8221;</p>\n<cite>Allison Dye</cite></blockquote>\n\n\n\n<h2 class=\"wp-block-heading\">Share the stories</h2>\n\n\n\n<p>Help share these stories of open source contributors and continue to grow the community.&nbsp;Meet more WordPressers in the <a href=\"https://wordpress.org/news/category/newsletter/interviews/\">People of WordPress series</a>.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Contributors</h2>\n\n\n\n<p>Thanks to Allie Dye (<a href=\"https://profiles.wordpress.org/allisondye/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>allisondye</a>)&nbsp;for sharing about her adventures in WordPress.</p>\n\n\n\n<p>Props to Abha Thakor (<a href=\"https://profiles.wordpress.org/webcommsat/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>webcommsat</a>) and the late Surendra Thakor (<a href=\"https://profiles.wordpress.org/sthakor/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>sthakor</a>) for interviews and writing the feature, Meher Bala (<a href=\"https://profiles.wordpress.org/meher/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>meher</a>) for work on images, and to Meher, Maja Loncan (@mloncar) and Chloe Bringmann (<a href=\"https://profiles.wordpress.org/cbringmann/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>cbringmann</a>) for reviews.</p>\n\n\n\n<p>The&nbsp;<em>People of WordPress</em>&nbsp;series thanks Josepha Haden (<a href=\"https://profiles.wordpress.org/chanthaboune/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>chanthaboune</a>) and Topher DeRosia (<a href=\"https://profiles.wordpress.org/topher1kenobe/\" class=\"mention\"><span class=\"mentions-prefix\">@</span>topher1kenobe</a>) for their support.</p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile is-vertically-aligned-center\"><img width=\"180\" height=\"135\" src=\"https://i0.wp.com/wordpress.org/news/files/2020/03/heropress_logo_180.png?resize=180%2C135&ssl=1\" alt=\"HeroPress logo\" class=\"wp-image-8409 size-full\" /><div class=\"wp-block-media-text__content\">\n<p class=\"has-small-font-size\"><em>This People of WordPress feature is inspired by an essay originally published on </em><a href=\"https://heropress.com/\"><em>HeroPress.com</em></a><em>, 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. </em>#HeroPress </p>\n</div></div>\";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:\"<p>The WP Feature Notifications project has <a href=\"https://make.wordpress.org/core/tag/feature-notifications/\">launched a community survey</a> 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.</p>\n\n\n\n<p>A few months ago, <a href=\"https://wptavern.com/wp-feature-notifications-project-progresses-towards-mvp-for-standardizing-admin-notifications\">the project released version 0.2.0 of the feature plugin</a> in which contributors implemented a more robust JavaScript-based system for standardizing how notifications appear in the admin. This is a <a href=\"https://github.com/WordPress/wp-feature-notifications/releases/tag/0.2.0\">proof of concept plugin</a> 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 <a href=\"https://www.figma.com/file/sC0QzxbY1Azm6wtc2X6bXV/WP-Notify-design-blueprints-i6-(by-Nick-Heurter)?type=design&node-id=158-105&mode=design\">an updated design</a> based on the idea of <a href=\"https://github.com/WordPress/wp-feature-notifications/issues/253\">working within WordPress&#8217; existing design system</a>.</p>\n\n\n\n<img />\n\n\n\n<p>&#8220;The team has recently made some solid progress on things like database storage and REST API endpoints,&#8221; WordPress core contributor Joe Bailey-Roberts said. &#8220;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.&#8221;</p>\n\n\n\n<p>Anyone who uses WordPress is welcome to <a href=\"https://forms.gle/XBh1U53MYLni4hsHA\">take the survey</a> &#8211; it&#8217;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.</p>\";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:\"<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>Here’s a sneak peak of some of the topics:</p>\n\n\n\n<ul>\n<li>Analytics in GDPR era</li>\n\n\n\n<li>Climate change and WordPress, things to consider</li>\n\n\n\n<li>Optimizing e-commerce</li>\n\n\n\n<li>Work fatigue, how to prevent it and cope from it</li>\n\n\n\n<li>Open source and WordPress communities, how do those benefit you?</li>\n\n\n\n<li>Web Platform API’s and Gutenberg, modern Javascript development with WordPress</li>\n\n\n\n<li>Terminal and WP-CLI</li>\n\n\n\n<li>Designing more accessible websites and accessibility testing</li>\n\n\n\n<li>Achieving better and more inclusive web design, content and UX</li>\n\n\n\n<li>Security and hacked websites</li>\n\n\n\n<li>…and much more!</li>\n</ul>\n\n\n\n<p><a href=\"https://finland.wordcamp.org/2023/\">WordCamp Finland 2023</a> 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.</p>\n\n\n\n<p>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!</p>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p><a href=\"https://finland.wordcamp.org/2023/tickets/\">Secure your tickets</a> now and ensure you’ll get to experience all of the insightful talks and activities with a welcoming community!</p>\n\n\n\n<p>The full list of speakers, session descriptions and schedule will be published in early August, so make sure to follow us on <a href=\"https://twitter.com/wordcampfinland\">Twitter</a>, <a href=\"https://www.facebook.com/WordCampFinland\">Facebook</a> and <a href=\"https://www.linkedin.com/company/wordcamp-finland\">Linkedin</a> to get the latest updates. Naturally the WordPress Finland Slack has <a href=\"https://fi.wordpress.org/chat/\">#events-wcfi</a> channel and discussion is ongoing on <a href=\"https://m.facebook.com/groups/597228300478293/\">WPWoofi</a> Facebook group.</p>\";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:\"<p><a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/\">Gutenberg 16.1</a> was released this week, debuting of the Pattern Library, which coincides with <a href=\"https://wptavern.com/reusable-blocks-renamed-to-patterns-with-synced-and-non-synced-options\">reusable blocks getting renamed to synced patterns</a>. 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.</p>\n\n\n\n<img />\n\n\n\n<p>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.</p>\n\n\n\n<p>Automattic-sponsored engineer Andrei Draganescu <a href=\"https://github.com/WordPress/gutenberg/pull/51173\">submitted the PR</a> for the feature and cited three reasons why the Site Editor could benefit from a Distraction Free mode:</p>\n\n\n\n<ul>\n<li>Because distraction free work is a good environment to cultivate</li>\n\n\n\n<li>Because the command center makes full chrome UI useless for power users</li>\n\n\n\n<li>Because it enables a really 1:1 preview &#8211; while maintaining everything editable</li>\n</ul>\n\n\n\n<p>Draganescu published a video of the Distraction Free mode working in concert with the new Command Palette:</p>\n\n\n\n\n\n\n\n<p>Another new feature in this release is automated footnotes.<a id=\"d213a119-9478-49c0-b53c-1ceba4b8b5a0-link\" href=\"https://wptavern.com/feed#d213a119-9478-49c0-b53c-1ceba4b8b5a0\" class=\"fn\">*</a> 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.)</p>\n\n\n<ol class=\"wp-block-footnotes\"><li id=\"d213a119-9478-49c0-b53c-1ceba4b8b5a0\">This is an example of a footnote. <a href=\"https://wptavern.com/feed#d213a119-9478-49c0-b53c-1ceba4b8b5a0-link\"><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/21a9.png\" alt=\"↩\" class=\"wp-smiley\" />︎</a></li></ol>\n\n\n<p>Footnotes can be added inside paragraph, heading, and list blocks, and are saved as post meta. The Footnote block doesn&#8217;t seem to be accessible in the block inserter. It is automatically created and inserted with the first footnote. </p>\n\n\n\n<img />\n\n\n\n<p>A few other notable features in this release include the following:</p>\n\n\n\n<p></p>\n\n\n\n<ul>\n<li>Live block theme previewing in the Site Editor moved out of experimental stage, available for block themes under <em>Appearance > Themes</em></li>\n\n\n\n<li>Site Editor sidebar now displays template and settings configuration details for the home and index templates</li>\n\n\n\n<li>Aspect ratio controls added to Image block</li>\n</ul>\n\n\n\n<p>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 <a href=\"https://wptavern.com/wordpress-6-3-beta-2-released-ready-for-testing\">test 6.3 Beta 2</a>. Check out the <a href=\"https://make.wordpress.org/core/2023/06/29/whats-new-in-gutenberg-16-1-29-june/\">release post</a> for the full changelog that includes all the latest enhancements, bug fixes, and performance and accessibility improvements.</p>\";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:\"<p>WPScan is reporting a hacking campaign <a href=\"https://blog.wpscan.com/hacking-campaign-actively-exploiting-ultimate-member-plugin/\">actively exploiting an unpatched vulnerability in the Ultimate Member plugin</a>, 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).</p>\n\n\n\n<p>Automattic&#8217;s <a href=\"https://wp.cloud/\">WP.cloud</a> and <a href=\"https://pressable.com/\">Pressable.com</a> 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 <a href=\"http://wordpress.org/support/topic/possible-priv-esc-vulnerability/\">Privilege Escalation vulnerability</a> in the plugin, as well as indications that it was already being <a href=\"https://wordpress.org/support/topic/register-role-ignored-and-user-became-an-admin/\">actively exploited</a>.</p>\n\n\n\n<p><a href=\"https://wordpress.org/plugins/ultimate-member/\">Ultimate Member</a>, which is active on more than 200,000 WordPress sites, patched the plugin, but WPScan reports that it wasn&#8217;t sufficient.</p>\n\n\n\n<p>&#8220;In response to the vulnerability report, the creators of the plugin promptly released a new version, 2.6.4, intending to fix the problem,&#8221; WPScan security researcher Marc Montpas said. &#8220;However, upon investigating this update, we found numerous methods to circumvent the proposed patch, implying the issue is still fully exploitable.</p>\n\n\n\n<p>&#8220;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.&#8221;</p>\n\n\n\n<p>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 <a href=\"https://blog.wpscan.com/hacking-campaign-actively-exploiting-ultimate-member-plugin/\">security advisory</a> if you believe you have been compromised.</p>\n\n\n\n<p>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.</p>\";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:\"<p><a href=\"https://us.wordcamp.org/2023/announcing-the-2023-kim-parsell-memorial-scholarship-winner-yumi-nishioka/\">This year’s Kim Parsell Memorial Scholarship recipient</a> is <a href=\"https://profiles.wordpress.org/mimitips/\">Yumi Nishioka (mimi)</a>. mimi is a passionate WordPress contributor who embodies the values that Kim would have appreciated.</p>\n\n\n\n<p>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&nbsp;small study sessions&nbsp;about Design and WordPress.</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p><em>While there have been numerous contributions I’m proud of, one that stands out is my commitment to the core code. 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The venue also offers ample common areas for networking.</p>\n\n\n\n<p>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 <a href=\"https://asia.wordcamp.org/2024/\">the event&#8217;s website</a> or follow <a href=\"https://twitter.com/WordCampAsia\">@WordCampAsia</a> on Twitter.</p>\";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 00:31:19 +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:36;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 2\";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=15193\";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/2023/06/wordpress-6-3-beta-2/\";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:15161:\"<p>WordPress 6.3 Beta 2 is ready for download and testing. 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Get an overview of the <a href=\"https://make.wordpress.org/core/6-3/\">6.3 release cycle</a>, and check the <a href=\"https://make.wordpress.org/core/\">Make WordPress Core blog</a> for <a href=\"https://make.wordpress.org/core/tag/6-3/\">6.3-related posts</a> in the coming weeks for further details.</p>\n\n\n\n<h2 class=\"wp-block-heading\">A first look at 6.3</h2>\n\n\n\n<p>This latest WordPress release includes many updates spanning all platform areas, emphasizing the editing experience and polishing usability.&nbsp;This release contains more than 500 new features and enhancements and 400+ bug fixes.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Performance</h3>\n\n\n\n<p>Following the incredible <a href=\"https://make.wordpress.org/core/2023/04/05/wordpress-6-2-performance-improvements-for-all-themes/\">performance improvements introduced in 6.2</a>, the release includes more than 170 performance-related updates, including adding <a href=\"https://core.trac.wordpress.org/ticket/12009\">defer and async support to the WP Scripts API</a> and <a href=\"https://core.trac.wordpress.org/ticket/58235\">fetchpriority support for images</a>. Optimizations were made to <a href=\"https://github.com/WordPress/wordpress-develop/pull/4097\">block template resolution</a>, <a href=\"https://core.trac.wordpress.org/ticket/58211\">image lazy-loading</a>, and the <a href=\"https://core.trac.wordpress.org/ticket/58472\">emoji loader</a>, all of which benefit LCP performance. Support for PHP versions <a href=\"https://core.trac.wordpress.org/query?status=accepted&status=assigned&status=new&status=reopened&status=reviewing&keywords=~php8+-php81+-php82&milestone=6.3&order=priority\">8.0</a>, <a href=\"https://core.trac.wordpress.org/query?status=accepted&status=assigned&status=new&status=reopened&status=reviewing&keywords=~php81&milestone=6.3&order=priority\">8.1</a>, and <a href=\"https://core.trac.wordpress.org/query?status=accepted&status=assigned&status=new&status=reopened&status=reviewing&keywords=~php82&milestone=6.3&order=priority\">8.2</a> has been improved.&nbsp;</p>\n\n\n\n<h3 class=\"wp-block-heading\">Site Editor</h3>\n\n\n\n<p>The Site Editor expands to include navigating and editing <a href=\"https://make.wordpress.org/core/2023/05/20/whats-new-in-gutenberg-15-8-may-17/#add-the-pages-menu-to-the-site-editor-50463\">pages</a>, <a href=\"https://make.wordpress.org/core/2023/04/19/whats-new-in-gutenberg-15-6-19-april/#style-variations-in-browse-mode\">styles</a>, <a href=\"https://github.com/WordPress/gutenberg/issues/50418#top\">templates</a>, and <a href=\"https://github.com/WordPress/gutenberg/issues/44461\">content</a>. The unified site editing experience will include a <a href=\"https://github.com/WordPress/gutenberg/issues/49175\">distraction-free mode</a>, enhanced <a href=\"https://make.wordpress.org/core/2023/02/24/whats-new-in-gutenberg-15-2-22-february/#enhancements-to-navigation-in-the-site-editor\">navigation</a>, and an <a href=\"https://github.com/WordPress/gutenberg/issues/35503\">improved loading experience</a>. Additionally, you can use the Site Editor to <a href=\"https://make.wordpress.org/core/2023/05/20/whats-new-in-gutenberg-15-8-may-17/#add-theme-previews-for-block-themes-50030\">preview a block theme</a> and adjust your site before activating the new theme. This release includes <a href=\"https://github.com/WordPress/gutenberg/pull/50089\">style revisions</a> so you can toggle between and preview different saved styles. Rounding out the changes, 6.3 ushers in a new <a href=\"https://make.wordpress.org/core/2023/05/31/whats-new-in-gutenberg-15-9-31-may/#command-tool\">Command Palette</a>, enabling users to context switch and perform actions quickly across different sections of the site editing experience.</p>\n\n\n\nPrototype of the Command Palette in action\n\n\n\n<h3 class=\"wp-block-heading\">Blocks</h3>\n\n\n\n<p>New blocks for <a href=\"https://make.wordpress.org/core/2023/04/19/whats-new-in-gutenberg-15-6-19-april/#details-block-experimental\">details</a> and <a href=\"https://github.com/WordPress/gutenberg/pull/51201\">footnotes</a> debut in this release, along with updates for better handling of <a href=\"https://github.com/WordPress/gutenberg/issues/51138\">image aspect ratios</a> and improved fallback states. <a href=\"https://make.wordpress.org/core/2023/04/19/whats-new-in-gutenberg-15-6-19-april/#spacer-block-gets-spacing-presets\">Spacer blocks</a> now include presets, and the cover block gets updates for managing <a href=\"https://make.wordpress.org/core/2023/03/22/whats-new-in-gutenberg-15-4-22-march/#color-and-layout-support-for-cover-block\">text colors and layout support</a>.</p>\n\n\n\n<img src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/Spacing-Presets.png?ssl=1\" alt=\"\" />The new height control for the Spacer block\n\n\n\n<h3 class=\"wp-block-heading\">Patterns and Design</h3>\n\n\n\n<p>Reusable blocks have been renamed to <a href=\"https://github.com/WordPress/gutenberg/pull/51144\"><em>synced patterns</em></a>. This change reflects the unification of reusable blocks and traditional block patterns (unsynced patterns) within the Editor. A <a href=\"https://make.wordpress.org/core/2023/04/05/whats-new-in-gutenberg-15-5-05-april/#patterns-as-template-starters\">new option</a> 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 <a href=\"https://make.wordpress.org/meta/2023/06/09/new-curation-filter-in-pattern-directory/\">directory of curated patterns</a>. Additionally, the <a href=\"https://make.wordpress.org/core/2023/03/13/whats-new-in-gutenberg-15-3-13-march/#leveling-up-duotone\">duotone filter</a> and <a href=\"https://make.wordpress.org/core/2023/04/05/whats-new-in-gutenberg-15-5-05-april/#style-captions-via-the-styles-interface\">captions</a> can now be edited in the Styles interface.</p>\n\n\n\n<img src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/Styling-Captions.png?ssl=1\" alt=\"\" />Style your captions in the new Styles interface\n\n\n\n<h3 class=\"wp-block-heading\">Usability<strong> </strong></h3>\n\n\n\n<p>Some key usability highlights include <a href=\"https://github.com/WordPress/gutenberg/issues/40450\">toolbar updates</a>, <a href=\"https://make.wordpress.org/core/2023/03/22/whats-new-in-gutenberg-15-4-22-march/#updated-template-descriptions\">updated template descriptions</a>, enhanced <a href=\"https://make.wordpress.org/core/2023/05/31/whats-new-in-gutenberg-15-9-31-may/#enhancements-site-editor\">list view drag-and-drop</a>, improved <a href=\"https://github.com/WordPress/gutenberg/issues/49264#top\">padding and margin controls</a>, and a new area for <a href=\"https://github.com/WordPress/gutenberg/issues/50397#top\">managing patterns</a> (including reusable blocks, now called <em>synced patterns</em>.) <a href=\"https://github.com/WordPress/gutenberg/issues/50891\">Link control</a> receives some updates, rounding out high-level usability enhancements in 6.3.</p>\n\n\n\n<img src=\"https://i0.wp.com/wordpress.org/news/files/2023/06/Add-and-modify-descriptions-for-templates.png?ssl=1\" alt=\"\" />Add and modify descriptions for templates\n\n\n\n<h3 class=\"wp-block-heading\">Accessibility</h3>\n\n\n\n<p>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 <a href=\"https://core.trac.wordpress.org/ticket/50523\">new controls in the admin image editor</a> allow those using screen readers, keyboard navigation, and other assistive technology to navigate more easily. The <a href=\"https://core.trac.wordpress.org/ticket/32510\">login form</a>, <a href=\"https://core.trac.wordpress.org/ticket/40470\">installation steps</a>, and list tables (for <a href=\"https://core.trac.wordpress.org/ticket/32170\">sorting</a> and <a href=\"https://core.trac.wordpress.org/ticket/21516\">selection</a>) have all been updated. Additional accessibility tickets are viewable in <a href=\"https://core.trac.wordpress.org/query?status=closed&focuses=~accessibility&milestone=6.3&col=id&col=summary&col=status&col=milestone&col=owner&col=type&col=priority&order=priority\">the WordPress Trac</a>.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Other notes</h3>\n\n\n\n<p>This release includes <a href=\"https://core.trac.wordpress.org/ticket/51857\">auto-rollback</a> for failed manual updates of themes and plugins.</p>\n\n\n\n<p><em>Please note that the features in this list may change before the final release.</em></p>\n\n\n\n<h2 class=\"wp-block-heading\">Testing makes WordPress stronger!</h2>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>If you encounter an issue, please report it to the <a href=\"https://wordpress.org/support/forum/alphabeta/\">Alpha/Beta area</a> in the support forums. If you are comfortable writing a reproducible bug report, you can <a href=\"https://core.trac.wordpress.org/newticket\">file one on WordPress Trac</a>. You can also check your issue against a list of <a href=\"https://core.trac.wordpress.org/tickets/major\">known bugs</a>.</p>\n\n\n\n<p>New to testing? This <a href=\"https://make.wordpress.org/test/2023/06/27/help-test-wordpress-6-3/\">detailed guide</a> is a great place to start if you&#8217;ve never tested a beta release.</p>\n\n\n\n<p>Want to know more about testing releases in general? Follow along with the <a href=\"https://make.wordpress.org/test/\">testing initiatives in Make Core</a> and join the <a href=\"https://wordpress.slack.com/messages/core-test/\">#core-test channel</a> on the <a href=\"https://wordpress.slack.com/\">Making WordPress Slack</a>.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Vulnerability bounty doubles during Beta 2</h3>\n\n\n\n<p>Between the Beta 2 release and the final release candidate (RC) for each new WordPress version, the <a href=\"https://make.wordpress.org/security/2023/06/28/doubling-the-bounties-for-wordpress-6-3-beta/\">monetary reward for reporting new, unreleased security vulnerabilities is doubled</a>. Please follow responsible disclosure practices as detailed in the project’s security practices and policies outlined on the <a href=\"https://hackerone.com/wordpress\">HackerOne page</a> and in the <a href=\"https://wordpress.org/about/security/\">security white paper</a>.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Get WordPress 6.3 Beta 2</h3>\n\n\n\n<p>You can test WordPress 6.3 Beta 2 in three ways:</p>\n\n\n\n<p><strong>Option 1:</strong> Install and activate the <a href=\"https://wordpress.org/plugins/wordpress-beta-tester/\">WordPress Beta Tester</a> plugin (select the “Bleeding edge” channel and “Beta/RC Only” stream).</p>\n\n\n\n<p><strong>Option 2: </strong>Direct download the <a href=\"https://wordpress.org/wordpress-6.3-beta2.zip\">Beta 2 version (zip)</a>.</p>\n\n\n\n<p><strong>Option 3:</strong> Use the following WP-CLI command:</p>\n\n\n\n<p><code>wp core update --version=6.3-beta2</code></p>\n\n\n\n<p>The current target for the final release is <strong>August 8, 2023</strong>, which is about six weeks away. Your help testing this version ensures everything in this release is the best.</p>\n\n\n\n<h3 class=\"wp-block-heading\">The first haiku for 6.3</h3>\n\n\n\n<p>A chapter closes<br />Excitement yet much newness<br />Phase 2 finale</p>\n\n\n\n<p><em>Thank you to the following contributors for collaborating on this post:</em> <a href=\"https://profiles.wordpress.org/dansoschin/\"><em>@DanSoschin</em></a>, <a href=\"https://profiles.wordpress.org/meher/\"><em>@Meher</em></a>, <a href=\"https://profiles.wordpress.org/jpantani/\"><em>@JPantani</em></a>, <a href=\"https://profiles.wordpress.org/cbringmann/\"><em>@CBringmann</em></a>, <a href=\"https://profiles.wordpress.org/audrasjb/\"><em>@AudrasJB</em></a>, <a href=\"https://profiles.wordpress.org/annezazu/\"><em>@annezazu</em></a>, <a href=\"https://profiles.wordpress.org/ndiego/\"><em>@ndiego</em></a>, <a href=\"https://profiles.wordpress.org/davidbaumwald/\"><em>@davidbaumwald</em></a>, <a href=\"https://profiles.wordpress.org/desrosj/\"><em>@desrosj</em></a>, <a href=\"https://profiles.wordpress.org/priethor/\"><em>@priethor</em></a>, <a href=\"https://profiles.wordpress.org/flixos90/\"><em>@flixos90</em></a>,<a href=\"https://profiles.wordpress.org/wildworks\"> @wildworks</a>, <em>and </em><a href=\"https://profiles.wordpress.org/jpantani/\"><em>@JPantani</em></a><em> for authoring the haiku</em>.</p>\";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 23:30:50 +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:37;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: #81 – James Dominy on Why AI Is to Be Embraced, Not Feared\";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:48:\"https://wptavern.com/?post_type=podcast&p=146283\";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:83:\"https://wptavern.com/podcast/81-james-dominy-on-why-ai-is-to-be-embraced-not-feared\";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:52362:\"Transcript<div>\n<p>[00:00:00] <strong>Nathan Wrigley:</strong> 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.</p>\n\n\n\n<p>If you&#8217;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.</p>\n\n\n\n<p>If you have a topic that you&#8217;d like us to feature on the podcast, I&#8217;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.</p>\n\n\n\n<p>So on the podcast today, we have James Dominy. James is a computer scientist with a master&#8217;s degree in bioinformatics. He lives in Ireland working at the WP engine Limerick office.</p>\n\n\n\n<p>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&#8217;s going to disrupt so many of the roles which WordPressers currently occupy.</p>\n\n\n\n<p>We talk about the recent rise of ChatGPT, and the fact that it&#8217;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.</p>\n\n\n\n<p>The discussion moves on to the rate at which AI systems might evolve, and whether or not they&#8217;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&#8217;ve consumed; a future in which they can set their own agendas and learn based upon their own goals?</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>James&#8217; his background in biochemistry comes in handy as we turn our attention to whether or not there&#8217;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&#8217;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?</p>\n\n\n\n<p>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&#8217;t have an understanding of where each sentence is going to end up?</p>\n\n\n\n<p>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&#8217;re creating content which makes sense, even if it&#8217;s not always factually accurate.</p>\n\n\n\n<p>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?</p>\n\n\n\n<p>It&#8217;s a fascinating conversation, whether or not you&#8217;ve used AI tools in the past.</p>\n\n\n\n<p>If you&#8217;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&#8217;ll find all the other episodes as well.</p>\n\n\n\n<p>And so without further delay, I bring you James Dominy.</p>\n\n\n\n<p>I am joined on the podcast today by James Dominy. How are you doing James?</p>\n\n\n\n<p>[00:04:51] <strong>James Dominy:</strong> I&#8217;m well, thanks. Hi Nathan. How are you doing?</p>\n\n\n\n<p>[00:04:53] <strong>Nathan Wrigley:</strong> Yeah, good, thanks. We&#8217;re at WordCamp Europe. We&#8217;re upstairs somewhere. I&#8217;m not entirely sure where we are in all honesty. The principle idea of today&#8217;s conversation with James is he&#8217;s done a presentation at WordCamp Europe all about AI. Now, I literally can&#8217;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.</p>\n\n\n\n<p>[00:05:17] <strong>James Dominy:</strong> Yeah.</p>\n\n\n\n<p>[00:05:17] <strong>Nathan Wrigley:</strong> It&#8217;s consuming absolutely everything. So it&#8217;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?</p>\n\n\n\n<p>[00:05:24] <strong>James Dominy:</strong> 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&#8217;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&#8217;ve got software developers who are developing plugins or working on the actual WordPress Core.</p>\n\n\n\n<p>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&#8217;t know enough about the business aspects to really talk about the agency and the marketing side of things.</p>\n\n\n\n<p>I personally, I&#8217;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&#8217;s been using ChatGPT quite actively recently.</p>\n\n\n\n<p>And she&#8217;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&#8217;s interesting. I know some bit about machine learning and the way these things work. I&#8217;ve read some stuff on the internals and I have opinions.</p>\n\n\n\n<p>[00:06:33] <strong>Nathan Wrigley:</strong> Perfect.</p>\n\n\n\n<p>[00:06:34] <strong>James Dominy:</strong> So that&#8217;s how I got here.</p>\n\n\n\n<p>[00:06:35] <strong>Nathan Wrigley:</strong> Yeah. Well, that&#8217;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&#8217;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.</p>\n\n\n\n<p>[00:07:00] <strong>James Dominy:</strong> And I mean, I am absolutely guilty of that. I think the number of times I&#8217;ve said ChatGPT, I mean AI generative systems, or something during my workshop this morning is well beyond count.</p>\n\n\n\n<p>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&#8217;t be used as a generic term for search. I expect the same thing will happen with ChatGPT at some point.</p>\n\n\n\n<p>[00:07:25] <strong>Nathan Wrigley:</strong> This is going to sound a little bit, well, maybe snarky is the wrong word, but I hope you don&#8217;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&#8217;s time, two years&#8217; time, five years&#8217; 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&#8217;t know what it&#8217;s going to be like.</p>\n\n\n\n<p>[00:07:59] <strong>James Dominy:</strong> 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&#8217;t always go the direction we want and I think that is the unanswerable part of this question.</p>\n\n\n\n<p>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&#8217;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&#8217;ve had the Turing test for nearly a hundred years, more than a hundred years? 21, yeah, more than a hundred years now.</p>\n\n\n\n<p>So I mean, that&#8217;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&#8217;t advanced. I don&#8217;t want to take away from the people who&#8217;ve done the work here. There has been work that&#8217;s been put into it, but I think what&#8217;s really given us the quantum leap here is the amount of computational power that we can throw at the problem.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>[00:09:28] <strong>Nathan Wrigley:</strong> So we can stare into the future and imagine that it&#8217;s going to get exponentially, logarithmically it&#8217;s going to, it&#8217;s just going to get better and better and better. But we can&#8217;t predict the ways that it might output that betterness. Who knows what kind of interface there&#8217;ll be, or.</p>\n\n\n\n<p>[00:09:41] <strong>James Dominy:</strong> Yeah. I think better&#8217;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&#8217;re able to take more context in and apply it to whatever comes out. So in that sense we&#8217;re going to see a better output from an AI. Is it going to ever be able to innovate? Ooh, that&#8217;s a deep philosophical question, and I mean we can get into that, but I don&#8217;t know that we have time.</p>\n\n\n\n<p>[00:10:20] <strong>Nathan Wrigley:</strong> I think I would like to get into that.</p>\n\n\n\n<p>[00:10:22] <strong>James Dominy:</strong> Okay.</p>\n\n\n\n<p>[00:10:22] <strong>Nathan Wrigley:</strong> 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.</p>\n\n\n\n<p>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&#8217;s indistinguishable from a human.</p>\n\n\n\n<p>And so, I have an intuition that really what we&#8217;re getting back, it&#8217;s not intelligent in any meaningful sense of the word. It&#8217;s kind of like a regurgitation machine. It&#8217;s sucking in information and then it&#8217;s just giving us a best approximation of what it thinks we want to hear. But it&#8217;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?</p>\n\n\n\n<p>[00:11:22] <strong>James Dominy:</strong> 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.</p>\n\n\n\n<p>But if it hasn&#8217;t read the latest paper on advanced quantum mechanic theory, it&#8217;s not going to know it. That text isn&#8217;t going to be there. Could it reproduce that paper? That&#8217;s a subtely different question, because then it comes down to, well, when a human produces that paper, what are they really doing?</p>\n\n\n\n<p>They&#8217;re synthesizing their knowledge from a bunch of different things that they&#8217;ve learned, and they&#8217;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&#8217;s different?</p>\n\n\n\n<p>A more practical example here, I was having this discussion earlier today, and someone said yes, but they&#8217;re not truly intelligent. But if you consider it, even now, we can ask Chat GPT something, and I&#8217;m going to be abstract cause I don&#8217;t have a concrete example here, I&#8217;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.</p>\n\n\n\n<p>Okay, fine. Now it can do that. It can give you a response. I&#8217;m not sure that it&#8217;ll be a good response. I haven&#8217;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&#8217;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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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&#8217;s another line there about what a plot is, which is a very abstract concept.</p>\n\n\n\n<p>Does that mean it&#8217;s intelligent? Does that mean it understands? I don&#8217;t know. That&#8217;s my answer because I did biochemistry at university, and there&#8217;s also the question there, and it&#8217;s exactly the same question. It&#8217;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.</p>\n\n\n\n<p>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&#8217;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.</p>\n\n\n\n<p>But here in this case, like the extended Turing test is the thing actually intelligent? I don&#8217;t know. I genuinely don&#8217;t know the answer there. In some sense, yes, because it&#8217;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.</p>\n\n\n\n<p>[00:15:33] <strong>Nathan Wrigley:</strong> Given that you&#8217;ve got a background in, forgive me, did you say biochemistry?</p>\n\n\n\n<p>[00:15:37] <strong>James Dominy:</strong> Yeah, biochemistry and computer science, bioinfomatics.</p>\n\n\n\n<p>[00:15:39] <strong>Nathan Wrigley:</strong> 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&#8217;s something special about the brain, the way the brain is created? This piece of wetwear in our head.</p>\n\n\n\n<p>[00:16:00] <strong>James Dominy:</strong> Unpopular opinion, I think it comes down to brute force count. We&#8217;ve got trillions of cells. Large language models, I don&#8217;t know what the numbers are for GPT4, but we&#8217;re not at trillions yet. Maybe when we get there, I don&#8217;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.</p>\n\n\n\n<p>And we would be unable to distinguish them from a human, other than the fact that we&#8217;re looking at a screen that, that we know it&#8217;s running on the chip in front of us. But if it&#8217;s over the internet and it&#8217;s on a machine running, or whether we&#8217;re talking to a person in the support center. Or we are at the McDonald&#8217;s kiosk of 2050 and being asked whether we want fries with that. If we can&#8217;t see the person who&#8217;s asking the question, if we&#8217;re at the drive-through, we can&#8217;t see the person. Do we care?</p>\n\n\n\n<p>[00:16:54] <strong>Nathan Wrigley:</strong> Interesting. You mentioned a couple of times large language models, often abbreviated just to LLM. My understanding at least, forgive me I&#8217;m, I really genuinely am no expert about this. This is the underpinning of how it works. I&#8217;m going to explain it in crude terms, and then I&#8217;m hoping you&#8217;ll step in and pad it out and make it more accurate.</p>\n\n\n\n<p>[00:17:12] <strong>James Dominy:</strong> I should caveat anything that I say here with I also am not an expert on these, but I will do what I can.</p>\n\n\n\n<p>[00:17:17] <strong>Nathan Wrigley:</strong> 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&#8217;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&#8217;s then making a best approximation, and it&#8217;s going through a process of, okay, what should the first word be? Right, we&#8217;ve decided on that. Now, let&#8217;s figure out the second word, and the third word and the fourth word. Until finally it ends in a full stop and it&#8217;s done.</p>\n\n\n\n<p>And that&#8217;s the process it&#8217;s going through. Which seems highly unintelligent. But then again, that&#8217;s what I&#8217;m doing now. I&#8217;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.</p>\n\n\n\n<p>[00:18:03] <strong>James Dominy:</strong> I think that&#8217;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.</p>\n\n\n\n<p>But fundamentally the large language model is, yes, it&#8217;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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>And I&#8217;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.</p>\n\n\n\n<p>[00:19:29] <strong>Nathan Wrigley:</strong> It&#8217;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&#8217;t know if you&#8217;ve ever tried that experiment on your phone where you begin the predictive text. On my phone there&#8217;s there&#8217;s usually three words above the little typewriter, and it tries to say what the next word is based upon the previous word.</p>\n\n\n\n<p>[00:19:49] <strong>James Dominy:</strong> It&#8217;s not called auto corrupt for nothing.</p>\n\n\n\n<p>[00:19:50] <strong>Nathan Wrigley:</strong> Yeah, so you just click them at the end of that process, you have fantastic gibberish. It&#8217;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.</p>\n\n\n\n<p>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?</p>\n\n\n\n<p>[00:20:22] <strong>James Dominy:</strong> 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&#8217;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.</p>\n\n\n\n<p>And so Markov Models are very simple. They have a depth and that is how much history they remember of what they&#8217;ve seen. So you point a Markov Model at the beginning of the sequence of letters of nucleic, the ACGT&#8217;s. And then you want to say, okay, I&#8217;ve managed to sequence this off my organism. I&#8217;ve got a hundred bases and I want to know what the most likely one after that is, because that&#8217;s where it got cut off.</p>\n\n\n\n<p>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&#8217;s a C. 50% of the time it&#8217;s a G. And by the end of it, it can with reasonable accuracy to some value of how much information you&#8217;ve given it, predict okay, in this particular portion of 10 that I&#8217;ve seen, the next one should be T.</p>\n\n\n\n<p>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&#8217;re doing their job, their accuracy increases.</p>\n\n\n\n<p>I imagine the same is true of large language models, because they do. They don&#8217;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&#8217;re trying to produce. Like if you&#8217;re trying to produce a legal contract that&#8217;s got a fairly prescribed grammar and form to it. And you know, then like statistically you&#8217;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.</p>\n\n\n\n<p>[00:22:22] <strong>Nathan Wrigley:</strong> You described this slider. That really got to the nub of it. I genuinely didn&#8217;t realize that it wasn&#8217;t doing any more than just predicting the next word. And because that&#8217;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&#8217;t know what two words previously it had written.</p>\n\n\n\n<p>It&#8217;s back to my predictive text, which produces pure gobbledygook. But it still, occasionally, it goes down a blind alley, doesn&#8217;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&#8217;t know, inaccurate, just nonsense.</p>\n\n\n\n<p>[00:23:06] <strong>James Dominy:</strong> Yes. Well known for being confidently wrong for sure. I&#8217;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&#8217;t. It gets confused.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>But if you say, actually, I want this to be called Bob, that doesn&#8217;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&#8217;re doing too much and it&#8217;s run out of tokens.</p>\n\n\n\n<p>Tokens are sort of an abstraction. Sorry I used that word a lot. Computer scientist. Tokens are, they&#8217;re not strictly speaking individual words, but they are a rough approximation of a unit of knowledge, context. I don&#8217;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?</p>\n\n\n\n<p>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&#8217;s allowed to use.</p>\n\n\n\n<p>Or you give it to two contexts and together they just go over and then it&#8217;s confused because it doesn&#8217;t know which, again, I say this as a semi-educated guess. We as humans don&#8217;t have a good definition of what context means in this conversation. How do we expect a computer system to?</p>\n\n\n\n<p>[00:25:05] <strong>Nathan Wrigley:</strong> Just as you&#8217;ve been talking, in my head, I&#8217;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&#8217;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&#8217;s just making utterly horrific mistakes because it&#8217;s a baby and you forgive it for that. So I don&#8217;t know how that sits, but that&#8217;s what&#8217;s it landed in my head.</p>\n\n\n\n<p>[00:25:40] <strong>James Dominy:</strong> I wouldn&#8217;t say that AI is in its infancy anymore, but it&#8217;s probably in its toddler year, and maybe we need to watch out when it turns two.</p>\n\n\n\n<p>[00:25:47] <strong>Nathan Wrigley:</strong> So we&#8217;ve, done the sort of high level what is AI and all of that. That&#8217;s fascinating. But given that this is a WordPress event and it&#8217;s a WordPress podcast, let&#8217;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&#8217;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?</p>\n\n\n\n<p>[00:26:21] <strong>James Dominy:</strong> I am totally going to be stealing some ideas from the AI content creation things that have happened this morning. I mean, there&#8217;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?</p>\n\n\n\n<p>I think there are a lot of other places. I&#8217;d be super surprised if this hasn&#8217;t actually happened already. But, hey ChatGPT, write me an article that gets me to the top five Google ranking.</p>\n\n\n\n<p>The other obvious place for me as a software developer is using it to develop code. Humans are inventive. We&#8217;re going to see a lot of uses for AI that we never thought of. That&#8217;s not a bad thing at all. The more ways that we can use AI, I think the better.</p>\n\n\n\n<p>Yes, there are questions about the dangers, and I&#8217;m sure that&#8217;s a question coming up later on, so I won&#8217;t dive into them now, but in the WordPress community, there&#8217;s content creation, but there&#8217;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?</p>\n\n\n\n<p>Again, it&#8217;s a case of you get what you give. There&#8217;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&#8217;m struggling to think of things beyond the obvious.</p>\n\n\n\n<p>[00:27:47] <strong>Nathan Wrigley:</strong> Well, I think probably it is going to be the obvious, isn&#8217;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&#8217;re using the Gutenberg editor, the ability to interrupt that flow and say, okay, I&#8217;ve written enough now, ChatGPT, take over. Give me the next 300 words please. Or just read what I&#8217;ve written and can you just finish this? I&#8217;m almost there.</p>\n\n\n\n<p>[00:28:11] <strong>James Dominy:</strong> Yeah, we are doing it already, even if it&#8217;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&#8217;s really great at that. Make this sound more businessy. And it understands the word businessy. The tool integration, it&#8217;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&#8217;m editing my blog post. Fantastic.</p>\n\n\n\n<p>Another thing that I&#8217;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&#8217;s going to happen.</p>\n\n\n\n<p>[00:29:09] <strong>Nathan Wrigley:</strong> Yeah, given that it&#8217;s incredibly good at consuming data.</p>\n\n\n\n<p>[00:29:13] <strong>James Dominy:</strong> 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&#8217;s AB testing at a larger scale.</p>\n\n\n\n<p>[00:29:28] <strong>Nathan Wrigley:</strong> Yeah. You can imagine a situation where the AI runs the split test, but it&#8217;s divided over 300 variations. And it decides for itself which is the winner.</p>\n\n\n\n<p>[00:29:39] <strong>James Dominy:</strong> On a day-to-day basis.</p>\n\n\n\n<p>[00:29:40] <strong>Nathan Wrigley:</strong> 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.</p>\n\n\n\n<p>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&#8217;s my telephone number. I&#8217;d like to have a picture of me, or somebody doing some plumbing, some additional content down there. You get the picture?</p>\n\n\n\n<p>[00:30:17] <strong>James Dominy:</strong> Yeah, absolutely.</p>\n\n\n\n<p>[00:30:18] <strong>Nathan Wrigley:</strong> 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&#8217;ll go for that one, but now make the buttons red. The AI takes over the design process in a way.</p>\n\n\n\n<p>[00:30:32] <strong>James Dominy:</strong> Yeah. I&#8217;m going to confess here that I&#8217;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?</p>\n\n\n\n<p>Maybe if we as a WordPress community invest in making WordPress AI integrated, then yeah, absolutely. Then hopefully we&#8217;re first to market with that in a way. And then it will generate stuff in WordPress. But there&#8217;s no, there&#8217;s no reason for it to maybe choose a Wix page as a better solution for you as a plumber, who doesn&#8217;t update things very often. You just want a static, you know.</p>\n\n\n\n<p>Chances are it&#8217;ll just say, here is some HTML it does the job for you, it&#8217;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&#8217;ve asked for the fastest, whatever.</p>\n\n\n\n<p>[00:31:41] <strong>Nathan Wrigley:</strong> Oh, interesting, okay. So it&#8217;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.</p>\n\n\n\n<p>[00:31:53] <strong>James Dominy:</strong> One day. For sure. Yeah.</p>\n\n\n\n<p>[00:31:54] <strong>Nathan Wrigley:</strong> Okay. So that very nicely ties into the harms.</p>\n\n\n\n<p>[00:31:58] <strong>James Dominy:</strong> There it is.</p>\n\n\n\n<p>[00:31:58] <strong>Nathan Wrigley:</strong> What we&#8217;ve just laid out is potentially quite harmful to a lot of the jobs that people do inside of WordPress. We&#8217;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&#8217;s a voice interface or a visual interface or a type, we&#8217;re typing in.</p>\n\n\n\n<p>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&#8217;m pretty sure that there&#8217;s some fairly large organizations who have begun this process already. They&#8217;ve taken some staff who are doing jobs which can be swapped out for AI, and they&#8217;ve shed those staff.</p>\n\n\n\n<p>And whilst we&#8217;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&#8217;s no humans in this whole process anymore. Does any of that give you pause for thought?</p>\n\n\n\n<p>[00:32:53] <strong>James Dominy:</strong> Yeah, it certainly does. I think we should temper our expectations of the capabilities of AI. So there&#8217;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.</p>\n\n\n\n<p>Its own, don&#8217;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&#8217;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.</p>\n\n\n\n<p>That ability to form a goal internally is the concept of a terminal goal. And we don&#8217;t have, large language models don&#8217;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.</p>\n\n\n\n<p>Which means there&#8217;s always going to need to be a human. At least with what we&#8217;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&#8217;s probably a quantity thing.</p>\n\n\n\n<p>Maybe there&#8217;s a tipping point. Maybe there&#8217;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&#8217;t just running servers randomly just doing stuff. It spends its computational time answering users prompts and questions.</p>\n\n\n\n<p>[00:34:48] <strong>Nathan Wrigley:</strong> So if we pursue artificial intelligence research, and the end goal is to create an AGI, then presumably at some point we&#8217;ve got something which is indistinguishable from a human because it can set its own goals.</p>\n\n\n\n<p>[00:35:02] <strong>James Dominy:</strong> The cyberpunk dystopia, right?</p>\n\n\n\n<p>[00:35:03] <strong>Nathan Wrigley:</strong> But we&#8217;re not there yet. This is a ways off, my understanding at least anyway. But in the more short term, let&#8217;s bind it to the loss of jobs.</p>\n\n\n\n<p>[00:35:11] <strong>James Dominy:</strong> 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&#8217;re not going to replace you.</p>\n\n\n\n<p>Maybe that&#8217;s less true on the content generation side, because large language models are particularly good at that. But there&#8217;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.</p>\n\n\n\n<p>It&#8217;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&#8217;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.</p>\n\n\n\n<p>Nobody has ever written an article of a hundred things to do in Athens in a day. I don&#8217;t know, I haven&#8217;t tried that. I&#8217;m guessing that there are going to be limitations. So some jobs are more in threat than others, but I think that if you&#8217;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.</p>\n\n\n\n<p>It&#8217;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&#8217;t immediately coming after your job.</p>\n\n\n\n<p>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&#8217;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.</p>\n\n\n\n<p>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&#8217;ve already said, sometimes it&#8217;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.</p>\n\n\n\n<p>But that&#8217;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&#8217;t made before ourselves, and thus don&#8217;t recognize his mistakes. So my fear of the job losses aspect of AI is not that it&#8217;s going to wipe out people who are working already. It&#8217;s going to make that barrier to entry for the next generation, it&#8217;s knocking the bottom rung out of the ladder.</p>\n\n\n\n<p>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&#8217;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.</p>\n\n\n\n<p>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&#8217;t learn in English class. Go figure.</p>\n\n\n\n<p>[00:39:17] <strong>Nathan Wrigley:</strong> 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.</p>\n\n\n\n<p>[00:39:26] <strong>James Dominy:</strong> Yeah.</p>\n\n\n\n<p>[00:39:27] <strong>Nathan Wrigley:</strong> 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&#8217;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&#8217;s not, I don&#8217;t know, deliberately producing fakes. Or that the fakes are getting, the hallucinations are getting minimized. That it&#8217;s not doing things that aren&#8217;t in humanity&#8217;s best interests.</p>\n\n\n\n<p>[00:39:59] <strong>James Dominy:</strong> Absolutely. Yes. Although I&#8217;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&#8217;s best interests. Who decides? The alignment problem crops up here where, it&#8217;s well known that we can train an AI to do something we think that it&#8217;s going to do, and it seems to be doing that thing until suddenly it doesn&#8217;t.</p>\n\n\n\n<p>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&#8217;t know we were training it to solve that problem.</p>\n\n\n\n<p>As far as regulation goes. Yes, I think regulation, it&#8217;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&#8217;s an incredibly stupid idea. But then the problem becomes what&#8217;s a weapon?</p>\n\n\n\n<p>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&#8217;s already happened. Accidentally, and again, I&#8217;m air quoting the accidentally here, accidentally crash your competitor&#8217;s stock, or another nation&#8217;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.</p>\n\n\n\n<p>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&#8217;s a pressure drop. So there&#8217;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&#8217;t know, it feels like it. Because for some reason it is optimizing for a different goal than we actually think we gave it.</p>\n\n\n\n<p>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&#8217;t mean that&#8217;s what it&#8217;s going to do. We just think that that&#8217;s what it&#8217;s going to do. We hope.</p>\n\n\n\n<p>[00:42:26] <strong>Nathan Wrigley:</strong> 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&#8217;s obviously going to be benefits. It&#8217;s going to make work certainly more productive. It&#8217;s going to make us be able to produce more things. But as you&#8217;ve just talked over the last 20 minutes or so, there&#8217;s also points of concern and things to be ironed out in the near term.</p>\n\n\n\n<p>[00:42:52] <strong>James Dominy:</strong> Absolutely, yeah.</p>\n\n\n\n<p>[00:42:53] <strong>Nathan Wrigley:</strong> We&#8217;re fast running out of time, so I think we&#8217;ll wrap it up if that&#8217;s all right? A quick one James, if somebody is interested, you&#8217;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?</p>\n\n\n\n<p>[00:43:06] <strong>James Dominy:</strong> The best way is probably email. I am not a social person in the social media sense. I don&#8217;t have Twitter. I don&#8217;t do any of that. So I&#8217;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&#8217;t spam. Please don&#8217;t get AI to spam me.</p>\n\n\n\n<p>[00:43:30] <strong>Nathan Wrigley:</strong> Yeah, yeah. James Dominy, thank you so much for joining us today.</p>\n\n\n\n<p>[00:43:34] <strong>James Dominy:</strong> Thank you for the opportunity. It&#8217;s been great fun, and I&#8217;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.</p>\n</div>\n\n\n\n<p>On the podcast today we have <a href=\"https://www.linkedin.com/in/jamesdominy/?originalSubdomain=ie\">James Dominy</a>.</p>\n\n\n\n<p>James is a computer scientist with a masters degree in bioinformatics. He lives in Ireland, working at the WPEngine Limerick office.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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?</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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?</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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?</p>\n\n\n\n<p>It’s a fascinating conversation whether or not you’ve used AI tools in the past.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Useful links.</h2>\n\n\n\n<p><a href=\"https://openai.com/blog/chatgpt\">ChatGPT</a></p>\n\n\n\n<p><a href=\"https://stablediffusionweb.com/\">Stable Diffusion</a></p>\n\n\n\n<p><a href=\"https://en.wikipedia.org/wiki/Markov_model\">Markov Model</a></p>\";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 14:00:00 +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:14:\"Nathan Wrigley\";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:38;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:54:\"Akismet: How to Add CAPTCHA and reCAPTCHA to 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:27:\"http://akismet.com/?p=70973\";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:43:\"https://akismet.com/blog/wordpress-captcha/\";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:25456:\"<p>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.</p>\n\n\n\n<p>All that sounds great, but the effort involved in solving a CAPTCHA often results in reduced conversions. According to <a href=\"https://moz.com/blog/having-a-captcha-is-killing-your-conversion-rate\">Moz</a>, including a CAPTCHA could result in a loss of 3.2% of conversions. Yikes!</p>\n\n\n\n<p>That&#8217;s why today, we&#8217;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&#8217;s still the route you feel most comfortable with.</p>\n\n\n\n<p>After following this guide, your website will be safer and more secure for your visitors.</p>\n\n\n\n<p>Let&#8217;s get started!</p>\n\n\n\n<span id=\"more-70973\"></span>\n\n\n\n<h2 class=\"wp-block-heading\">The problem with traditional CAPTCHA solutions</h2>\n\n\n\n<p>While <a href=\"https://support.google.com/a/answer/1217728?hl=en#:~:text=CAPTCHA%20(Completely%20Automated%20Public%20Turing,known%20as%20challenge%2Dresponse%20authentication.\">CAPTCHA</a> 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.&nbsp;</p>\n\n\n\n<h3 class=\"wp-block-heading\">1. They’re challenging for those with visual impairments</h3>\n\n\n\n<p>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.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image12.png\" alt=\"example of a CAPTCHA asking the user to select squares with red spheres\" class=\"wp-image-70975\" width=\"385\" height=\"463\" />\n\n\n\n<h3 class=\"wp-block-heading\">2. They create a frustrating experience&nbsp;</h3>\n\n\n\n<p>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 —&nbsp;a real test of endurance.</p>\n\n\n\n<h3 class=\"wp-block-heading\">3. They can generate false positives</h3>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">4. They’re easily bypassed by sophisticated bots</h3>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">5. They can create a negative user experience</h3>\n\n\n\n<p>Implementing CAPTCHA systems can negatively impact your site&#8217;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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">6. They can lead to lower conversion rates</h3>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">7. They can cause higher page load times</h3>\n\n\n\n<p>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&#8217;s performance and search engine rankings.</p>\n\n\n\n<p>Given these challenges, it&#8217;s important to find a solution that’s both effective at preventing spam and bots, while also providing a positive user experience. That&#8217;s where Akismet comes in to save the day.</p>\n\n\n\n<h2 class=\"wp-block-heading\">How does Akismet address these issues?</h2>\n\n\n\n<p>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.&nbsp;</p>\n\n\n\n<p><strong>The result is enhanced accessibility, a superior user experience, and fewer false positives.&nbsp;</strong></p>\n\n\n\n<p>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.</p>\n\n\n\n<h2 class=\"wp-block-heading\">The benefits of using Akismet over CAPTCHA</h2>\n\n\n\n<p>Given the challenges associated with traditional CAPTCHA solutions, Akismet presents several benefits that make it a compelling and superior alternative for WordPress site owners.</p>\n\n\n\n<h3 class=\"wp-block-heading\">1. Greater user-friendliness</h3>\n\n\n\n<p>Akismet doesn&#8217;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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">2. Improved accessibility for all users</h3>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">3. Greater accuracy in spam detection</h3>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">4. Robust effectiveness against malicious activity</h3>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">5. Optimized performance and load times</h3>\n\n\n\n<p>Akismet runs in the background and won&#8217;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.</p>\n\n\n\n<p>If this sounds like a solid prospect, you&#8217;ll be delighted to hear that we&#8217;re discussing how to install and set up Akismet on WordPress next.</p>\n\n\n\n<h2 class=\"wp-block-heading\">How to add Akismet to WordPress</h2>\n\n\n\n<p>Incorporating <a href=\"https://akismet.com/\">Akismet</a> 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&#8217;re using. Let&#8217;s explore how it&#8217;s done!</p>\n\n\n\n<h3 class=\"wp-block-heading\">Step 1: Install the Akismet plugin</h3>\n\n\n\n<p>Akismet can be used for free to get rid of spam <a href=\"https://akismet.com/blog/wordpress-pros-and-cons-of-enabling-comments/\">comments</a> and harmful form submissions on your non-commercial site. Websites run for commercial purposes can choose from several affordable premium options.</p>\n\n\n\n<p>First, install and activate the plugin.</p>\n\n\n\n<p>To do this, log in to your WordPress dashboard, go to the <strong>Plugins</strong> tab, click <strong>Add New</strong>, and search for it. The plugin is usually included in the top &#8220;<strong>Featured</strong>&#8221; list.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image6.png\" alt=\"finding Akismet in the WordPress repository\" class=\"wp-image-70976\" width=\"450\" height=\"197\" />\n\n\n\n<p>To install the plugin, click on<strong> Install Now</strong> and then <strong>Activate</strong>. After activation, go to <strong>Settings</strong> and select <strong>Akismet Anti-Spam</strong>. Under <strong>Settings</strong>, locate the <strong>API key</strong> field.</p>\n\n\n\n<p>You can get the key by going to the Akismet website and creating an account.&nbsp;</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image7.png\" alt=\"Aksimet homepage with the text, \" />\n\n\n\n<p>Once you finish the signup process on the website, log in to your new account then locate <strong>My Account</strong> and choose <strong>Add Subscription</strong>.</p>\n\n\n\n<p>You can select your desired plan next. The <strong>Personal</strong> plan is free for individual website use if your site is considered &#8220;non-commercial.&#8221;</p>\n\n\n\n<p>After registering, you’ll receive an API key in the My Account section. Copy this key and then navigate to the WordPress dashboard&#8217;s <strong>Settings → Akismet Anti-Spam</strong> screen. Next, paste the key into the <strong>API Key</strong> field.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image1.png\" alt=\"Akismet settings in WordPress\" class=\"wp-image-70979\" width=\"450\" height=\"267\" />\n\n\n\n<p>Click on <strong>Save Changes</strong> to finish.</p>\n\n\n\n<p>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&#8217;ll need to complete another step.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Step 2: Add Akismet to your contact form</h3>\n\n\n\n<p>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.</p>\n\n\n\n<p>Some popular contact form plugins, including <a href=\"https://jetpack.com/features/discussion/contact-forms/\">Jetpack</a>, already have Akismet support built-in.&nbsp;</p>\n\n\n\n<p>Other plugins necessitate setting up Akismet add-ons to incorporate spam protection into their forms. <a href=\"https://www.gravityforms.com/\">Gravity Forms</a> is the most popular example of this.</p>\n\n\n\n<p>Still other WordPress plugins like <a href=\"https://wordpress.org/plugins/contact-form-7/\">Contact Form 7</a> require a code snippet to add Akismet support.</p>\n\n\n\n<p>Thankfully, it&#8217;s easy to configure Akismet on your contact forms, no matter which method you choose.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Step 3: Set up the anti-spam settings in Akismet</h3>\n\n\n\n<p>Akismet is very much a set-it-and-forget-it type of tool. Just install, activate, and you&#8217;re basically done. But it also allows you to control how to handle contact form spam a bit more precisely.</p>\n\n\n\n<p>The plugin is configured, by default, to send flagged comments to a holding queue located in the <strong>Comments</strong> section of the WordPress dashboard so that you can review them later. You can also set up Akismet to delete spam entirely.</p>\n\n\n\n<p>If this sounds appealing, just go to<strong> Settings → Akismet Anti-Spam</strong> and locate the <strong>Settings</strong>.&nbsp;</p>\n\n\n\n<p>Scroll down to the section called <strong>Strictness</strong>.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image10.png\" alt=\"Strictness settings for Akismet\" class=\"wp-image-70980\" width=\"450\" height=\"170\" />\n\n\n\n<p>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 <strong>Always put spam in the Spam folder for review</strong>.</p>\n\n\n\n<p>Remember that Akismet stores spam comments for 15 days before they&#8217;re deleted. So, if you go for this option, review your queue regularly.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Still want to use CAPTCHA?</h2>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">1. How to add CAPTCHA to a WordPress contact form</h3>\n\n\n\n<p>Although most well-known contact form plugins include CAPTCHA functionality, you can also manually incorporate CAPTCHA into any form element on WordPress that&#8217;s being misused. This not only includes contact forms, but also comment forms, <a href=\"https://akismet.com/blog/how-to-enable-or-disable-user-registration-in-wordpress/\">user registration pages</a>, login pages, and opt-in forms.</p>\n\n\n\n<h4 class=\"wp-block-heading\">Step 1: Install and activate the Friendly CAPTCHA for WordPress plugin</h4>\n\n\n\n<p>For the purposes of this tutorial, we&#8217;re using the <a href=\"https://wordpress.org/plugins/friendly-captcha/\">Friendly CAPTCHA for WordPress</a> plugins, though there are other options available.&nbsp;</p>\n\n\n\n<p>Go to your WordPress dashboard then to <strong>Plugins → Add New</strong> and search for the plugin by name.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image8-1.png\" alt=\"Friendly Captcha for WordPress plugin\" class=\"wp-image-70982\" width=\"225\" height=\"188\" />\n\n\n\n<p>Once you locate it, click <strong>Install → Activate</strong>.</p>\n\n\n\n<h4 class=\"wp-block-heading\">Step 2: Add the site key and secret key</h4>\n\n\n\n<p>To input your<strong> </strong>Site key and Secret key, locate<strong> Friendly Captcha</strong> in the dashboard, then click <strong>Settings</strong>.</p>\n\n\n\n<p>Then go to the <a href=\"https://friendlycaptcha.com\">Friendly Captcha</a> website and create an account. Pick a plan, then copy your site key.&nbsp;</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image5.png\" alt=\"creating a Friendly Captcha account\" class=\"wp-image-70983\" width=\"450\" height=\"199\" />\n\n\n\n<p>Go back to your WordPress installation and paste in the<strong> Site key</strong> 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 <strong>Create API Key.</strong>&nbsp;</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image13.png\" alt=\"creating an API key\" class=\"wp-image-70984\" width=\"450\" height=\"195\" />\n\n\n\n<h4 class=\"wp-block-heading\">Step 3: Finish configuring settings</h4>\n\n\n\n<p>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.</p>\n\n\n\n<h4 class=\"wp-block-heading\">Step 4: Save and view</h4>\n\n\n\n<p>Once you&#8217;re done making changes, click <strong>Save Changes,</strong> then visit a live blog post to verify the comment form is working as intended.</p>\n\n\n\n<h3 class=\"wp-block-heading\">2. How to add reCAPTCHA to a WordPress contact form</h3>\n\n\n\n<p>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&#8217;ll need to pass the reCAPTCHA test. You can use a WordPress CAPTCHA plugin to get the job done. Here&#8217;s how you can incorporate it into your WordPress contact form:</p>\n\n\n\n<h4 class=\"wp-block-heading\">Step 1: Install and activate a WordPress reCAPTCHA plugin</h4>\n\n\n\n<p>First, install and activate the <a href=\"https://wordpress.org/plugins/simple-google-recaptcha/\">Simple Google reCAPTCHA plugin</a>. Just search for it by name under <strong>Plugins → Add New</strong>. Then click <strong>Install → Activate</strong>.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image11.png\" alt=\"the Simple Google reCAPTCHA plugin\" class=\"wp-image-70985\" width=\"450\" height=\"251\" />\n\n\n\n<p>After activation, navigate to<strong> Settings → Google reCAPTCHA</strong> to configure the plugin settings.</p>\n\n\n\n<h4 class=\"wp-block-heading\">Step 2: Configure the plugin settings</h4>\n\n\n\n<p>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 <strong>register your domain</strong> link at the top of the page.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image2.png\" alt=\"warning to register your domain \" class=\"wp-image-70986\" width=\"450\" height=\"65\" />\n\n\n\n<h4 class=\"wp-block-heading\">Step 3: Obtain reCAPTCHA API keys by registering your website</h4>\n\n\n\n<p>The <strong>register your domain</strong> link directs you to the Google reCAPTCHA website, where you can register your site to work with reCAPTCHA.</p>\n\n\n\n<p>Sign in with your Google account, and you&#8217;ll see the <strong>Register a new site</strong> page. Enter the necessary basic information to register your site.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image14.png\" alt=\"registering a site with Google\" class=\"wp-image-70987\" width=\"450\" height=\"190\" />\n\n\n\n<p>In the <strong>Label</strong> field, input your website name or any name of your choice to help you identify your site later.</p>\n\n\n\n<h4 class=\"wp-block-heading\">Step 4: Add a new site</h4>\n\n\n\n<p>Next, choose the <strong>reCAPTCHA V2</strong> radio button to reveal two new options.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image9-1.png\" alt=\"options for reCAPTCHA type\" class=\"wp-image-70988\" width=\"450\" height=\"129\" />\n\n\n\n<p>To add the reCAPTCHA checkbox to your site, select the first option,<strong> I&#8217;m not a robot </strong>checkbox.</p>\n\n\n\n<p>In the <strong>Domains</strong> text box, add the domain name of your website.</p>\n\n\n\n<p>You can also add multiple domains or subdomains by clicking the plus <strong>+</strong> icon, enabling you to use the same API keys across different websites.</p>\n\n\n\n<h4 class=\"wp-block-heading\">Step 5: Add domain and email to your reCAPTCHA site</h4>\n\n\n\n<p>Google will automatically add your email address under <strong>Owners</strong>. You can also add another email if desired. Then accept the terms of service.</p>\n\n\n\n<p>Select the <strong>Send alerts to owners</strong> checkbox to allow Google to send emails if they detect any misconfigurations or suspicious activity.</p>\n\n\n\n<h4 class=\"wp-block-heading\">Step 6: Submit and register your WordPress site</h4>\n\n\n\n<p>After completing the form, click <strong>Submit</strong> to register your site.</p>\n\n\n\n<p>Google reCAPTCHA will display a success message, along with the site key and secret key.</p>\n\n\n\n<p>Use these API Keys in your website&#8217;s plugin settings.</p>\n\n\n\n<p>Navigate to <strong>Settings → Google reCAPTCHA</strong> from your WordPress dashboard.</p>\n\n\n\n<p>On the <strong>Settings</strong> page, paste the site key and secret key.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image4.png\" alt=\"creating Google reCAPTCHA keys\" class=\"wp-image-70989\" width=\"450\" height=\"105\" />\n\n\n\n<p>The plugin will incorporate reCAPTCHA verification into the WordPress comment form, registration form, reset password form, new password form, and login form.</p>\n\n\n\n<p>You can disable reCAPTCHA on the login form by selecting the appropriate checkbox.</p>\n\n\n\n<p>Remember to click <strong>Save Changes</strong> to store the API keys and activate reCAPTCHA.</p>\n\n\n\n<p>You have now successfully added reCAPTCHA to your WordPress comment form. Check the comment section of your blog posts to ensure it&#8217;s working correctly.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Frequently asked questions about CAPTCHA and reCAPTCHA</h2>\n\n\n\n<p>Still curious about CAPTCHA, reCAPTCHA, and how to safeguard the contact forms on your website? Let&#8217;s take a look at some answers to the most commonly asked questions on the subject.</p>\n\n\n\n<h3 class=\"wp-block-heading\">What is CAPTCHA?</h3>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">What is reCAPTCHA?</h3>\n\n\n\n<p>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.</p>\n\n\n\n<img src=\"https://akismet455732288.files.wordpress.com/2023/06/image3.png\" alt=\"I\'m not a robot checkbox\" class=\"wp-image-70990\" width=\"315\" height=\"86\" />\n\n\n\n<h3 class=\"wp-block-heading\">What is Akismet?</h3>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Is Akismet better than CAPTCHA and reCAPTCHA?</h3>\n\n\n\n<p>While each solution has its own advantages, Akismet is generally considered more user-friendly and accessible compared to CAPTCHA and reCAPTCHA. It doesn&#8217;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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">Does Akismet integrate with contact form plugins like Contact Form 7?</h3>\n\n\n\n<p>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.</p>\n\n\n\n<h3 class=\"wp-block-heading\">What are real-world examples of sites using Akismet?</h3>\n\n\n\n<p>Akismet is trusted by over 100 million websites worldwide, including well-known enterprise brands such as <a href=\"https://www.microsoft.com/\">Microsoft</a>, <a href=\"https://akismet.com/blog/convertkit-customerstory/\">ConvertKit</a>, and <a href=\"https://www.bluehost.com/\">Bluehost</a>. 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.&nbsp;</p>\n\n\n\n<p>Should you choose Akismet for your contact and registration forms, you&#8217;ll be in good company, joining millions of other websites that have successfully protected their online presence from spam and malicious activity.</p>\n\n\n\n<h2 class=\"wp-block-heading\">Akismet: Non-intrusive spam protection for WordPress&nbsp;</h2>\n\n\n\n<p>To keep your WordPress site free from <a href=\"https://akismet.com/blog/spambots-theyre-not-just-like-us-introducing-akismets-newest-spam-fighting-feature/\">spam and bots</a> while ensuring a good user experience and accessibility, you should use Akismet. It offers an effective way to combat spam that doesn&#8217;t disrupt your site visitors&#8217; browsing experience.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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&#8217;re investing in the success of your online presence and ensuring a pleasant experience for your visitors, which is definitely worth prioritizing.</p>\";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:\"<p>Last week Gutenberg contributors were engaged in a spirited debate regarding <a href=\"https://wptavern.com/wordpress-contributors-discuss-renaming-command-center-tool\">a proposal to rename the new Command Center to Wayfinder</a>. The feature, designed to be an extensible quick search and command execution tool, will land in WordPress 6.3.</p>\n\n\n\n<p>The majority of participants in the <a href=\"https://github.com/WordPress/gutenberg/issues/50925\">discussion</a> were strongly against calling it Wayfinder, as the term doesn&#8217;t translate well, nor does it make the feature&#8217;s benefits easy to understand.  Wayfinder was proposed as a unique name that &#8220;has the potential to evoke a sense of curiosity, exploration, and discovery.&#8221; 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.</p>\n\n\n\n<p>Automattic-sponsored Gutenberg contributor Anne McCarthy <a href=\"https://github.com/WordPress/gutenberg/issues/50925#issuecomment-1610044400\">commented</a> on the issue with the decision, which she said was reached after consulting project leadership and reading through the comments:</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p><em><strong>Let’s move forward with Command Palette.</strong></em></p>\n\n\n\n<p>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. </p>\n\n\n\n<p>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.</p>\n</blockquote>\n\n\n\n<p>McCarthy also requested other contributors ensure the re-naming is updated throughout the interface for the upcoming release.</p>\n\n\n\n<p>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 <a href=\"https://make.wordpress.org/core/2023/06/27/wordpress-6-3-beta-1-postponed/\">delayed</a> 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.</p>\n\n\n\n<p>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 <a href=\"https://github.com/WordPress/gutenberg/pull/51169\">is now public</a> 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 <a href=\"https://wordpress.org/about/stats/\">52% of WordPress users</a> run the software in a language other than English.</p>\";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:\"<p>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.</p>\n\n\n\n<div class=\"wp-block-embed__wrapper\">\n\n</div>\n\n\n\n<p>WCEU 2024 is <a href=\"https://europe.wordcamp.org/2024/call-for-organisers/\">calling for organizers</a> 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.</p>\n\n\n\n<p>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. </p>\n\n\n\n<p>During the 2023 event&#8217;s speaker announcements, the WCEU organizing team was <a href=\"https://wptavern.com/wceu-2023-publishes-schedule-reaffirms-commitment-to-diversity\">criticized for the second year in a row regarding its commitment to diversity</a>. The previous year organizers were called out for the <a href=\"https://europe.wordcamp.org/2022/diversity-at-wceu/\">lack of diversity on the organizing team</a> and this year the complaint was a lack of diversity in the speaker selection.</p>\n\n\n\n<p>WCEU 2023 organizers published a <a href=\"https://europe.wordcamp.org/2023/transparent-selection-processes/\">transparent account of the various selection processes</a> 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 &#8220;to keep gender parity high whilst also selecting people from all available European WordPress communities.&#8221; It also states that applicants&#8217; experience and enthusiasm are chief among selection factors but organizers also reach out to encourage underrepresented groups to apply:</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>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&#8230;</p>\n\n\n\n<p>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.</p>\n</blockquote>\n\n\n\n<p>The article concludes with a statement of willingness to modify this selection process if the organization is not able to achieve a diverse lineup:</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>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. </p>\n</blockquote>\n\n\n\n<p>The <a href=\"https://europe.wordcamp.org/2024/call-for-organisers/\">call for 2024 organizers</a> does not identify any changes that have been made to the selection process. Prospective organizers will need to <a href=\"https://europe.wordcamp.org/2024/call-for-organisers/application-form/\">fill out the application form</a> highlighting their skills, experience, and desired role.</p>\";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:\"<p>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 &#8211; 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. </p>\n\n\n\n<p>Reusable blocks have now been <a href=\"https://github.com/WordPress/gutenberg/pull/51144\">renamed to patterns</a>, 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 &#8211; 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.</p>\n\n\n\n<p>WordPress contributor Aki Hamano posted a diagram to Twitter regarding the renaming, which was confirmed as an accurate representation of the changes.</p>\n\n\n\n<div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"twitter-tweet\"><p lang=\"en\" dir=\"ltr\">I am trying to understand about the new naming of \"Pattern\" in WordPress. I currently understand it as this figure represents, is this correct? <a href=\"https://t.co/WxKFRotB0V\">pic.twitter.com/WxKFRotB0V</a></p>&mdash; Aki Hamano / 浜野 哲明 (@tetsuaki_hamano) <a href=\"https://twitter.com/tetsuaki_hamano/status/1672984350680567809?ref_src=twsrc%5Etfw\">June 25, 2023</a></blockquote>\n</div>\n\n\n\n<p>&#8220;Clients already find the pattern and reusable block concept very difficult to grasp,&#8221; WordPress developer Mark Howells-Mead commented on the pull request for the renaming. &#8220;This change will make things much harder for regular users to comprehend.&#8221; </p>\n\n\n\n<p>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.</p>\n\n\n\n<p>Gutenberg contributor Daniel Richards encouraged contributors to see the change as part of &#8220;<a href=\"https://github.com/WordPress/gutenberg/issues/41717\">the great unification</a>,&#8221; an effort towards consolidating the many different block types into a single concept and streamlining the content and site editors.</p>\n\n\n\n<p>&#8220;In the future it might also be possible for template parts to be considered &#8216;synced patterns&#8217;, and at that point things become much more streamlined and there are far fewer concepts for users to grasp,&#8221; Gutenberg contributor Daniel Richards said. </p>\n\n\n\n<p>&#8220;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&#8217;s quite a shift.&#8221;</p>\n\n\n\n<p>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 href=\"https://github.com/WordPress/gutenberg/pull/51078\">a Pattern Library inside the Site Editor</a>, which will include both patterns and template parts. Gutenberg designers shared <a href=\"https://make.wordpress.org/design/2023/06/19/design-share-jun-5-jun-16/?mc_cid=4941c0b11f&mc_eid=68ffa9a210\">a preview</a> of what this would look like a couple weeks ago:</p>\n\n\n\n<a href=\"https://i0.wp.com/make.wordpress.org/design/files/2023/06/patterns.gif?ssl=1\"><img src=\"https://i0.wp.com/make.wordpress.org/design/files/2023/06/patterns.gif?resize=776%2C540&ssl=1\" alt=\"\" class=\"wp-image-11211\" /></a>image credit: <a href=\"https://make.wordpress.org/design/2023/06/19/design-share-jun-5-jun-16/?mc_cid=4941c0b11f&mc_eid=68ffa9a210\">WordPress Design Share June 5-16</a>\n\n\n\n<h3 class=\"wp-block-heading\">The Potential of Partially Synced Patterns</h3>\n\n\n\n<p>In May, contributors began a discussion about the concept of <a href=\"https://github.com/WordPress/gutenberg/discussions/50456\">partially synced patterns</a>, which Daniel Richards summarized:</p>\n\n\n\n<blockquote class=\"wp-block-quote\">\n<p>Today, when you insert a pattern, the blocks from that pattern are completely decoupled and standalone. There&#8217;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.</p>\n\n\n\n<p>Partially synced mode is different. When a pattern that&#8217;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&nbsp;<code>contentOnly</code>&nbsp;locking). Only specific parts of the pattern considered &#8216;content&#8217; can be edited (denoted by adding&nbsp;<code>__experimentalRole: \'content\'</code>&nbsp;to a block&#8217;s definition).</p>\n\n\n\n<p>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&nbsp;<code>content</code>&nbsp;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&#8217;t lose content that exists in templates and posts.</p>\n</blockquote>\n\n\n\n<p>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. </p>\n\n\n\n<p>&#8220;I am a site developer for an agency, and am actively making sites for clients using Gutenberg every day,&#8221; Eric Michel said. &#8220;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 &#8211; things like contact directories, majors at a university, products in a catalog.</p>\n\n\n\n<p>&#8220;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.&#8221; </p>\n\n\n\n<p>The <a href=\"https://github.com/WordPress/gutenberg/discussions/50456\">discussion</a> on making partially synced patterns possible continues in search of an implementation that will ensure users don&#8217;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.</p>\";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:\"<p>Howdy, </p>\n\n\n\n<p>It&#8217;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 <a href=\"https://github.com/WordPress/gutenberg/releases/tag/untagged-c35f7346f2e514d1fedb\">Gutenberg 16.1 RC is available here</a>. The changelog is massive. Next week, Tammie Lister will be going over this with me when we record the next Gutenberg Changelog. </p>\n\n\n\n<p>On Friday, I&#8217;ll hope on a train to Leipzig and give a presentation to the attendees of the <a href=\"https://wptavern.com/wordpress-confirms-8-pilot-events-to-launch-the-next-generation-of-wordcamps-in-2023\">back-to-the-roots, no frills WordCamp</a>. Added thrill for me: it&#8217;s my first time presenting in German about technology. Oy. </p>\n\n\n\n<p>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 <a href=\"https://make.wordpress.org/test/2023/06/07/fse-program-testing-call-24-momery-makeover/\">Testing Call #24: Momery Makeover</a>. 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. </p>\n\n\n\n<p>This weekend edition seems rather short, too </p>\n\n\n\n<p>Yours, 💕<br /><em>Birgit</em></p>\n\n\n\n\n\n<div class=\"wp-block-group has-light-background-background-color has-background is-layout-constrained wp-block-group-is-layout-constrained\"><div class=\"wp-block-group__inner-container\">\n<p class=\"has-drop-cap\"><strong>Join us </strong>for the <a href=\"https://us02web.zoom.us/webinar/register/7516851799317/WN_AFgYtmyaRviAY3b2oGP2pg\">next Gutenberg Live Q &amp; A July 6th, 2023, at 17:00 UTC</a> </p>\n\n\n\n<p><strong>Leveraging Gutenberg&#8217;s architecture to take plugin development to new levels.</strong></p>\n\n\n\n<p>Learn how Gutenberg components and scripts can be used outside the block editor to revamp a plugin&#8217;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. </p>\n\n\n\n<a href=\"https://us02web.zoom.us/webinar/register/7516851799317/WN_AFgYtmyaRviAY3b2oGP2pg\"><img /></a>\n</div></div>\n\n\n\n\n<div class=\"wp-block-group has-light-background-background-color has-background is-layout-flow wp-block-group-is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<p><strong>Table of Contents</strong></p>\n\n\n\n<div class=\"wp-block-sortabrilliant-guidepost\"><ul><li><a href=\"https://gutenbergtimes.com/feed/#0-word-press-release-information\">Developing Gutenberg and WordPress</a></li><li><a href=\"https://gutenbergtimes.com/feed/#0-p\">Plugins, Themes, and Tools for #nocode site builders and owners</a><ul><li><a href=\"https://gutenbergtimes.com/feed/#reusable\">Reusable blocks are now called Patterns</a></li></ul></li><li><a href=\"https://gutenbergtimes.com/feed/#2-word-press-6-0-1-and-6-1-scheduled\">Theme Development for Full Site Editing and Blocks</a></li><li><a href=\"https://gutenbergtimes.com/feed/#3-building-themes-for-fse-and-word-press\">Building Blocks and Tools for the Block editor</a></li></ul></div>\n</div></div>\n\n\n\n\n<h2 class=\"wp-block-heading\" id=\"0-word-press-release-information\">Developing Gutenberg and WordPress</h2>\n\n\n\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\"><div class=\"wp-block-group__inner-container\">\n<p class=\"is-style-no-vertical-margin\"><strong>🎙️ </strong> New episode:  <a href=\"https://gutenbergtimes.com/podcast/gutenberg-changelog-85-gutenberg-16-1-wordpress-6-3/\">Gutenberg Changelog #85 – Gutenberg 16.1, WordPress 6.3</a> with special guest, Tammie Lister and host Birgit Pauli-Haack</p>\n</div></div>\n\n\n\n<p>In his latest <a href=\"https://make.wordpress.org/design/2023/06/19/design-share-jun-5-jun-16/\"><strong>Design Share: Jun 5–Jun 16</strong></a>, <strong>Joen Assmussen</strong> shares the work of the WordPress Design team on the </p>\n\n\n\n<ul>\n<li>flow of creating patterns via the Site Editor, </li>\n\n\n\n<li>Top Toolbar refinements, </li>\n\n\n\n<li>ideas on how to customize the Drop Caps, </li>\n\n\n\n<li>more customization tools for the list blocks, </li>\n\n\n\n<li>Home template details panel </li>\n\n\n\n<li>Site editor publishing, and</li>\n\n\n\n<li>Interesting mock-ups for a redesign of the Learn.WordPress pages. </li>\n</ul>\n\n\n\n<img />\n\n\n\n<h2 class=\"wp-block-heading\" id=\"0-p\">Plugins, Themes, and Tools for #nocode site builders and owners</h2>\n\n\n\n<p><strong>Jamie Marsland</strong> shared in his latest video,<a href=\"https://www.youtube.com/watch?v=wmIZ5w7MFng\"><strong> WordPress Block Theme Secret Hacks You Didn&#8217;t Know Existed</strong></a>, five secret features of Block Themes, you might not know about. Marsland also offers a Block Theme course: <em><a href=\"https://www.pootlepress.com/wordpress-full-site-editing-course/\">Mastering Site Editing and WordPress Block Themes</a>, so you can get a head start</em>. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Wes Theron</strong> also shares his secrets, too in the tutorial <a href=\"https://learn.wordpress.org/tutorial/using-the-block-editor-tips-and-shortcuts-for-efficiency/\"><strong>Using the block editor: Tips and shortcuts for efficiency</strong></a> on <em>Learn WordPress</em>. He has eight tips and shortcuts for you to work faster and more efficiently in the block editor. </p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" />\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>In this video on WordPress TV, <strong>Kathryn Presner</strong> and <strong>Sarah Snow</strong> showed their students how to <a href=\"https://wordpress.tv/2023/06/22/create-a-four-page-wordpress-website-explore-plugins-contact-forms/\"><strong>Create a four-page WordPress website: Explore Plugins + Contact&nbsp;Forms</strong></a>. Watch this workshop to learn about plugins–how to find them, how to vet them, what can go wrong–in WordPress in 2023.</p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>Another new feature is coming to WordPress 6.3, the Command Center. Be aware that&#8217;s only the working title and contributors discuss renaming it. <strong>Sarah Gooding</strong> reports on the discussion <a href=\"https://wptavern.com/wordpress-contributors-discuss-renaming-command-center-tool\"><strong>WordPress Contributors Discuss Renaming Command Center Tool</strong></a>. </p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"reusable\">Reusable blocks are now called Patterns</h3>\n\n\n\n<p>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&#8217;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 &#8220;Create reusable Block&#8221; except it now says &#8220;Create custom pattern&#8221;. </p>\n\n\n\n<p>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 &#8220;synched pattern&#8221;.  There is now a toggle switch to &#8220;Keep all pattern instances in sync&#8221; or not. This is the first iteration: the name change and the creation workflow. </p>\n\n\n\n<p>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 &#8220;/&#8221; command. Unsynched patterns are in a new Pattern category = Custom Patterns in the Patterns Tab in the big blue button inserter.</p>\n\n\n\n<p>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 <a href=\"https://github.com/WordPress/gutenberg/pull/51144\">Reusable blocks: Rename to &#8216;Patterns&#8217; and add option to also add a non-synced Pattern. (51144)</a></p>\n\n\n\n<img />\n\n\n\n<h2 class=\"wp-block-heading\" id=\"2-word-press-6-0-1-and-6-1-scheduled\">Theme Development for Full Site Editing and Blocks</h2>\n\n\n\n<p><strong>Ganesh Dahal</strong>, also <a href=\"https://css-tricks.com/author/ganeshdahal/\">writer at CSS-Tricks</a>, published his first article on the WordPress Developer Blog about <a href=\"https://developer.wordpress.org/news/2023/06/the-style-book-a-one-stop-shop-for-styling-block-themes/\"><strong>The Style Book: a one-stop shop for styling block themes</strong></a>. 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.</p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>Wrestling with a huge theme.json might deter people from creating block themes. <strong><a href=\"https://twitter.com/walb0\">Petter Walbø Johnsgård</a> </strong>developed the npm package <a href=\"https://www.npmjs.com/package/@theme-json/create\"><strong>@theme-json/create</strong></a>  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. (<em>Thank you to <a href=\"https://twitter.com/ClorithMJ\">Marius Jensen</a> for the tip</em>).</p>\n\n\n\n\n<p><strong>&nbsp;<a href=\"https://make.wordpress.org/core/handbook/references/keeping-up-with-gutenberg-index/\" target=\"_blank\" rel=\"noreferrer noopener\">&#8220;Keeping up with Gutenberg &#8211; Index 2022&#8221;</a>&nbsp;</strong><br />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.  <a href=\"https://make.wordpress.org/core/handbook/references/keeping-up-with-gutenberg-index/keeping-up-with-gutenberg-index-2020/\"><em>The index 2020 is here</em></a></p>\n\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p>In his post for the Torque Magazine,  <a href=\"https://torquemag.io/2023/06/wordpress-widget-areas/\"><strong>How to Add Widget Areas to WordPress (Block &amp; Classic Themes)</strong></a>, <strong><a href=\"https://twitter.com/nschaeferhoff\">Nick Schäfferhoff</a> </strong> 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.</p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"3-building-themes-for-fse-and-word-press\">Building Blocks and Tools for the Block editor</h2>\n\n\n\n<p>It might be the post you have been waiting for. In his post on<strong><a href=\"https://developer.wordpress.org/news/2023/06/navigating-the-block-editor-handbook/\"> How to Navigate the Block Editor Handbook</a></strong>, <strong>Michael Burridge</strong> leads the way with Compass and Maps so to speak. &#8220;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.&#8221; he wrote in the excerpt</p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n<p><strong>Brian Coords</strong> published a tutorial about <a href=\"https://www.briancoords.com/custom-lists-in-wordpress-with-register-block-style/\"><strong>Custom Lists in WordPress with Register Block Style</strong></a>. He explains how to work with Block styles without a build process. It&#8217;s a great way to learn to customize the blocks without any JavaScript and very little php. </p>\n\n\n\n<p>Earlier this year, Justin Tadlock wrote about <a href=\"https://developer.wordpress.org/news/2023/02/creating-custom-block-styles-in-wordpress-themes/\"><strong>Creating custom block styles in WordPress themes</strong></a>, that could be another great tutorial for you.</p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n\n<p><strong><a href=\"https://gutenbergtimes.com/need-a-zip-from-master/\">Need a plugin .zip from Gutenberg&#8217;s master branch?</a></strong><br />Gutenberg Times provides daily build for testing and review. <br />Have you been using it? Hit reply and let me know.</p>\n\n\n\n<p><img alt=\"GitHub all releases\" src=\"https://img.shields.io/github/downloads/bph/gutenberg/total?style=for-the-badge\" /></p>\n\n\n\n\n<p class=\"has-text-align-right has-small-font-size\"><em>Questions? Suggestions? Ideas? Don&#8217;t hesitate to send <a href=\"mailto:pauli@gutenbergtimes.com\">them via email</a> or send me a message on WordPress Slack or Twitter @bph</em>. </p>\n\n\n\n<p class=\"has-text-align-right has-small-font-size\">For questions to be answered on the <a href=\"http://gutenbergtimes.com/podcast\">Gutenberg Changelog</a>, send them to <a href=\"mailto:changelog@gutenbergtimes.com\">changelog@gutenbergtimes.com</a></p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" />\n\n\n\n\n<p>Featured Image: Skyline of Athens, view of the Acropolis from the roof of the Museum for contemporary art by Birgit Pauli-Haack</p>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity is-style-wide\" />\n\n\n\n<p class=\"has-text-align-left\"><strong>Don&#8217;t want to miss the next Weekend Edition? </strong></p>\n\n\n\n<form class=\"wp-block-newsletterglue-form ngl-form ngl-portrait\" action=\"https://gutenbergtimes.com/feed/\" method=\"post\"><div class=\"ngl-form-container\"><div class=\"ngl-form-field\"><label class=\"ngl-form-label\" for=\"ngl_email\"><br />Type in your Email address to subscribe.</label><div class=\"ngl-form-input\"><input type=\"email\" class=\"ngl-form-input-text\" name=\"ngl_email\" id=\"ngl_email\" /></div></div><button type=\"submit\" class=\"ngl-form-button\">Subscribe</button><p class=\"ngl-form-text\">We hate spam, too and won&#8217;t give your email address to anyone except Mailchimp to send out our Weekend Edition</p></div><div class=\"ngl-message-overlay\"><div class=\"ngl-message-svg-wrap\"></div><div class=\"ngl-message-overlay-text\">Thanks for subscribing.</div></div><input type=\"hidden\" name=\"ngl_list_id\" id=\"ngl_list_id\" value=\"26f81bd8ae\" /><input type=\"hidden\" name=\"ngl_double_optin\" id=\"ngl_double_optin\" value=\"yes\" /></form>\n\n\n\n<hr class=\"wp-block-separator has-css-opacity is-style-wide\" />\";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:\"<p><a href=\"https://wordpress.org/plugins/really-simple-ssl/\">Really Simple SSL</a>, 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.</p>\n\n\n\n<p>Version 7.0.0 introduces vulnerability detection as part of a partnership with WP Vulnerability, an open source, free API created by <a href=\"https://www.wpsysadmin.com/\">Javier Casares</a> with contributions from other open source, freely available databases. Once enabled, it notifies users if a vulnerability is found and suggests actions.</p>\n\n\n\n<p>&#8220;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,&#8221; Really Simple Plugins developer Aert Hulsebos said.</p>\n\n\n\n<p>The new vulnerability detection feature is not enabled by default, so users will need to <a href=\"https://really-simple-ssl.com/instructions/about-vulnerabilities/\">enable it in the settings</a>. A modal will pop up where users can configure their notifications and run the first scan.</p>\n\n\n\n<img />\n\n\n\n<p>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.</p>\n\n\n\n<img />\n\n\n\n<p>For the past several years Really Simple SSL has been providing SSL certificate configuration and installation via Let&#8217;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.</p>\n\n\n\n<p>&#8220;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,&#8221; Hulsebos said. &#8220;So vulnerabilities, after hardening features specific to WordPress, was next. </p>\n\n\n\n<p>&#8220;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.&#8221;</p>\n\n\n\n<p>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&#8217;s authors plan to add login security with 2FA to better secure authentication on WordPress sites.</p>\";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:\"<p>If you haven&#8217;t visited the <a href=\"https://wordpress.org/patterns/\">WordPress Pattern Directory</a> lately, it may look very different from when it <a href=\"https://wptavern.com/the-wordpress-org-block-pattern-directory-now-live\">launched two years ago</a>. 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. </p>\n\n\n\n<p>Contributors are making changes to provide a more curated experience ahead of the inclusion of <a href=\"https://github.com/WordPress/gutenberg/issues/44611\">a new Pattern Directory Explorer</a> that is still in progress. A recent <a href=\"https://make.wordpress.org/meta/2023/06/09/new-curation-filter-in-pattern-directory/\">update</a> 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. </p>\n\n\n\n<div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"twitter-tweet\"><p lang=\"en\" dir=\"ltr\">Anyone know where all the block patterns have gone on <a href=\"https://t.co/LpzR9lR7uc\">https://t.co/LpzR9lR7uc</a> ? <a href=\"https://t.co/Dt9EK7Ssik\">https://t.co/Dt9EK7Ssik</a> <a href=\"https://twitter.com/hashtag/gutenberg?src=hash&ref_src=twsrc%5Etfw\">#gutenberg</a></p>&mdash; Jamie Pootlepress &#8211; YouTuber and WP Plugin builder (@pootlepress) <a href=\"https://twitter.com/pootlepress/status/1671881903593623556?ref_src=twsrc%5Etfw\">June 22, 2023</a></blockquote>\n</div>\n\n\n\n<p>The curated patterns are those by WordPress.org &#8211; the core bundled patterns. Community-contributed patterns are available as a filter in the dropdown of the directory&#8217;s menu.</p>\n\n\n\n<img />\n\n\n\n<p>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. </p>\n\n\n\n<div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"twitter-tweet\"><p lang=\"en\" dir=\"ltr\">The top ones are the best. Still lots to do though.</p>&mdash; Rich Tabor (@richard_tabor) <a href=\"https://twitter.com/richard_tabor/status/1672196325201575936?ref_src=twsrc%5Etfw\">June 23, 2023</a></blockquote>\n</div>\n\n\n\n<p>&#8220;This change also prepares to support the Pattern Explorer in the editor,&#8221; Automattic-sponsored contributor Kelly Choyce-Dwan said in the announcement. &#8220;It’s still in progress, but it will be possible to search through community-submitted patterns directly from the editor.&#8221;</p>\n\n\n\n<p>Choyce-Dwan referenced an effort that is currently underway to <a href=\"https://github.com/WordPress/gutenberg/issues/44611\">bring a new flyout to the patterns tab of the inserter</a> inside WordPress, making the modal a place where users can more easily explore and access patterns from the directory. </p>\n\n\n\n<p>There are also related discussions on how <a href=\"https://github.com/WordPress/pattern-directory/issues/573\">themes could create pattern bundles</a>, 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&#8217;s approval, which would make it effortless for theme authors to contribute them.</p>\n\n\n\n<p>Updates to the Pattern Directory&#8217;s filtering are part of the redesign work on WordPress.org and more discussions are happening on <a href=\"https://github.com/WordPress/pattern-directory/issues/\">the Pattern Directory GitHub</a> repository.</p>\";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:\"<p>WordPress.com has been known to <a href=\"https://wptavern.com/wordpress-com-ends-recent-pricing-experiment-reverts-to-previous-model\">experiment with its pricing</a> 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. </p>\n\n\n\n<p>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 <a href=\"https://wordpress.com/support/monetize-your-site/\">monetization features</a> are now available to all users on all tiers.</p>\n\n\n\n<p>The fee structure varies, based on the user&#8217;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&#8217;t pay any transaction fees. Stripe also collects 2.9% + US$0.30 for each payment made to a Stripe account in the US.</p>\n\n\n\n<p></p>\n\n\n\n<table><tbody><tr><td><strong>WordPress.com Plan</strong></td><td><strong>Payment Fees</strong></td></tr><tr><td>WordPress.com Commerce</td><td>0%</td></tr><tr><td>WordPress.com Business</td><td>2%</td></tr><tr><td>WordPress.com Premium</td><td>4%</td></tr><tr><td>WordPress.com Personal</td><td>8%</td></tr><tr><td>WordPress.com Free</td><td>10%</td></tr></tbody></table>\n\n\n\n<p>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&#8217;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 <a href=\"https://wordpress.com/blog/2023/06/21/how-to-transfer-your-domain-to-wordpresscom/\">makes a play for former Google Domains customers</a> who are looking for somewhere to host domains after theirs were sold to Squarespace.</p>\n\n\n\n<p>It&#8217;s important to note that creating a full-featured online store is still restricted to Business and Commerce plans. Using <a href=\"https://wordpress.com/support/pay-with-paypal/\">Pay with PayPal</a> to accept credit and debit card payments via PayPal is also only available via an upgraded plan.</p>\n\n\n\n<p>WordPress.com&#8217;s <a href=\"https://wordpress.com/pricing/\">pricing</a> page has not yet been updated to reflect monetization features as being free &#8211; i.e. the Personal plan still lists paid subscribers and premium content gating as an upgrade. It&#8217;s possible the team hasn&#8217;t edited that page yet or this may be another pricing experiment. </p>\n\n\n\n<p>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.</p>\";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:\"<p>Up until yesterday, the Gravatar (Globally Recognized Avatar) blog lay dormant for nine years, the <a href=\"https://blog.gravatar.com/2014/07/23/something-funny-happened/\">last post</a> chronicling how the team set out to create a Gravatar app that somehow &#8220;<a href=\"https://wptavern.com/automattics-planned-gravatar-app-morphs-into-a-selfies-app-for-android\">morphed into a Selfies app</a>.&#8221; Communication went silent after that, although the Twitter account posted occasionally.</p>\n\n\n\n<p>The service has pivoted to become &#8220;a personal digital business card&#8221; where users can link to various apps and websites that help to establish their identities online. </p>\n\n\n\n<p>Gravatar announced this week that it has <a href=\"https://blog.gravatar.com/2023/06/21/new-on-gravatar-collect-payments-on-the-go/\">launched new payment features for profiles</a>. 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. </p>\n\n\n\n<p>On mobile, profiles appear with new &#8220;Send Money&#8221; and &#8220;Share Profile&#8221; buttons. Each profile has its own unique QR code that can be copied and shared.</p>\n\n\n\n<div class=\"wp-block-spacer\"></div>\n\n\n\n<img />\n\n\n\n<p>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). </p>\n\n\n\n<p>Profiles can be customized with a background image, photo gallery, social links, and links to verified services.</p>\n\n\n\n<div class=\"wp-block-spacer\"></div>\n\n\n\n<img />\n\n\n\n<p><br />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&#8217; Gravatar images when chatting with ChatGPT. The service is also <a href=\"https://wordpress.org/documentation/article/use-gravatars/#:~:text=WordPress%20integrates%20Gravatars%20into%20every,elsewhere%20on%20the%20WordPress%20site.\">integrated with every WordPress install</a>, and an Automattic representative confirmed there are no plans to change this.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>&#8220;We aren’t currently working on a Gravatar app, but it is something we are considering,&#8221; an Automattic representative told the Tavern.</p>\n\n\n\n<p>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. </p>\";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:\"<p>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 &#8230;</p>\n<p class=\"read-more\"> <a class=\"\" href=\"https://dothewoo.io/woo-agencychat-live-with-jimmy-rosen-and-shadi-manna/\"> <span class=\"screen-reader-text\">Woo AgencyChat Live with Jimmy Rosén and Shadi Manna</span> Read More &#187;</a></p>\n<p>&gt;&gt; The post <a rel=\"nofollow\" href=\"https://dothewoo.io/woo-agencychat-live-with-jimmy-rosen-and-shadi-manna/\">Woo AgencyChat Live with Jimmy Rosén and Shadi Manna</a> appeared first on <a rel=\"nofollow\" href=\"https://dothewoo.io\">Do the Woo - a WooCommerce Builder Community</a>	.</p>\";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 06:55:43 +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:48;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:64:\"Post Status: Launching a WordPress Product in Public: Session 18\";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=149660\";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:74:\"https://poststatus.com/launching-a-wordpress-product-in-public-session-18/\";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:62269:\"<div class=\"wp-block-embed__wrapper\">\n\n</div>\n\n\n\n\n\n\n\n<p><a href=\"https://poststatus.com/planet/feed/#h-transcript\">Transcript</a> ↓</p>\n\n\n\n<p><a href=\"https://twitter.com/coreymaass\">Corey Maass</a> and <a href=\"https://twitter.com/corymiller303\">Cory Miller</a> continue the development of their new WordPress plugin, <a href=\"https://crop.express/\">Crop.Express</a>. 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.</p>\n\n\n\n<p><strong>Top Takeaways:</strong></p>\n\n\n\n<ul>\n<li><strong>Redefining Success and Goals</strong>: The idea of reevaluating one&#8217;s definition of success. Instead of solely focusing on financial gain or external measures, there is a shift towards valuing the impact and value brought to others through one&#8217;s work or personal projects. Success is viewed as creating something meaningful that brings joy or usefulness to users rather than solely pursuing monetary goals.</li>\n\n\n\n<li><strong>Importance of Collaboration and Connection</strong>: The value of collaboration and building connections with like-minded individuals. The joy derived from hobbies or personal projects can be enhanced by sharing experiences, exchanging ideas, and working together with others. Building lasting friendships and relationships through shared interests can be a source of support and fulfillment.</li>\n\n\n\n<li><strong>Embracing the Process and Finding Fulfillment in the Journey</strong>: The importance of enjoying the process and finding fulfillment in the act of creating or working on something rather than solely focusing on the end result. The journey itself, the learning, the challenges, and the growth that occur along the way can be sources of joy and satisfaction. It&#8217;s about finding meaning and enjoyment in the present moment rather than solely fixating on the outcome.</li>\n</ul>\n\n\n\n<h3 class=\"wp-block-heading eplus-wrapper\" id=\"h-mentioned-in-the-show\"><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f517.png\" alt=\"🔗\" class=\"wp-smiley\" /> Mentioned in the show:</h3>\n\n\n\n<ul>\n<li><a href=\"https://crop.express/\">Crop.Express</a></li>\n\n\n\n<li><a href=\"https://balsamiq.com/\">Balsamiq</a></li>\n\n\n\n<li><a href=\"https://www.meetup.com/\">Meetup.com</a></li>\n\n\n\n<li><a href=\"https://slack.com/trials?remote_promo=f4d95f0b&d=7013y000002pzGQAAY&nc=7013y000002q165AAA&utm_source=google&utm_medium=paid_search&utm_campaign=ppc_google_amer_en_brand_selfserve_discount&utm_content=slack-pg-ss-all-us-brand_7013y000002pzGQAAY&utm_term=Slack_Exact_._slack_._e_._c_._611662283461&gad=1&gclid=CjwKCAjwv8qkBhAnEiwAkY-ahrvtUlvMruMS8SCCYA3MqgkRfViYepC5CP2yCdrFJkc4X3xdPxz3sxoCzVcQAvD_BwE&gclsrc=aw.ds\">Slack</a></li>\n\n\n\n<li><a href=\"https://wordpress.com/\">WordPress</a></li>\n\n\n\n<li><a href=\"https://twitter.com/\">Twitter</a></li>\n\n\n\n<li><a href=\"https://www.instagram.com/\">Instagram</a></li>\n</ul>\n\n\n\n<h3 class=\"wp-block-heading eplus-wrapper\" id=\"h-you-can-follow-post-status-and-our-guests-on-twitter\"><img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f426.png\" alt=\"🐦\" class=\"wp-smiley\" /> You can follow Post Status and our guests on Twitter:</h3>\n\n\n\n<ul class=\"eplus-wrapper\">\n<li><a href=\"http://twitter.com/coreymaass\">Corey Maass</a></li>\n\n\n\n<li><a href=\"https://twitter.com/corymiller303\">Cory Miller</a> (CEO, <a href=\"https://twitter.com/post_status\">Post Status</a>)</li>\n\n\n\n<li><a href=\"https://twitter.com/lemonadecode\">Olivia Bisset</a> (Intern, <a href=\"https://twitter.com/post_status\">Post Status</a>)</li>\n</ul>\n\n\n\n<p class=\"eplus-wrapper has-background\">The <strong>Post Status Draft</strong> podcast is geared toward WordPress professionals, with interviews, news, and deep analysis. <img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f4dd.png\" alt=\"📝\" class=\"wp-smiley\" /><br /><br /><a href=\"https://poststatus.com/category/post-status-podcasts/\" target=\"_blank\" rel=\"noreferrer noopener\">Browse our archives</a>, and don’t forget to subscribe via <a href=\"https://itunes.apple.com/us/podcast/post-status-draft-wordpress/id976403008\" target=\"_blank\" rel=\"noreferrer noopener\">iTunes</a>, <a href=\"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS8ySkU5c2M4UA\" target=\"_blank\" rel=\"noreferrer noopener\">Google Podcasts</a>, <a href=\"https://www.youtube.com/c/PostStatus\" target=\"_blank\" rel=\"noreferrer noopener\">YouTube</a>, <a href=\"http://www.stitcher.com/podcast/krogsgard/post-status-draft-wordpress-podcast\" target=\"_blank\" rel=\"noreferrer noopener\">Stitcher</a>, <a href=\"https://wordpress-post-status-draft-podcast.simplecast.com/\" target=\"_blank\" rel=\"noreferrer noopener\">Simplecast</a>, or <a href=\"https://feeds.simplecast.com/2JE9sc8P\">RSS</a>. <img src=\"https://s.w.org/images/core/emoji/14.0.0/72x72/1f3a7.png\" alt=\"🎧\" class=\"wp-smiley\" /></p>\n\n\n\n<h2 class=\"wp-block-heading eplus-wrapper\" id=\"h-transcript\">Transcript</h2>\n\n\n\n<h2 class=\"wp-block-heading\">Session 18 Corey &amp; Cory Launch a WordPress Product Live</h2>\n\n\n\n<p><strong>C&amp;C 18</strong></p>\n\n\n\n<p>[00:00:00] <strong>Corey Maass:</strong> And don&#8217;t forget to record this time. Yeah, no.</p>\n\n\n\n<p>[00:00:23] <strong>Cory Miller:</strong> Excellent. All right everybody. Welcome back to Corey and Cordy launching a pro WordPress product live session 18. And we&#8217;ve had, we were just kind of in prep for this real quick, just talking about a little of the things that&#8217;s been going on in our lives. It&#8217;s always fun to talk real life with a great person like Corey.</p>\n\n\n\n<p>So, um, this time we&#8217;re just gonna kind of talk about catching up. We&#8217;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.</p>\n\n\n\n<p>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&#8217;ve had things going on too, so, um, that&#8217;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&#8217;s in preparation for the.</p>\n\n\n\n<p>Real conversation here, but um, you wanna Yeah. Updates on what you&#8217;ve been&nbsp;</p>\n\n\n\n<p>[00:01:36] <strong>Corey Maass:</strong> up to. Yeah. And on my end, so it&#8217;s, I&#8217;ve, so I&#8217;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.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>But, you know, and of course the, the client website goes down when I&#8217;m the farthest from my computer. Uh, you know, sitting at a restaurant in, uh, Fredericksburg, Virginia, if you ever have the opportunity, it&#8217;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.</p>\n\n\n\n<p>Um, And it&#8217;s funny, it actually, you&#8217;re like, oh, it&#8217;s been I think two, three weeks and I&#8217;m like, it feels like it&#8217;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&#8217;ve gotta scramble to make up work and, um, get caught up on life.</p>\n\n\n\n<p>And, um, and then for me time, um, Always means house projects. So we&#8217;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&#8217;re getting a new foster dog. Um, and uh, so setting up a room for him and anyway, yeah, it just gets crazy.</p>\n\n\n\n<p>And, uh, and so I think you and I touched. Space briefly last week and, and said, okay, so, you know, that&#8217;s fine. We missed a week or two. Let&#8217;s, let&#8217;s start, um, moving forward. I was like, all right, you know, I&#8217;m still working on a review of, uh, the product. I&#8217;ll get you a new version for post status. I don&#8217;t think you heard from me until nine minutes ago.</p>\n\n\n\n<p>Uh, that never happened. So, yeah. You know, but it&#8217;s like, and I hate to. It, it&#8217;s easy to fall into like, well, it&#8217;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&#8217;s also like, I mean, this is, this is part of why we do this, right? Like, yeah. We&#8217;re, we&#8217;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.</p>\n\n\n\n<p>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&#8217;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&#8217;s keep talking once a week.</p>\n\n\n\n<p>Where are we at? You know? And, and cuz I have other people who I&#8217;ve worked with who many, many other people who, who ghost or who just wanna stop. There&#8217;s, there&#8217;s inherently so much shame in all of it that the moment they miss a day or a deadline or don&#8217;t hit the mark in some fashion, don&#8217;t want to talk about it.</p>\n\n\n\n<p>You know, I have friends who we&#8217;ve been talking about, Collaborating for years talking about like music or art or whatever. And, and now we, we, we&#8217;ve gone months where we&#8217;ll talk every week or every month, you know, how are you, how are the kids, da, da da. And we literally won&#8217;t, we won&#8217;t talk about the subject now because there&#8217;s, you know, because we didn&#8217;t, one of us didn&#8217;t move forward with it.</p>\n\n\n\n<p>There&#8217;s shame associated with it, so, you know. Definitely none of it&#8217;s that important, you know?&nbsp;</p>\n\n\n\n<p>[00:05:56] <strong>Cory Miller:</strong> 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&#8217;ve not, I, I played an instrument when I was in like middle school, but I&#8217;ve not been in a band, but it&#8217;s occurs to me.</p>\n\n\n\n<p>It&#8217;s like, it seems like that you&#8217;re, mm-hmm. Stru, you know, struggling to kinda get something going. And then there&#8217;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&#8217;t, you can&#8217;t anticipate, or if you tried to, you&#8217;d have another set of problems.</p>\n\n\n\n<p>And, um, it&#8217;s just like you said, like we&#8217;ve got other priorities, but, uh, it&#8217;s important for us to keep talking. I, I think too, when I think about entrepreneurship, I think there&#8217;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&#8217;s this bigger part.</p>\n\n\n\n<p>Which is, maybe somebody would&#8217;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&#8217;t know, but like you, you got enough interest, you know something&#8217;s there, you just haven&#8217;t figured it out yet. And then a magical moment, and I say magic cuz it&#8217;s like oftentimes in my career, specifically my professional career as an entrepreneur couldn&#8217;t have planned those things, man.</p>\n\n\n\n<p>They just happened, you know? Um, however, I might have tried to take credit for them. They just happened and it&#8217;s like the reading I&#8217;ve been and work I&#8217;ve been doing too personally is like creativity. You don&#8217;t control creativity. Those really magical moments we&#8217;re talking about, they kind of blossom out.</p>\n\n\n\n<p>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&#8217;s full-time with it and she&#8217;s got employees and all that kind of stuff.</p>\n\n\n\n<p>So like all that time it&#8217;s kinda like learning the piano. People go, oh, you&#8217;re at the piano. You&#8217;re doing this beautiful thing at the wedding, or whatever it is. They don&#8217;t think about all those years spent. Right. You know, in the practice of it, and it&#8217;s kinda like that moment too. It&#8217;s like, I&#8217;m dribbing for a second, but do enough things to get to a moment that, that you probably didn&#8217;t plan.</p>\n\n\n\n<p>I think most of us, at least the entrepreneurs I know would say. Yep. That&#8217;s about it. Absolutely. Yeah. However, we like to think we control it and plan it. We don&#8217;t.&nbsp;</p>\n\n\n\n<p>[00:08:59] <strong>Corey Maass:</strong> And there&#8217;s, there&#8217;s time. Sometimes you, you, you ha you just have to let time go by. It&#8217;s like, in music, it&#8217;s one of the hardest things I&#8217;ve, I&#8217;ve had to learn.</p>\n\n\n\n<p>It&#8217;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&#8217;s the end of the summer. We&#8217;re not gonna put it out now. That&#8217;d be dumb. So we&#8217;re gonna sit on it and you, and it&#8217;s like in actual pop music, you can find out that there, there were pop songs, but huge, huge hits.</p>\n\n\n\n<p>And in our minds, you know, you&#8217;re picturing, you know, Taylor Swift yesterday was in the, in the recording studio and then today you&#8217;re hearing the song cuz that&#8217;s cuz music can be live. Um, and in this day and age, sometimes that&#8217;s true and it&#8217;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.</p>\n\n\n\n<p>But a lot of the times thing, tunes or tracks or albums are actually held back. To try to be released strategically. It&#8217;s like big movies that sit on shelves for, you know, years potentially, because they&#8217;re like, this is a Christmas day blockbuster, we&#8217;re not gonna release, you know, or a summertime when all the kids are outta school type of movie.</p>\n\n\n\n<p>You know, we&#8217;re not gonna release it on the second day of school on a Tuesday. That&#8217;s dumb, you know? Um, but we don&#8217;t, we don&#8217;t really think about that, but, There&#8217;s sometimes there&#8217;s strategic reasons and sometimes like this where it&#8217;s like, I&#8217;m a lot better about it than I used to be, especially since, um, years ago now.</p>\n\n\n\n<p>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&#8217;s like, okay, so you, you know, you wanna get back into music.</p>\n\n\n\n<p>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&#8217;m not taking it as seriously this time, it&#8217;s a hobby. Mm-hmm. And, and so suddenly a lot of things changed. One, you know, I couldn&#8217;t just go out and, and buy new instruments or, you know, throw money at it the way I used to.</p>\n\n\n\n<p>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&#8217;s like I&#8217;ve got these big waves rather than it just being, you know, picturing this straight line of productivity.</p>\n\n\n\n<p>Um, and I think it, that kind of goes for this, this stuff too, like, This stuff. Uh, entrepreneurship side hustles. They&#8217;re, they&#8217;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&#8217;d still love my own product to be my primary focus. Then it&#8217;s a job that&#8217;s very different, right from, um, side, side hustles, um, ideas, putting out little apps, little ideas, um, little products.</p>\n\n\n\n<p>I mean, um, so. And so it&#8217;s, it&#8217;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&#8217;ve gotta crank this out and then it&#8217;s also gotta make money.</p>\n\n\n\n<p>And it was like the dumbest little idea. I won&#8217;t even share it, I&#8217;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&#8217;s never gonna make money.</p>\n\n\n\n<p>Like, and I&#8217;m, so, I&#8217;m putting myself in danger here. That&#8217;s dumb. You know? Um, and that&#8217;s not to say that there aren&#8217;t entrepreneurial journeys. With VC capital or, you know, we&#8217;ve gotta double down and, and make this our full-time gig and all that stuff. But it&#8217;s like, at least for me, I find often that I&#8217;m, if I&#8217;m making decisions from a position of desperation, of, of need.</p>\n\n\n\n<p>That I&#8217;m not gonna make the best decision, you know, cuz my priorities, I can&#8217;t have any, I can&#8217;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&#8217;s a better product.</p>\n\n\n\n<p>And, and you know, are we the worst off for having missed a few weeks? Maybe. Who can say nothing&#8217;s obvious? Um, you know, but again, you know, just trying to keep moving forward with it.&nbsp;</p>\n\n\n\n<p>[00:14:19] <strong>Cory Miller:</strong> I think it&#8217;s like when we&#8217;re thinking about bands and hit music or products and entrepreneurs think about, you know, with or, and Anna and yours.</p>\n\n\n\n<p>My experience in this is like, If there&#8217;s enough of a fire to keep it going. Mm-hmm. You know, just enough. It doesn&#8217;t have to be a bonfire. There&#8217;ll be times of that for sure, but, but then mostly it&#8217;s probably just. Sometimes a little candle, sometimes just a little mini campfire. But if there&#8217;s enough in fuel in there that there&#8217;s something here.</p>\n\n\n\n<p>I think time is on your, like you said, as time goes by, time is on your side because yeah, it&#8217;s only a matter of time where th where things kinda move and shift and the, the market, the world where you&#8217;re like that. Some of the classic stories, the person I&#8217;m thinking of, I think it&#8217;s a product company and how it came out.</p>\n\n\n\n<p>It&#8217;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&#8217;t have kind of planned that. Right. Um, where you were just keeping on a path enough, knew something was here, didn&#8217;t thought you had a beat on it a couple of times, and then just really it was just.</p>\n\n\n\n<p>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&#8217;m not, go ahead. A lot of the entrepreneurial stories I hear, they aren&#8217;t like the VC route. We saw a big market and we went after and we got a big money. Uh, that&#8217;s a, that&#8217;s an outlier I think, um, for the, Millions of us, the rest of us, I think it&#8217;s mostly backing into something, staying around long enough to find the opportunity that really fits.</p>\n\n\n\n<p>[00:16:09] <strong>Corey Maass:</strong> 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&#8217;s like, and that&#8217;s kind of the difference. Like I, I have friends who I. Are, have always wanted to do something. And I&#8217;m like, so outside of their job and, and so I&#8217;m like, so do something, you know, talking art, music, entrepreneurship, whatever.</p>\n\n\n\n<p>And it&#8217;s like you just, you, you, you have it in you or you don&#8217;t is one aspect and then the timing is right. Where it&#8217;s like you have that drive and you look around and you&#8217;re like, okay, right now I&#8217;ve got a couple hours a day where I&#8217;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&#8217;s like you and I also I think, have looked for an opportunity to work together for a long time.</p>\n\n\n\n<p>So it&#8217;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&#8217;s true. These are the, these are the real important things.</p>\n\n\n\n<p>[00:17:40] <strong>Cory Miller:</strong> Um, yeah, a absolutely. I know. Um, no, and I think that&#8217;s the other part on, down to this is, you know, at the base I enjoy our conversations. It it, it&#8217;s this hot, crazy hobby we might have of. Seeing what&#8217;s out there, seen, seeing something following the path down it. And, uh, I still believe in the product. Yeah.</p>\n\n\n\n<p>Um, but it&#8217;s funny, it&#8217;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&#8217;re on our second iteration of a product. Like, not even same product, there&#8217;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&#8217;re having is something&#8217;s gonna happen.</p>\n\n\n\n<p>Yeah. And then there&#8217;s a flat, simple, practical byproduct. All of this is that we&#8217;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.</p>\n\n\n\n<p>Yeah. You just say from a professional opportunity standpoint,&nbsp;</p>\n\n\n\n<p>[00:18:53] <strong>Corey Maass:</strong> right, exactly. I mean, it&#8217;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&#8217;m, I&#8217;m thinking in from the perspective of somebody who&#8217;s listening, who&#8217;s like, right, you, you know, you are both established.</p>\n\n\n\n<p>You have, you know, other income streams or you&#8217;ve got your networks, you&#8217;ve, you know, and, and you&#8217;re also putting a product out there. Like, I still see people on entrepreneurial forums that are like, you know, somebody&#8217;s gonna steal my idea. And, and we have gone the other direction and, and obviously we&#8217;re not the first, but, um, of, you know, just brazenly putting it out there and taking our sweet time.</p>\n\n\n\n<p>Let&#8217;s be honest. Like if we were other people, if we had venture capital, if we, you know, Didn&#8217;t have, you know, responsibilities and mortgages and things like we&#8217;d eat ramen and we&#8217;d have cranked this thing out years, uh, months ago. And, um, and there&#8217;s absolutely the chance that somebody listens and goes, oh, that&#8217;s a great idea.</p>\n\n\n\n<p>And, and comes in and, and, Steals it and releases it before we do. Um, you know, but it&#8217;s still, like you just said, it&#8217;s all part of the journey. We&#8217;re going to put our own twist on it. We&#8217;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&#8217;s very much ours.</p>\n\n\n\n<p>And it might overlap with other people&#8217;s, but frankly it already will. Like, that&#8217;s the nature of. Pretty much any product. There&#8217;s no, there&#8217;s, there&#8217;s really, you know, almost nothing that hasn&#8217;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.</p>\n\n\n\n<p>And everybody else was like, just you, you don&#8217;t, you know, okay, don&#8217;t, don&#8217;t steal an idea and reproduce it. Like that&#8217;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&#8217;s how most.</p>\n\n\n\n<p>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&#8217;ve got, you&#8217;ve got a network that, that you can tap into that existing client or existing products can&#8217;t or whatever.</p>\n\n\n\n<p>So, um, You know, it&#8217;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&#8217;s like you&#8217;re wheeling and dealing, but there&#8217;s times when you win and there&#8217;s times when you lose. God. I&#8217;m being very metaphorical here, but, um, you know, but it&#8217;s the, the.</p>\n\n\n\n<p>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&#8217;s, it&#8217;s meant to be fun. Um, and that isn&#8217;t to say that everything we do has to be fun cuz, and, and, or that I don&#8217;t take it seriously, but, um, but it gives you, I think, a little more perspective.</p>\n\n\n\n<p>You don&#8217;t have, I don&#8217;t, I don&#8217;t have board members that I have to, or, you know, or stockholders that I have to appease. Um, And I don&#8217;t have, uh, you know, I don&#8217;t have to burn the, the, the candle at both ends, um, to make ends meet if there&#8217;s a bug. And I&#8217;ve got users that are depending on me, that happens with my apps or my plugins once in a while, but it&#8217;s honestly like once in a while.</p>\n\n\n\n<p>That&#8217;s fun. I don&#8217;t wanna do it all the time, but it&#8217;s like, oh, I&#8217;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&#8217;s fun too, you know? So,&nbsp;</p>\n\n\n\n<p>[00:22:45] <strong>Cory Miller:</strong> Yeah. It occurs to me it&#8217;s really a low pressure and stress for us, which is what we both need.</p>\n\n\n\n<p>Right. Um, having a little bit more, I mean, I guess that&#8217;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.&nbsp;</p>\n\n\n\n<p>[00:23:08] <strong>Corey Maass:</strong> Well, and and it&#8217;s interesting cuz like I, I worked at startups, you know, it&#8217;s like I&#8217;ve done, I&#8217;ve done a lot of work in WordPress, um, and there&#8217;s been a lot of overlap.</p>\n\n\n\n<p>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&#8217;ve mentioned that before.</p>\n\n\n\n<p>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&#8217;s like, Most people were chipping away. I mean, almost like, like almost anything. It&#8217;s a, everything&#8217;s a bell curve, right? So most of the people on the bell curve were just chipping away, you know, and they weren&#8217;t burning themselves out, but they weren&#8217;t also only working a day a week or something.</p>\n\n\n\n<p>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&#8217;ve worked at startups where it was all hustle, hustle, hustle, and we&#8217;ve gotta put in long hours.</p>\n\n\n\n<p>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&#8217;s a cultural difference here. Um, but it was in Nashville. It wasn&#8217;t in New York.</p>\n\n\n\n<p>So there&#8217;s, um, there two things were different. We were not in the hustle bustle of New York City. Nashville&#8217;s a little more easygoing. Um, but also we were generally all, you know, in our thirties and older, we weren&#8217;t all a type. Hustler entrepreneurs. Um, and then, uh, stereotypically, uh, down south you&#8217;ve got family values are, uh, or at least the family itself is prioritized higher.</p>\n\n\n\n<p>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&#8217;t, if it could be done tomorrow, if it was five or six o&#8217;clock, then fine. Do it tomorrow. You know, keep chipping away, make good progress.</p>\n\n\n\n<p>But, um, you know, but you didn&#8217;t, we didn&#8217;t have to burn ourselves out. Uh, we weren&#8217;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&#8217;t, it doesn&#8217;t always have to be that crazy atmosphere. Yeah.</p>\n\n\n\n<p>I, I&nbsp;</p>\n\n\n\n<p>[00:26:02] <strong>Cory Miller:</strong> can&#8217;t help but think there&#8217;s a shift going on globally too, with work.&nbsp;</p>\n\n\n\n<p>[00:26:07] <strong>Corey Maass:</strong> Um, what, sorry, what, what was it like at, like, ithe or, you know, some of the, the bigger places you&#8217;ve worked?&nbsp;</p>\n\n\n\n<p>[00:26:13] <strong>Cory Miller:</strong> 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.</p>\n\n\n\n<p>Maybe that it&#8217;s too much. No, I actually, there&#8217;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?</p>\n\n\n\n<p>Yeah. Very much startup. Except every day we were launching a new product.&nbsp;</p>\n\n\n\n<p>[00:26:58] <strong>Corey Maass:</strong> That&#8217;s, that&#8217;s insane.&nbsp;</p>\n\n\n\n<p>[00:27:00] <strong>Cory Miller:</strong> 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&#8217;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?</p>\n\n\n\n<p>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&#8217;s eventually gonna break. And I don&#8217;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&#8217;m not gonna do that ever.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>But you&#8217;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.</p>\n\n\n\n<p>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&#8217;t all know.</p>\n\n\n\n<p>We didn&#8217;t know what we were doing. I sure as hell didn&#8217;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.</p>\n\n\n\n<p>And then I think when we hit about a million in revenue, I couldn&#8217;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.</p>\n\n\n\n<p>And uh, but I think that year something was different is like, we&#8217;ve got something here. Yeah. Lining in the bottle. Let&#8217;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.</p>\n\n\n\n<p>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&#8217;s what it was the first couple years. And, and some really good stuff came out of that. Um, you know, we didn&#8217;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.</p>\n\n\n\n<p>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&#8217;s like, house gets a little serious, you know? Yeah.&nbsp;</p>\n\n\n\n<p>[00:31:07] <strong>Corey Maass:</strong> That&#8217;s interesting. Um,&nbsp;</p>\n\n\n\n<p>[00:31:11] <strong>Cory Miller:</strong> so yeah, I&#8217;m. I look back at that time very fondly and nostalgically.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>And I thought we did it, but here&#8217;s how weird it was. More treehouse thing is like, That money didn&#8217;t flow directly to me. That was, I wasn&#8217;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&#8217;s, what&#8217;s crazy related to the whole entrepreneur journey is I think that was probably, I.</p>\n\n\n\n<p>Those circumstances and timing and backing into that was just ideal, obviously. But I go, it wasn&#8217;t all luck, right? It was both. It was all luck, all hard work. You know? It was both. Um, cuz I&#8217;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&#8217;m these plastic tables from Sam&#8217;s Club.</p>\n\n\n\n<p>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&#8217;t want to. I did eventually. Um, but I think that was part of that magic right time, right place, right?</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>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&#8217;s what my band was. Mm-hmm. Because it&#8217;s just like, we just made really good music for a long time. Yep. Uh, but how do I recreate that?</p>\n\n\n\n<p>That&#8217;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&#8217;s on to new music, right?&nbsp;</p>\n\n\n\n<p>[00:34:03] <strong>Corey Maass:</strong> Yeah. Or yeah, arriving at a different thing, different voices. You can&#8217;t just recreate the same thing. Music&#8217;s always the perfect metaphor in, in entrepreneurship, ownership and programming.</p>\n\n\n\n<p>And I think there&#8217;s a reason why so many of us are into music or are musicians or whatever. Um, but yeah, and I think that&#8217;s, That&#8217;s what a lot of, like, I, I was really into all the entrepreneur stories for a long time and I&#8217;m glad I listened to a bunch of the podcasts and, you know, and whatnot. But you can&#8217;t recreate somebody else&#8217;s story can be inspired&nbsp;</p>\n\n\n\n<p>[00:34:44] <strong>Cory Miller:</strong> by for sure.</p>\n\n\n\n<p>[00:34:46] <strong>Corey Maass:</strong> Oh hundred percent. A hundred percent. And, and, and some of it is good advice or, you know, in certain situations you&#8217;re like, oh, you know, I remember this thing. It&#8217;s like, like reading a playbook, but you still have to know what plays to apply or whatever.&nbsp;</p>\n\n\n\n<p>[00:35:01] <strong>Cory Miller:</strong> 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.</p>\n\n\n\n<p>[00:35:13] <strong>Corey Maass:</strong> I&#8217;m sorry, I&#8217;m laughing because you know, you&#8217;re, She&#8217;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,&nbsp;</p>\n\n\n\n<p>[00:35:30] <strong>Cory Miller:</strong> she remembers. She goes, no, you know, we were dating when.</p>\n\n\n\n<p>You hit your first six figure month. And I was like, Uhhuh, I realized everything got better with you. It did. Um, that&#8217;s the other way&nbsp;</p>\n\n\n\n<p>[00:35:44] <strong>Corey Maass:</strong> she sees it. The she sees it the other way around. Yeah.&nbsp;</p>\n\n\n\n<p>[00:35:47] <strong>Cory Miller:</strong> And it. And honestly, candidly, it did, everything did get better when you just had some like, like while we&#8217;re doing this together, not apart, right?</p>\n\n\n\n<p>It&#8217;s right. It&#8217;s just better together. I&#8217;ve said that with post status. All the other things, it&#8217;s like, God, as much as I want to think I&#8217;m a solo act, I&#8217;m really not. Well, I&#8217;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.</p>\n\n\n\n<p>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&#8217;s a point where if you&#8217;re like one step, two step ahead of someone, sure it&#8217;s very helpful. It&#8217;s very good stuff. Like this is where I&#8217;ve got, uh, but I started laughing. I go, cuz now I try to share less.</p>\n\n\n\n<p>I really actively try to not give advice as best I can until I go, okay, now it&#8217;s time for advice. I just share experiences cuz I go right. Everybody I hear doing that and you&#8217;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?</p>\n\n\n\n<p>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&#8217;re like, it&#8217;s very hard to, the magic is that band, those people that time to&nbsp;</p>\n\n\n\n<p>[00:37:12] <strong>Corey Maass:</strong> do that. Yeah. Yeah. And I mean, you can&#8217;t, and time is is the other, is the other thing.</p>\n\n\n\n<p>It&#8217;s like you can&#8217;t, you know, I&#8217;m, I&#8217;m stuck in that a little bit with music. It&#8217;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&#8217;m, I&#8217;m, there are moments where I&#8217;m like, uh, these other genres are more popular. I would get more airplay if I switch genres again cuz I switched genres.</p>\n\n\n\n<p>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&#8217;t, cuz I, I&#8217;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&#8217;re the perfect band, but you&#8217;re making seventies rock, uh, you might have a hard time if it sounds too much.</p>\n\n\n\n<p>Just like seventies rock, you know? Okay. That&#8217;s&nbsp;</p>\n\n\n\n<p>[00:38:15] <strong>Cory Miller:</strong> so good because then I go, there&#8217;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.</p>\n\n\n\n<p>And you&#8217;re like, oh, it&#8217;s those people that I admire very much, Corey, that have their interests and desires and passions and don&#8217;t. Stop. Mm-hmm. There&#8217;s some little fire of that in what we&#8217;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.</p>\n\n\n\n<p>It&#8217;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&#8217;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&#8217;s gonna happen of that.</p>\n\n\n\n<p>Right,&nbsp;</p>\n\n\n\n<p>[00:39:25] <strong>Corey Maass:</strong> right. I mean, that&#8217;s been proven over and over again and it doesn&#8217;t happen for everybody. And I&#8217;m, I have, you know, there&#8217;s, there&#8217;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.</p>\n\n\n\n<p>I think that&#8217;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.</p>\n\n\n\n<p>Yeah. Um, love his work. And, um, you know, and, and, uh, and he&#8217;s a good example. And other people, uh, who are like, okay, well I&#8217;m going to, I&#8217;m gonna do other things to, you know, to pay the bills, but, uh, my passion lies over here. And, uh, because it&#8217;s my passion, it will, I will always keep chipping away at it kind of thing.</p>\n\n\n\n<p>Um, but I think, so that&#8217;s, that&#8217;s sort of one line. And then there&#8217;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&#8217;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&#8217;s like I get more out of.</p>\n\n\n\n<p>Smaller things musically, like again, I&#8217;m, I&#8217;m, I&#8217;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&#8217;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?</p>\n\n\n\n<p>No. You know, uh, and so managing, managing expectations and it&#8217;s like I&#8217;ve, but I, and being content with, uh, a little bit of airplay here and there, or the people who, uh, I&#8217;ve now been friends with for. You know, decades coming to me and saying like, this is the best song you&#8217;ve ever written. I&#8217;m like, that&#8217;s enough.</p>\n\n\n\n<p>Like, I don&#8217;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&#8217;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&#8217;s like there&#8217;s, yeah.</p>\n\n\n\n<p>You know, it&#8217;s hard not to like, um, I am reacting to what you just said of like going, there&#8217;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.</p>\n\n\n\n<p>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&#8217;t know where they are anymore, but the last time I looked, and this is no criticism of them, it&#8217;s just like I never.</p>\n\n\n\n<p>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.</p>\n\n\n\n<p>And again, qualifying more the more side hustles and, and you know, uh, and stuff like that. And so it&#8217;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.</p>\n\n\n\n<p>Um, cuz it&#8217;s just more fun, frankly, and, and presume that money would come out of it and stuff like that. But it&#8217;s like, what are my, what are my actual goals? Like, why at 46 do I code extracurr? I, I, it&#8217;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?</p>\n\n\n\n<p>Like what is, it&#8217;s like I always, I always talk about, um, I don&#8217;t know, I, I don&#8217;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&#8217;s the most frivolous thing I can think of. Um, and that&#8217;s that, and I don&#8217;t mean that negatively, but as a hobby, like in your garage, taking up most of your a, a car bay.</p>\n\n\n\n<p>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&#8217;t need a canoe. And, and the world doesn&#8217;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.</p>\n\n\n\n<p>That&#8217;s, at least that was me, my family growing up. Um, but anyway, it&#8217;s like that to me is the epitome of a hobby. It&#8217;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&#8217;re gonna do it. Um, and that&#8217;s, and then I look at, at what I&#8217;m doing and it&#8217;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?</p>\n\n\n\n<p>It&#8217;s like, so the end goal for me, for building a product is users as people, users it. And I&#8217;m like, look, I, I brought value or joy or productivity or, you know, something that it&#8217;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.</p>\n\n\n\n<p>Um, now it&#8217;s like I&#8217;ve, I&#8217;ve gotten, I&#8217;ve gotten smaller and smaller and smaller. Now it&#8217;s to make a good product that people use. Mm-hmm. And it&#8217;s like, is that because I have failed so many times that my expectations have gone down, down, down, or. Is that still I&#8217;ve, I&#8217;ve, for myself, I have distilled it down to, that&#8217;s the first real spark, and then you kind of grow a, ideally grow a fire from there, right?</p>\n\n\n\n<p>If you&#8217;ve got people using something, then you&#8217;ve got something, presumably, and then that&#8217;s where you, you know, uh, You are, you are the fuel, and I&#8217;m the f I&#8217;m the spark or whatever, you know, that&#8217;s where you and I collaborate because fire takes three things. Um, and so you, you can&#8217;t, you probably can&#8217;t do it yourself or you don&#8217;t want to.</p>\n\n\n\n<p>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&#8217;t, and that was at least 10 years ago.</p>\n\n\n\n<p>So it&#8217;s like friendships that last, or fond memories or, or war stories or, you know, I don&#8217;t know. It&#8217;s hard to, I&#8217;m, I&#8217;m totally rambling, but it&#8217;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&#8217;s all I need.&nbsp;</p>\n\n\n\n<p>[00:47:30] <strong>Cory Miller:</strong> Yeah. We&#8217;ve talked a lot about hobbies and historically I&#8217;ve been like, I don&#8217;t have hobbies.</p>\n\n\n\n<p>I have work, I don&#8217;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&#8217;t. Have time and want to have time for other hobbies. Like it had to be productive. When you said hobby, it&#8217;s like when you&#8217;re talking about the canoe, I go, there&#8217;s a reason the person has makes space in the garage and the significant other probably goes, we don&#8217;t have any garage cause the canoe.</p>\n\n\n\n<p>But I go, that energy, that passion needs to take up space in your life somehow. And I go, so I haven&#8217;t had those. I do have two motorcycle, um, two motorcycles and the girls that don&#8217;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.</p>\n\n\n\n<p>For some reason, I, it&#8217;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.</p>\n\n\n\n<p>That&#8217;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&#8217;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.</p>\n\n\n\n<p>Enjoy tinkering with these products. This is our little mm-hmm. Garage hobby. You know, my version because I don&#8217;t physical things, you know, you build fences and stuff. Um, I, I don&#8217;t really do a lot of that. Don&#8217;t feel like I have always the ability and patience to do it, but I was like, hobby that builds, I, that&#8217;s my version of hobby is something, even when I could say I.</p>\n\n\n\n<p>My reading hobby, my hiking hobby, for me, it still builds. I&#8217;d need that part. It&#8217;s just, it connects somewhere back. Um, like I can say we&#8217;re gonna my daughter and sent her home. Of course summer, we&#8217;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.</p>\n\n\n\n<p>Sure. Thing, but I don&#8217;t know. As you were talking, I was like, no, it&#8217;s this time should take up this space. It has taken up, what, the last six months I think we&#8217;re our 18th session.&nbsp;</p>\n\n\n\n<p>[00:50:40] <strong>Corey Maass:</strong> 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.</p>\n\n\n\n<p>Yeah. And, and I know that we&#8217;ve struggled a little bit, um, where to my wife, it looks like I&#8217;m working all the time and I&#8217;m like, yeah. And sometimes I am. And sometimes it&#8217;s work, but it&#8217;s not earning me any money. And sometimes it&#8217;s fun and it&#8217;s not earning me any money. And it&#8217;s, you know, and it&#8217;s like there are four, the four quadrants of earns money or doesn&#8217;t, and it&#8217;s fun or it isn&#8217;t, but, um, and it&#8217;s client work or it&#8217;s not.</p>\n\n\n\n<p>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&#8217;s like, get off the damn computer, where, you know, go play golf. We&#8217;re retired.</p>\n\n\n\n<p>That&#8217;s not the retirement she wants. It&#8217;s the retirement he wants, you know? Um, and so it&#8217;s the hard, sometimes it&#8217;s hard to explain or show to other people, like, this is okay, this is what I wanna do. It&#8217;s like, as long as you&#8217;re getting enough exercise in vitamin D, you know, uh, but it&#8217;s, you know, cuz it&#8217;s, And it&#8217;s funny cuz people will look at gaming, you know, it&#8217;s like, oh, well you&#8217;re, you&#8217;re 10, 12 hours a day in front of the TV going zap, zap, zap or whatever.</p>\n\n\n\n<p>You know? We&#8217;ll go, okay, that&#8217;s fi that&#8217;s fine. That&#8217;s a hobby. It&#8217;s like, It may or may not be the healthiest me sitting here typing, building something, and I&#8217;m not judging one against the other, obviously, but it&#8217;s the, like, it&#8217;s hard to, it&#8217;s, it, it&#8217;s not as easy to demonstrate that it&#8217;s the same sort of thing of like, no, this is fun.</p>\n\n\n\n<p>You know?&nbsp;</p>\n\n\n\n<p>[00:52:35] <strong>Cory Miller:</strong> Oh yeah. I, you know, self-care is all in the rage and I&#8217;m glad it is, but I go, it&#8217;s such an abstract concept for me. But because I&#8217;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&#8217;s another conversation.</p>\n\n\n\n<p>But I go, what I&#8217;m trying to do is like, I don&#8217;t have those things. Maybe I don&#8217;t consciously have those things a take up space that I go, this is me, this is for me. Right. It&#8217;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.</p>\n\n\n\n<p>I&#8217;m okay to be in this space. Um, there&#8217;s a great person on Instagram talking about, or Instagram talking about Enneagram, and I&#8217;m an Enneagram nine, which is peacemaker Art Tap. And the one thing they said, take up space. And I said, I think I&#8217;m starting to get that now from canoe in the garage to standing in line.</p>\n\n\n\n<p>And you know what? I&#8217;m in this part and I&#8217;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&#8217;s one added element I think our conversations have been so enriching for me is just go, it&#8217;s okay.</p>\n\n\n\n<p>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&#8217;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&#8217;re not losing our house families, all this stuff, like you said earlier.</p>\n\n\n\n<p>Yep. 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Thanks my friend.&nbsp;</p>\n\n\n\n<p>[00:57:05] <strong>Corey Maass:</strong> Yeah, great talking as ever.</p>\n\n\n\n<p>You too.&nbsp;</p>\n\n\n\n<p>[00:57:08] <strong>Cory Miller:</strong> Talk to you next week.&nbsp;</p>\n\n\n\n<p>Bye.</p>\n<p>This article was published at Post Status — the community for WordPress professionals.</p>\";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, 21 Jun 2023 21:01:39 +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:\"Cory Miller\";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:49;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:54:\"Gravatar: New on Gravatar: Collect Payments on the Go!\";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:31:\"http://blog.gravatar.com/?p=683\";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:80:\"https://blog.gravatar.com/2023/06/21/new-on-gravatar-collect-payments-on-the-go/\";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:1813:\"<p><strong>Have you updated your free Gravatar profile page recently?</strong></p>\n\n\n\n<p>We are excited to announce the launch of new payment features on Gravatar profiles!&nbsp;</p>\n\n\n\n<p>Now, you can add verified payment links for PayPal, Venmo, and Patreon and share your cryptocurrency wallet addresses (Bitcoin, Dogecoin, Ethereum, and more). 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(39188,5799,'_encloseme','1'),
(39189,5799,'Index','40'),
(39190,5799,'Minutage','0\'13 \n'),
(39191,5799,'Images','Palme  d\'Or  avec  inscrit  en - dessous  «   Festival  de  Cannes  2018  Spécial  ». \n'),
(39192,5799,'VoixOffIn','\n'),
(39193,5799,'BandeSon','Bip  sonore \n'),
(39194,5799,'Ecrits','\n'),
(39195,5799,'_product_image_gallery',''),
(39196,5800,'_pingme','1'),
(39197,5800,'_encloseme','1'),
(39198,5800,'Index','50'),
(39199,5800,'Minutage','0’18 \n'),
(39200,5800,'Images','Noir .  \n'),
(39201,5800,'VoixOffIn','\n'),
(39202,5800,'BandeSon','Silence . \n'),
(39203,5800,'Ecrits','\n'),
(39204,5800,'_product_image_gallery',''),
(39205,5801,'_pingme','1'),
(39206,5801,'_encloseme','1'),
(39207,5801,'Index','60'),
(39208,5801,'Minutage','0’23 \n'),
(39209,5801,'Images','Détail  de  la  main . \n *San * *Giovanni * *Battista * ( 1508 - 1513 ),  Léonard  de  Vinci . \n'),
(39210,5801,'VoixOffIn','\n'),
(39211,5801,'BandeSon','*Id* *.* *\n*'),
(39212,5801,'Ecrits','\n'),
(39213,5801,'_product_image_gallery',''),
(39214,5802,'_pingme','1'),
(39215,5802,'_encloseme','1'),
(39216,5802,'Index','70'),
(39217,5802,'Minutage','0’26 \n'),
(39218,5802,'Images','Noir . \n'),
(39219,5802,'VoixOffIn','\n'),
(39220,5802,'BandeSon','*Id* *.* \n'),
(39221,5802,'Ecrits','Les  maîtres  du  m \n Devraient  se  méf \n Précisément  parc \n'),
(39222,5802,'_product_image_gallery',''),
(39223,5803,'_pingme','1'),
(39224,5803,'_encloseme','1'),
(39225,5803,'Index','80'),
(39226,5803,'Minutage','0’30 \n'),
(39227,5803,'Images','Noir . \n'),
(39228,5803,'VoixOffIn','\n'),
(39229,5803,'BandeSon','*Id* *.* \n'),
(39230,5803,'Ecrits','s  du  monde \n Se  méfier  de  Bécassine , \n Parce  qu’elle  se  tait .  \n *Les * *enfants * *humiliés* *, * Georges  Bernanos  ( 1949 ). \n'),
(39231,5803,'_product_image_gallery',''),
(39232,5804,'_pingme','1'),
(39233,5804,'_encloseme','1'),
(39234,5804,'Index','90'),
(39235,5804,'Minutage','0’35 \n'),
(39236,5804,'Images','Noir . \n'),
(39237,5804,'VoixOffIn','\n'),
(39238,5804,'BandeSon','*Id* *.* \n'),
(39239,5804,'Ecrits','\n'),
(39240,5804,'_product_image_gallery',''),
(39241,5805,'_pingme','1'),
(39242,5805,'_encloseme','1'),
(39243,5805,'Index','100'),
(39244,5805,'Minutage','0’41 \n'),
(39245,5805,'Images','Mains  de  Jean - Luc  Godard ,  au  travail  à  la  table  de  montage ,  avec  une  pellicule .  \n *King * *Lear * ( 1987 *), * Jean - Luc  Godard .  \n'),
(39246,5805,'VoixOffIn','Il  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'),
(39247,5805,'BandeSon','*Id* *.* \n \n \n \n \n'),
(39248,5805,'Ecrits','\n'),
(39249,5805,'_product_image_gallery',''),
(39250,5806,'_pingme','1'),
(39251,5806,'_encloseme','1'),
(39252,5806,'Index','110'),
(39253,5806,'Minutage','01’04 \n'),
(39254,5806,'Images','Main  écrivant  au  tableau  «  Un  ruisseau  d’ombres  /  A  brook  of  shadows  ».  \n *Closed * *Vision * ( 1953 *), * Marc\'O . \n'),
(39255,5806,'VoixOffIn','Et  la  vraie  condition  de  l’homme  c’est  de  penser  avec  ses  mains .  ( Jean - Luc  Godard ).  \n *Penser * *avec * *les * *mains * ( 1936 ),  Denis  de  Rougemont . \n'),
(39256,5806,'BandeSon','*Id* *.* \n'),
(39257,5806,'Ecrits','\n'),
(39258,5806,'_product_image_gallery',''),
(39259,5807,'_pingme','1'),
(39260,5807,'_encloseme','1'),
(39261,5807,'Index','120'),
(39262,5807,'Minutage','01’17 \n'),
(39263,5807,'Images','Détail  de  *La * *Main* *, * Alberto  Giacometti  ( 1947 )  allant  vers  le  haut .  \n *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 ),  Jean - Luc  Godard . \n'),
(39264,5807,'VoixOffIn','\n'),
(39265,5807,'BandeSon','*Id* *. * et  début  du  *Quintette * *avec * *piano* *, * *Op* *. * *18 * *- * *I* *. * ( 1944 ),  Mieczysław  Weinberg . \n'),
(39266,5807,'Ecrits','L’image  \n'),
(39267,5807,'_product_image_gallery',''),
(39268,5808,'_pingme','1'),
(39269,5808,'_encloseme','1'),
(39270,5808,'Index','130'),
(39271,5808,'Minutage','01’23 \n'),
(39272,5808,'Images','Mains  de  personne  enchaînée  allant  vers  le  bas  et  touchant  le  sol .  \n *Le * *Procès * *de * *Jeanne * *d’Arc * ( 1961 ),  Robert  Bresson .  *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(39273,5808,'VoixOffIn','\n'),
(39274,5808,'BandeSon','*Id* *.* \n'),
(39275,5808,'Ecrits','viendra \n'),
(39276,5808,'_product_image_gallery',''),
(39277,5809,'_pingme','1'),
(39278,5809,'_encloseme','1'),
(39279,5809,'Index','140'),
(39280,5809,'Minutage','01’29 \n'),
(39281,5809,'Images','Main  levée  vers  le  haut .  *\n* *Gare * *Centrale * ( 1958 *), * Youssef  Chahine . \n'),
(39282,5809,'VoixOffIn','\n'),
(39283,5809,'BandeSon','*Id* *.* \n'),
(39284,5809,'Ecrits','Oh  !  Temps \n'),
(39285,5809,'_product_image_gallery',''),
(39286,5810,'_pingme','1'),
(39287,5810,'_encloseme','1'),
(39288,5810,'Index','150'),
(39289,5810,'Minutage','01’40 \n'),
(39290,5810,'Images','Personne  coupant  en  deux  les  yeux  d’une  dame  avec  un  rasoir .  \n *Un * *chien * *andalou * ( 1929 ),  Luis  Bunuel . \n'),
(39291,5810,'VoixOffIn','\n'),
(39292,5810,'BandeSon','Silence . \n'),
(39293,5810,'Ecrits','\n'),
(39294,5810,'_product_image_gallery',''),
(39295,5811,'_pingme','1'),
(39296,5811,'_encloseme','1'),
(39297,5811,'Index','160'),
(39298,5811,'Minutage','01’43 \n'),
(39299,5811,'Images','Noir . \n'),
(39300,5811,'VoixOffIn','\n'),
(39301,5811,'BandeSon','*Id* *.* \n'),
(39302,5811,'Ecrits','Archive  s  et  morale . \n Phrase  citée  dans  *Histoire* *(* *s* *) * *du * *cinéma * ( 1988 - 98 ),  Jean - Luc  Godard . \n'),
(39303,5811,'_product_image_gallery',''),
(39304,5812,'_pingme','1'),
(39305,5812,'_encloseme','1'),
(39306,5812,'Index','170'),
(39307,5812,'Minutage','01’48 \n'),
(39308,5812,'Images','Saturé  :  maisons  avec  des  arbres .  Détail  d’un  tableau  d’André  Derain . \n'),
(39309,5812,'VoixOffIn','\n'),
(39310,5812,'BandeSon','*Quintette * *avec * *piano* *, * *Op* *. * *18 * *- * *I * ( 1944 *), * Mieczysław  Weinberg . \n'),
(39311,5812,'Ecrits','Casa  Azul  Films \n'),
(39312,5812,'_product_image_gallery',''),
(39313,5813,'_pingme','1'),
(39314,5813,'_encloseme','1'),
(39315,5813,'Index','180'),
(39316,5813,'Minutage','01’53 \n'),
(39317,5813,'Images','Noir . \n'),
(39318,5813,'VoixOffIn','\n'),
(39319,5813,'BandeSon','*Id* *.* \n'),
(39320,5813,'Ecrits','Ecran  noir  production \n \n En  surimpression ,  écrit  à  la  main :  \n Mitra  Farahani  ( présidente  de  la  société ). \n'),
(39321,5813,'_product_image_gallery',''),
(39322,5814,'_pingme','1'),
(39323,5814,'_encloseme','1'),
(39324,5814,'Index','190'),
(39325,5814,'Minutage','01’55 \n'),
(39326,5814,'Images','Saturé  et  surexposé  :  fragments  de  pellicule  sur  fond  blanc . \n *Histoire* *(* *s* *) * *du * *cinéma * *1a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(39327,5814,'VoixOffIn','\n'),
(39328,5814,'BandeSon','*Id* *.* \n'),
(39329,5814,'Ecrits','\n'),
(39330,5814,'_product_image_gallery',''),
(39331,5815,'_pingme','1'),
(39332,5815,'_encloseme','1'),
(39333,5815,'Index','200'),
(39334,5815,'Minutage','01’58 \n'),
(39335,5815,'Images','Tableau  avec  femmes  dans  la  rue  entre  des  maisons . \n'),
(39336,5815,'VoixOffIn','\n'),
(39337,5815,'BandeSon','*Id* *.* \n'),
(39338,5815,'Ecrits','\n'),
(39339,5815,'_product_image_gallery',''),
(39340,5816,'_pingme','1'),
(39341,5816,'_encloseme','1'),
(39342,5816,'Index','210'),
(39343,5816,'Minutage','02’00 \n'),
(39344,5816,'Images','«  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'),
(39345,5816,'VoixOffIn','Bon ,  va  me  chercher  les  livres .  On  va  jeter  un  coup  d\'œil . \n'),
(39346,5816,'BandeSon','Silence . \n'),
(39347,5816,'Ecrits','C\'est  que  pour  ne  pas  faire  caca ,  il  aurait  fallu .  Extrait  de  *Pour * *en * *finir * *avec * *le * *jugement * *de * *Dieu * ( 1948 ),  Antonin  Artaud . \n'),
(39348,5816,'_product_image_gallery',''),
(39349,5817,'_pingme','1'),
(39350,5817,'_encloseme','1'),
(39351,5817,'Index','220'),
(39352,5817,'Minutage','02’06 \n'),
(39353,5817,'Images','Noir . \n'),
(39354,5817,'VoixOffIn','\n'),
(39355,5817,'BandeSon','*Id* *.* \n'),
(39356,5817,'Ecrits','\n'),
(39357,5817,'_product_image_gallery',''),
(39358,5818,'_pingme','1'),
(39359,5818,'_encloseme','1'),
(39360,5818,'Index','230'),
(39361,5818,'Minutage','02’08 \n'),
(39362,5818,'Images','Noir . \n'),
(39363,5818,'VoixOffIn','\n'),
(39364,5818,'BandeSon','*Id* *.* \n'),
(39365,5818,'Ecrits','Image  et  Parole \n'),
(39366,5818,'_product_image_gallery',''),
(39367,5819,'_pingme','1'),
(39368,5819,'_encloseme','1'),
(39369,5819,'Index','240'),
(39370,5819,'Minutage','02’11 \n'),
(39371,5819,'Images','Surexposé  et  saturé  :  pellicule  entraînée  par  une  bobine  en  rotation .  \n *Notre * *caméra * *analytique * ( 2015 ),  Yervant  Gianikian  et  Angela  Ricci  Lucchi . \n'),
(39372,5819,'VoixOffIn','Scott  Walker  in  2006 ,  Orpheus  has  returned  from  the  underworld .  What  happened  on  his  long  long  journey ?  Who  is  this  man ? \n *Scott * *Walker* *: * *30th * *Century * *Man * ( 2007 ),  Stephen  Kijak . \n'),
(39373,5819,'BandeSon','*Cossacks * *Are * ( 2006 ),  Scott  Walker . \n'),
(39374,5819,'Ecrits','\n'),
(39375,5819,'_product_image_gallery',''),
(39376,5820,'_pingme','1'),
(39377,5820,'_encloseme','1'),
(39378,5820,'Index','250'),
(39379,5820,'Minutage','02’31 \n'),
(39380,5820,'Images','Noir . \n'),
(39381,5820,'VoixOffIn','C’est  que  pour  ne  pas  faire  caca \n'),
(39382,5820,'BandeSon','Silence . \n'),
(39383,5820,'Ecrits','\n'),
(39384,5820,'_product_image_gallery',''),
(39385,5821,'_pingme','1'),
(39386,5821,'_encloseme','1'),
(39387,5821,'Index','260'),
(39388,5821,'Minutage','02’34 \n'),
(39389,5821,'Images','Homme  ( avec  une  casquette  de  marin )  visant  dans  une  caméra  ( probablement  photographie  de  Friedrich  Wilhelm  Murnau ). \n *Histoire* *(* *s* *) * *du * *cinéma* *, * *1b * ( 1988 - 98 )  Jean - Luc  Godard . \n'),
(39390,5821,'VoixOffIn','il  aurait  fallu  qu\'on .  \n *Pour * *en * *finir * *avec * *le * *jugement * *de * *Dieu * ( 1948 ),  Antonin  Artaud . \n'),
(39391,5821,'BandeSon','*Cossacks * *Are * ( 2006 ),  Scott  Walker . \n'),
(39392,5821,'Ecrits','Tabou \n'),
(39393,5821,'_product_image_gallery',''),
(39394,5822,'_pingme','1'),
(39395,5822,'_encloseme','1'),
(39396,5822,'Index','270'),
(39397,5822,'Minutage','02’38 \n'),
(39398,5822,'Images','Couverture  du  livre  de  C . F .  Ramuz ,  *Les * *signes * *parmi * *nous* *.* *\n*'),
(39399,5822,'VoixOffIn','\n'),
(39400,5822,'BandeSon','Silence . \n'),
(39401,5822,'Ecrits','\n'),
(39402,5822,'_product_image_gallery',''),
(39403,5823,'_pingme','1'),
(39404,5823,'_encloseme','1'),
(39405,5823,'Index','280'),
(39406,5823,'Minutage','02’42 \n'),
(39407,5823,'Images','Noir . \n'),
(39408,5823,'VoixOffIn','\n'),
(39409,5823,'BandeSon','*Cue* ,  Scott  Walker  ( 2006 ). \n'),
(39410,5823,'Ecrits','Les  prophètes \n'),
(39411,5823,'_product_image_gallery',''),
(39412,5824,'_pingme','1'),
(39413,5824,'_encloseme','1'),
(39414,5824,'Index','290'),
(39415,5824,'Minutage','02’46 \n'),
(39416,5824,'Images','Homme  sautant  une  épée  à  la  main  sur  un  autre  homme .  \n *Hamlet * ( 1964 ),  Grigori  Kozintsev .  \n'),
(39417,5824,'VoixOffIn','\n'),
(39418,5824,'BandeSon','*Id* *.* *\n*'),
(39419,5824,'Ecrits','\n'),
(39420,5824,'_product_image_gallery',''),
(39421,5825,'_pingme','1'),
(39422,5825,'_encloseme','1'),
(39423,5825,'Index','300'),
(39424,5825,'Minutage','02’47 \n'),
(39425,5825,'Images','Noir . \n'),
(39426,5825,'VoixOffIn','\n'),
(39427,5825,'BandeSon','*Id* *.* *\n*'),
(39428,5825,'Ecrits','\n'),
(39429,5825,'_product_image_gallery',''),
(39430,5826,'_pingme','1'),
(39431,5826,'_encloseme','1'),
(39432,5826,'Index','310'),
(39433,5826,'Minutage','02’48 \n'),
(39434,5826,'Images','Homme  en  assassinant  un  autre  à  coups  d’épée ,  puis  sautant  d’un  mur ,  imitant  un  oiseau . \n *Hamlet * ( 1948 *), * Laurence  Olivier . \n'),
(39435,5826,'VoixOffIn','\n'),
(39436,5826,'BandeSon','Cri  du  coq .  ( Logo  de  Pathé ). \n'),
(39437,5826,'Ecrits','\n'),
(39438,5826,'_product_image_gallery',''),
(39439,5827,'_pingme','1'),
(39440,5827,'_encloseme','1'),
(39441,5827,'Index','320'),
(39442,5827,'Minutage','02’51 \n'),
(39443,5827,'Images','Petite  enfant  à  la  tête  levée  et  aux  mains  ouvertes .  \n *Miracle * *en * *Alabama * ( 1962 ),  Arthur  Penn .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(39444,5827,'VoixOffIn','\n'),
(39445,5827,'BandeSon','Silence . \n'),
(39446,5827,'Ecrits','\n'),
(39447,5827,'_product_image_gallery',''),
(39448,5828,'_pingme','1'),
(39449,5828,'_encloseme','1'),
(39450,5828,'Index','330'),
(39451,5828,'Minutage','02’55 \r\n'),
(39452,5828,'Images','Noir . \r\n'),
(39453,5828,'VoixOffIn',''),
(39454,5828,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *IV* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \r\n'),
(39455,5828,'Ecrits','1 \r\n   REMAKES \r\n'),
(39456,5828,'_product_image_gallery',''),
(39457,5829,'_pingme','1'),
(39458,5829,'_encloseme','1'),
(39459,5829,'Index','340'),
(39460,5829,'Minutage','03’00 \n'),
(39461,5829,'Images','Explosion  d’une  bombe  atomique .  \n'),
(39462,5829,'VoixOffIn','écrit  dans  une  nuit  d’orage \n'),
(39463,5829,'BandeSon','*Id* *.* \n'),
(39464,5829,'Ecrits','\n'),
(39465,5829,'_product_image_gallery',''),
(39466,5830,'_pingme','1'),
(39467,5830,'_encloseme','1'),
(39468,5830,'Index','350'),
(39469,5830,'Minutage','03’04 \n'),
(39470,5830,'Images','Femme  aidant  un  homme  à  s’éloigner  d’une  maison .  \n *En * *quatrième * *vitesse * [ *Kiss * *Me * *Deadly* ]  ( 1955 ),  Robert  Aldrich . \n'),
(39471,5830,'VoixOffIn','les  affaires  spéciales  de  police  marchent  de  front  avec  \n'),
(39472,5830,'BandeSon','*Id* *.* \n'),
(39473,5830,'Ecrits','\n'),
(39474,5830,'_product_image_gallery',''),
(39475,5831,'_pingme','1'),
(39476,5831,'_encloseme','1'),
(39477,5831,'Index','360'),
(39478,5831,'Minutage','03’08 \n'),
(39479,5831,'Images','Logo  représentant  un  atome . \n'),
(39480,5831,'VoixOffIn','les  mesures  les  plus  générales  de  la  politique . \n'),
(39481,5831,'BandeSon','*Id* *.* \n'),
(39482,5831,'Ecrits','\n'),
(39483,5831,'_product_image_gallery',''),
(39484,5832,'_pingme','1'),
(39485,5832,'_encloseme','1'),
(39486,5832,'Index','370'),
(39487,5832,'Minutage','03’12 \n'),
(39488,5832,'Images','Femme  aidant  un  homme  à  s’éloigner  d’une  maison  sur  une  plage . \n *En * *quatrième * *vitesse * [ *Kiss * *Me * *Deadly* ]  ( 1955 ),  Robert  Aldrich . \n'),
(39489,5832,'VoixOffIn','Les  fautes  morales  s’y  confondent  avec  les  crimes  d’État .  \n *Histoire * *de * *la * *Révolution * *française * ( 1893 - 98 *), * Jules  Michelet . \n \n'),
(39490,5832,'BandeSon','*Id* *.* \n'),
(39491,5832,'Ecrits','\n'),
(39492,5832,'_product_image_gallery',''),
(39493,5833,'_pingme','1'),
(39494,5833,'_encloseme','1'),
(39495,5833,'Index','380'),
(39496,5833,'Minutage','03’17 \n'),
(39497,5833,'Images','Vassili  Semionovitch  Grossman  écrivant  au  tableau . \n'),
(39498,5833,'VoixOffIn','C’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'),
(39499,5833,'BandeSon','Silence . \n'),
(39500,5833,'Ecrits','\n'),
(39501,5833,'_product_image_gallery',''),
(39502,5834,'_pingme','1'),
(39503,5834,'_encloseme','1'),
(39504,5834,'Index','390'),
(39505,5834,'Minutage','03’24 \n'),
(39506,5834,'Images','Noir . \n'),
(39507,5834,'VoixOffIn','On  accomplirait  l’acte  rédempteur ,  si  l’on  pourrait  conduire  la  critique  jusqu’à  la  mort  volontaire ,  sagement  désespérée ,  de  notre  penser  /  parler .  \n *Le * *langage * ( 1906 *), * Fritz  Mauthner . \n'),
(39508,5834,'BandeSon','*Id* *.* \n'),
(39509,5834,'Ecrits','\n'),
(39510,5834,'_product_image_gallery',''),
(39511,5835,'_pingme','1'),
(39512,5835,'_encloseme','1'),
(39513,5835,'Index','400'),
(39514,5835,'Minutage','03’37 \n'),
(39515,5835,'Images','Noir . \n'),
(39516,5835,'VoixOffIn','\n'),
(39517,5835,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n'),
(39518,5835,'Ecrits','1  Remakes \n'),
(39519,5835,'_product_image_gallery',''),
(39520,5836,'_pingme','1'),
(39521,5836,'_encloseme','1'),
(39522,5836,'Index','410'),
(39523,5836,'Minutage','03’42 \n'),
(39524,5836,'Images','Femmes  sortant  d’un  taxi  ouvert  par  un  concierge ,  homme  lisant  un  papier .  \n *Allemagne * *neuf * *zéro * ( 1997 *), * Jean - Luc  Godard . \n'),
(39525,5836,'VoixOffIn','garder  l’apparence  de  la  vie \n ( Jean - Luc  Godard ). \n \n \n \n Comme  le  cinéma  aussi ,  il  faut  que  tout  soit , \n'),
(39526,5836,'BandeSon','*Id* *. * e  *Cue * ( 2006 ),  Scott  Walker . \n'),
(39527,5836,'Ecrits','\n'),
(39528,5836,'_product_image_gallery',''),
(39529,5837,'_pingme','1'),
(39530,5837,'_encloseme','1'),
(39531,5837,'Index','420'),
(39532,5837,'Minutage','04’04 \n'),
(39533,5837,'Images','Au  ralenti ,  et  plus  tard  accéléré  :  deux  dames  accompagnées  à  une  voiture  par  un  concierge  sous  un  parapluie .  \n *Le * *dernier * *des * *hommes * ( 1924 *), * Friedrich  Wilhelm  Murnau . \n'),
(39534,5837,'VoixOffIn','il  faut  que  tout  parle .  ( Pierre  Guyotat ). \n'),
(39535,5837,'BandeSon','Silence ,  puis  moteur  de  voiture ,  et  pas  sur  le  sol  accompagnés  de  rires  de  femmes .  \n *Mon * *histoire * *n’est * *pas * *encore * *écrite * ( 2017 ),  Jacqueline  Gozland . \n'),
(39536,5837,'Ecrits','\n'),
(39537,5837,'_product_image_gallery',''),
(39538,5838,'_pingme','1'),
(39539,5838,'_encloseme','1'),
(39540,5838,'Index','430'),
(39541,5838,'Minutage','04’27 \n'),
(39542,5838,'Images','Noir . \n'),
(39543,5838,'VoixOffIn','\n'),
(39544,5838,'BandeSon','Silence . \n'),
(39545,5838,'Ecrits','\n'),
(39546,5838,'_product_image_gallery',''),
(39547,5839,'_pingme','1'),
(39548,5839,'_encloseme','1'),
(39549,5839,'Index','440'),
(39550,5839,'Minutage','04’29 \n'),
(39551,5839,'Images','Homme  parlant  avec  une  femme . \n *Johnny * *Guitar * ( 1954 ),  Nicholas  Ray . \n'),
(39552,5839,'VoixOffIn','Johnny  :  Don’t  go  away . \n Vienna  :  I  haven’t  moved . \n \n'),
(39553,5839,'BandeSon','Bande  son  de  *Johnny * *Guitar * ( 1954 ),  Nicholas  Ray . \n'),
(39554,5839,'Ecrits','\n'),
(39555,5839,'_product_image_gallery',''),
(39556,5840,'_pingme','1'),
(39557,5840,'_encloseme','1'),
(39558,5840,'Index','450'),
(39559,5840,'Minutage','04’36 \n'),
(39560,5840,'Images','Noir . \n'),
(39561,5840,'VoixOffIn','Johnny  :  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'),
(39562,5840,'BandeSon','*Id* *.* \n'),
(39563,5840,'Ecrits','\n'),
(39564,5840,'_product_image_gallery',''),
(39565,5841,'_pingme','1'),
(39566,5841,'_encloseme','1'),
(39567,5841,'Index','460'),
(39568,5841,'Minutage','04’48 \n'),
(39569,5841,'Images','Homme  parlant  avec  une  femme .  \n *Johnny * *Guitar * ( 1954 ),  Nicholas  Ray . \n'),
(39570,5841,'VoixOffIn','Vienna  :  All  those  years  I’ve  waited … \n Johnny  :  Tell  me  you  would  have  died  if  I  hadn’t  come  back . \n Vienna  :  I  would\'ve  died  if  you  hadn’t  come  back . \n Johnny  :  Tell  me  you  still  love  me  like  I  love  you . \n Vienna  :  I  still …  \n'),
(39571,5841,'BandeSon','*Id* *.* \n'),
(39572,5841,'Ecrits','\n'),
(39573,5841,'_product_image_gallery',''),
(39574,5842,'_pingme','1'),
(39575,5842,'_encloseme','1'),
(39576,5842,'Index','470'),
(39577,5842,'Minutage','05’05 \n'),
(39578,5842,'Images','Noir . \n'),
(39579,5842,'VoixOffIn','-  Dites  des  mensonges . \n'),
(39580,5842,'BandeSon','Silence . \n'),
(39581,5842,'Ecrits','\n'),
(39582,5842,'_product_image_gallery',''),
(39583,5843,'_pingme','1'),
(39584,5843,'_encloseme','1'),
(39585,5843,'Index','480'),
(39586,5843,'Minutage','05’10 \n'),
(39587,5843,'Images','Homme  parlant  avec  une  femme .  *\n* *Le * *petit * *soldat * ( 1947 *), * Jean - Luc  Godard . *\n*'),
(39588,5843,'VoixOffIn','que  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'),
(39589,5843,'BandeSon','*Id* *. * et  piano . \n'),
(39590,5843,'Ecrits','\n'),
(39591,5843,'_product_image_gallery',''),
(39592,5844,'_pingme','1'),
(39593,5844,'_encloseme','1'),
(39594,5844,'Index','490'),
(39595,5844,'Minutage','05’38 \n'),
(39596,5844,'Images','Noir . \n'),
(39597,5844,'VoixOffIn','Je  ne  vous  embrasse  pas  tendrement . \n'),
(39598,5844,'BandeSon','*Id* *.* *\n*'),
(39599,5844,'Ecrits','\n'),
(39600,5844,'_product_image_gallery',''),
(39601,5845,'_pingme','1'),
(39602,5845,'_encloseme','1'),
(39603,5845,'Index','500'),
(39604,5845,'Minutage','05’45 \n'),
(39605,5845,'Images','Homme  parlant  avec  une  femme .  *\n* *Le * *petit * *soldat * ( 1947 *), * Jean - Luc  Godard . *\n*'),
(39606,5845,'VoixOffIn','\n'),
(39607,5845,'BandeSon','*Id* *.* *\n*'),
(39608,5845,'Ecrits','\n'),
(39609,5845,'_product_image_gallery',''),
(39610,5846,'_pingme','1'),
(39611,5846,'_encloseme','1'),
(39612,5846,'Index','510'),
(39613,5846,'Minutage','05’50 \n'),
(39614,5846,'Images','Noir . \n'),
(39615,5846,'VoixOffIn','\n'),
(39616,5846,'BandeSon','Silence . \n'),
(39617,5846,'Ecrits','\n'),
(39618,5846,'_product_image_gallery',''),
(39619,5847,'_pingme','1'),
(39620,5847,'_encloseme','1'),
(39621,5847,'Index','520'),
(39622,5847,'Minutage','05’55 \n'),
(39623,5847,'Images','Adolescents  faisant  des  exercices  militaires  sous  la  supervision  de  soldats .  \n *Liban* *, * *guerres * *et * *hommes * ( 1975 *), * Frédéric  Laffont . \n'),
(39624,5847,'VoixOffIn','\n'),
(39625,5847,'BandeSon','*Id* *.* *\n*'),
(39626,5847,'Ecrits','\n'),
(39627,5847,'_product_image_gallery',''),
(39628,5848,'_pingme','1'),
(39629,5848,'_encloseme','1'),
(39630,5848,'Index','530'),
(39631,5848,'Minutage','05’59 \n'),
(39632,5848,'Images','Noir . \n'),
(39633,5848,'VoixOffIn','\n'),
(39634,5848,'BandeSon','*Id* *.* \n'),
(39635,5848,'Ecrits','\n'),
(39636,5848,'_product_image_gallery',''),
(39637,5849,'_pingme','1'),
(39638,5849,'_encloseme','1'),
(39639,5849,'Index','540'),
(39640,5849,'Minutage','06’00 \n'),
(39641,5849,'Images','Adolescents  faisant  des  exercices  militaires  sous  la  supervision  de  soldats .  *\n* *Liban* *, * *guerres * *et * *hommes * ( 1975 *), * Frédéric  Laffont . *\n*'),
(39642,5849,'VoixOffIn','\n'),
(39643,5849,'BandeSon','*Id* *.* \n'),
(39644,5849,'Ecrits','\n'),
(39645,5849,'_product_image_gallery',''),
(39646,5850,'_pingme','1'),
(39647,5850,'_encloseme','1'),
(39648,5850,'Index','550'),
(39649,5850,'Minutage','06’03 \n'),
(39650,5850,'Images','Militaires  en  rang  observés  par  un  commandant .  *\n* *Liban* *, * *guerres * *et * *hommes * ( 1975 *), * Frédéric  Laffont . *\n*'),
(39651,5850,'VoixOffIn','\n'),
(39652,5850,'BandeSon','*Id* *.* \n'),
(39653,5850,'Ecrits','\n'),
(39654,5850,'_product_image_gallery',''),
(39655,5851,'_pingme','1'),
(39656,5851,'_encloseme','1'),
(39657,5851,'Index','560'),
(39658,5851,'Minutage','06’07 \n'),
(39659,5851,'Images','Jeunes  gens  marchant  à  la  manière  de  chiens ,  entourés  de  soldats  les  nourrissant .  \n *Salò * *o * *le * *centoventi * *giornate * *di * *Sodoma * ( 1976 *), * Pier  Paolo  Pasolini . \n'),
(39660,5851,'VoixOffIn','\n'),
(39661,5851,'BandeSon','Aboiements  et  halètements  de  chiens . \n'),
(39662,5851,'Ecrits','\n'),
(39663,5851,'_product_image_gallery',''),
(39664,5852,'_pingme','1'),
(39665,5852,'_encloseme','1'),
(39666,5852,'Index','570'),
(39667,5852,'Minutage','06’17 \n'),
(39668,5852,'Images','Noir . \n'),
(39669,5852,'VoixOffIn','-  Mangia ,  sù ! \n'),
(39670,5852,'BandeSon','Silence . \n'),
(39671,5852,'Ecrits','\n'),
(39672,5852,'_product_image_gallery',''),
(39673,5853,'_pingme','1'),
(39674,5853,'_encloseme','1'),
(39675,5853,'Index','580'),
(39676,5853,'Minutage','06’28 \n'),
(39677,5853,'Images','Noir . \n'),
(39678,5853,'VoixOffIn','\n'),
(39679,5853,'BandeSon','*Id* *.* \n'),
(39680,5853,'Ecrits','1  Remakes \n'),
(39681,5853,'_product_image_gallery',''),
(39682,5854,'_pingme','1'),
(39683,5854,'_encloseme','1'),
(39684,5854,'Index','590'),
(39685,5854,'Minutage','06’31 \n'),
(39686,5854,'Images','Soldats  djihadistes  tirant  à  la  mitraillette .  \n *Timbuktu * ( 2014 *), * Abderrahmane  Sissako . \n'),
(39687,5854,'VoixOffIn','\n'),
(39688,5854,'BandeSon','Mitraillette .  \n'),
(39689,5854,'Ecrits','\n'),
(39690,5854,'_product_image_gallery',''),
(39691,5855,'_pingme','1'),
(39692,5855,'_encloseme','1'),
(39693,5855,'Index','600'),
(39694,5855,'Minutage','06’33 \n'),
(39695,5855,'Images','Blanc \n'),
(39696,5855,'VoixOffIn','\n'),
(39697,5855,'BandeSon','Silence . \n'),
(39698,5855,'Ecrits','\n'),
(39699,5855,'_product_image_gallery',''),
(39700,5856,'_pingme','1'),
(39701,5856,'_encloseme','1'),
(39702,5856,'Index','610'),
(39703,5856,'Minutage','06’37 \n'),
(39704,5856,'Images','Soldats  djihadistes  tirant  à  la  mitraillette .  *\n* *Timbuktu * ( 2014 *), * Abderrahmane  Sissako . *\n*'),
(39705,5856,'VoixOffIn','Bruit  de  manipulation  d\'une  arme . \n'),
(39706,5856,'BandeSon','*Id* *.* \n'),
(39707,5856,'Ecrits','\n'),
(39708,5856,'_product_image_gallery',''),
(39709,5857,'_pingme','1'),
(39710,5857,'_encloseme','1'),
(39711,5857,'Index','620'),
(39712,5857,'Minutage','06’44 \n'),
(39713,5857,'Images','Soldats  déplaçant  des  cadavres  et  soignant  des  femmes  torturées .  \n *Vrai * *faux * *passeport* ( 2006 *), * Jean - Luc  Godard . \n'),
(39714,5857,'VoixOffIn','Les  américains  s’efforcent  de  réanimer  cette  combattante  \n'),
(39715,5857,'BandeSon','Bande  son  de  *Vrai * *faux * *passeport* ( 2006 *), * Jean - Luc  Godard . \n'),
(39716,5857,'Ecrits','\n'),
(39717,5857,'_product_image_gallery',''),
(39718,5858,'_pingme','1'),
(39719,5858,'_encloseme','1'),
(39720,5858,'Index','630'),
(39721,5858,'Minutage','07’05 \n'),
(39722,5858,'Images','Noir . \n'),
(39723,5858,'VoixOffIn','\n'),
(39724,5858,'BandeSon','*Id* *.* *\n*'),
(39725,5858,'Ecrits','\n'),
(39726,5858,'_product_image_gallery',''),
(39727,5859,'_pingme','1'),
(39728,5859,'_encloseme','1'),
(39729,5859,'Index','640'),
(39730,5859,'Minutage','07’08 \n'),
(39731,5859,'Images','Hélicoptère .  \n *La * *Chute * *du * *faucon * *noir * ( 2001 *), * Ridley  Scott . \n'),
(39732,5859,'VoixOffIn','pour  sans  doute  l’interroger .  Qu’en  tireront - ils  ?  ( fois  2 ) \n'),
(39733,5859,'BandeSon','*Id* *.* \n'),
(39734,5859,'Ecrits','\n'),
(39735,5859,'_product_image_gallery',''),
(39736,5860,'_pingme','1'),
(39737,5860,'_encloseme','1'),
(39738,5860,'Index','650'),
(39739,5860,'Minutage','07’13 \n'),
(39740,5860,'Images','Soldats  déplaçant  des  cadavres  et  soignant  des  femmes  torturées .  *Vrai * *faux * *passeport* ( 2006 *), * Jean - Luc  Godard . \n'),
(39741,5860,'VoixOffIn','Des  insultes ,  des  chants  communistes  ou  simplement  des  cris  de  douleur . \n'),
(39742,5860,'BandeSon','*Id* *.* \n'),
(39743,5860,'Ecrits','Patrie \n'),
(39744,5860,'_product_image_gallery',''),
(39745,5861,'_pingme','1'),
(39746,5861,'_encloseme','1'),
(39747,5861,'Index','660'),
(39748,5861,'Minutage','07’17 \n'),
(39749,5861,'Images','Soldat  menaçant  une  femme  et  un  enfant  avec  une  carabine .  \n *Les * *carabiniers * ( 1963 ),  Jean - Luc  Godard . \n'),
(39750,5861,'VoixOffIn','Faites  la  partir .  Pas  dans  la  cuisine .  Mettez - vous  sur  la  chaise  !  Tournez - vous  ! \n'),
(39751,5861,'BandeSon','Silence . \n'),
(39752,5861,'Ecrits','\n'),
(39753,5861,'_product_image_gallery',''),
(39754,5862,'_pingme','1'),
(39755,5862,'_encloseme','1'),
(39756,5862,'Index','670'),
(39757,5862,'Minutage','07’43 \n'),
(39758,5862,'Images','Noir . \n'),
(39759,5862,'VoixOffIn','\n'),
(39760,5862,'BandeSon','*Id* *.* \n'),
(39761,5862,'Ecrits','\n'),
(39762,5862,'_product_image_gallery',''),
(39763,5863,'_pingme','1'),
(39764,5863,'_encloseme','1'),
(39765,5863,'Index','680'),
(39766,5863,'Minutage','07’44 \n'),
(39767,5863,'Images','Enfant  sur  une  pelouse  écoutant  de  la  musique .  Homme  apprenant  à  nager  à  une  femme .  *\n* *Les * *hommes * *les * *dimanches * ( 1930 *), * Robert  Siodmak  et  Edgar  George  Ulmer . *\n*'),
(39768,5863,'VoixOffIn','\n'),
(39769,5863,'BandeSon','Bande  son  de  *Les * *hommes * *les * *dimanches * ( 1930 *), * Robert  Siodmak  et  Edgar  George  Ulmer . \n *\n*'),
(39770,5863,'Ecrits','\n'),
(39771,5863,'_product_image_gallery',''),
(39772,5864,'_pingme','1'),
(39773,5864,'_encloseme','1'),
(39774,5864,'Index','690'),
(39775,5864,'Minutage','07’51 \n'),
(39776,5864,'Images','Deux  hommes  avec  un  scooter  suivant  deux  femmes  qui  se  promenant  dans  la  rue .  \n *Blue * *jeans * ( 1957 *), * Jacques  Rozier . \n'),
(39777,5864,'VoixOffIn','Alors  on  se  promène  ?  Vous  n’avez  pas  peur  toutes  seules  ?  Vous  habitez  chez  vos  parents  ?  Alors  vous  habitez  chez  papa  et  maman  ? \n'),
(39778,5864,'BandeSon','Silence . \n'),
(39779,5864,'Ecrits','\n'),
(39780,5864,'_product_image_gallery',''),
(39781,5865,'_pingme','1'),
(39782,5865,'_encloseme','1'),
(39783,5865,'Index','700'),
(39784,5865,'Minutage','08’09 \n'),
(39785,5865,'Images','Noir . \n'),
(39786,5865,'VoixOffIn','Chez  papa  et  maman  ? \n'),
(39787,5865,'BandeSon','*Id* *.* \n'),
(39788,5865,'Ecrits','\n'),
(39789,5865,'_product_image_gallery',''),
(39790,5866,'_pingme','1'),
(39791,5866,'_encloseme','1'),
(39792,5866,'Index','710'),
(39793,5866,'Minutage','08’12 \n'),
(39794,5866,'Images','Avion  de  guerre  \n orné  d’un  dessin  de  dents .  Documentaire  de  la  guerre  civile  en  Chine . \n'),
(39795,5866,'VoixOffIn','\n'),
(39796,5866,'BandeSon','*Id* *.* \n'),
(39797,5866,'Ecrits','\n'),
(39798,5866,'_product_image_gallery',''),
(39799,5867,'_pingme','1'),
(39800,5867,'_encloseme','1'),
(39801,5867,'Index','720'),
(39802,5867,'Minutage','08’13 \n'),
(39803,5867,'Images','Requin  émergeant  de  l\'eau ,  la  gueule  grande  ouverte .  \n *Les * *dents * *de * *la * *mer * ( 1975 *), * Steven  Spielberg . \n'),
(39804,5867,'VoixOffIn','\n'),
(39805,5867,'BandeSon','*Id* *.* \n'),
(39806,5867,'Ecrits','\n'),
(39807,5867,'_product_image_gallery',''),
(39808,5868,'_pingme','1'),
(39809,5868,'_encloseme','1'),
(39810,5868,'Index','730'),
(39811,5868,'Minutage','08’14 \n'),
(39812,5868,'Images','Noir . \n'),
(39813,5868,'VoixOffIn','\n'),
(39814,5868,'BandeSon','*Id* *.* \n'),
(39815,5868,'Ecrits','1  \n REMAKES \n'),
(39816,5868,'_product_image_gallery',''),
(39817,5869,'_pingme','1'),
(39818,5869,'_encloseme','1'),
(39819,5869,'Index','740'),
(39820,5869,'Minutage','08’16 \n'),
(39821,5869,'Images','Empilement  de  cadavres . \n *Nuit * *et * *brouillard * ( 1956 *), * Alain  Resnais . \n'),
(39822,5869,'VoixOffIn','\n'),
(39823,5869,'BandeSon','*Id* *.* \n'),
(39824,5869,'Ecrits','\n'),
(39825,5869,'_product_image_gallery',''),
(39826,5870,'_pingme','1'),
(39827,5870,'_encloseme','1'),
(39828,5870,'Index','750'),
(39829,5870,'Minutage','08’19 \n'),
(39830,5870,'Images','Homme  tuant  un  cheval .  \n *Le * *sang * *des * *bêtes * ( 1949 *), * Georges  Franju ,. \n'),
(39831,5870,'VoixOffIn','Il  est  presque  impossible  d’abolir  \n'),
(39832,5870,'BandeSon','*Id* *.* \n'),
(39833,5870,'Ecrits','\n'),
(39834,5870,'_product_image_gallery',''),
(39835,5871,'_pingme','1'),
(39836,5871,'_encloseme','1'),
(39837,5871,'Index','760'),
(39838,5871,'Minutage','08’24 \n'),
(39839,5871,'Images','Noir . \n'),
(39840,5871,'VoixOffIn','la  réciprocité  entre  les  hommes . \n La  violence  est  une  forme .  \n *La * *violence * *et * *le * *sacré* *, * ( 1972 ),  René  Girard \n \n'),
(39841,5871,'BandeSon','*Id* *. * e  *Cue * ( 2006 ),  Scott  Walker . \n'),
(39842,5871,'Ecrits','L’une  part  la  décision  et \n décision ,  c’est  :  se  tenir \n être  et  le  non - être  @  et  il  y \n de  l’être ,  le  primat  incor \n \n ( Vladimir  Ilitch  Lénine ).  \n'),
(39843,5871,'_product_image_gallery',''),
(39844,5872,'_pingme','1'),
(39845,5872,'_encloseme','1'),
(39846,5872,'Index','770'),
(39847,5872,'Minutage','08’31 \n'),
(39848,5872,'Images','Hibou ,  fondu  avec  un  homme  battant  des  paupières  et  les  frottant  successivement .  \n *La * *Grève * ( 1925 *), * Sergueï  Eisenstein .  *Histoire* *(* *s* *) * *du * *cinéma * *1a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(39849,5872,'VoixOffIn','\n'),
(39850,5872,'BandeSon','*Cue * ( 2006 ),  Scott  Walker . \n'),
(39851,5872,'Ecrits','\n'),
(39852,5872,'_product_image_gallery',''),
(39853,5873,'_pingme','1'),
(39854,5873,'_encloseme','1'),
(39855,5873,'Index','780'),
(39856,5873,'Minutage','08’36 \n'),
(39857,5873,'Images','Noir . \n'),
(39858,5873,'VoixOffIn','\n'),
(39859,5873,'BandeSon','*Id* *.* *\n*'),
(39860,5873,'Ecrits','\n'),
(39861,5873,'_product_image_gallery',''),
(39862,5874,'_pingme','1'),
(39863,5874,'_encloseme','1'),
(39864,5874,'Index','790'),
(39865,5874,'Minutage','08’43 \n'),
(39866,5874,'Images','Hommes  essayant  de  prendre  la  fuite  et  se  faisant  tirer  dessus .  Certains  meurent .  Hommes  lançant  dans  la  mer  des  prisonniers  attachés .  \n *Paisà * ( 1946 *), * Roberto  Rossellini . \n'),
(39867,5874,'VoixOffIn','Accadeva  nell’inverno  del  1944 .  All’inizio  della  primavera  la  guerra  era  finita . \n \n'),
(39868,5874,'BandeSon','Mitraillette ,  personnes  tombant  dans  l\'eau . \n'),
(39869,5874,'Ecrits','\n'),
(39870,5874,'_product_image_gallery',''),
(39871,5875,'_pingme','1'),
(39872,5875,'_encloseme','1'),
(39873,5875,'Index','800'),
(39874,5875,'Minutage','09’06 \n'),
(39875,5875,'Images','Surexposé  :  djihadistes  tirant  sur  des  hommes ,  et  les  lançant  à  la  mer . \n'),
(39876,5875,'VoixOffIn','\n'),
(39877,5875,'BandeSon','Silence . \n'),
(39878,5875,'Ecrits','\n'),
(39879,5875,'_product_image_gallery',''),
(39880,5876,'_pingme','1'),
(39881,5876,'_encloseme','1'),
(39882,5876,'Index','810'),
(39883,5876,'Minutage','09’13 \n'),
(39884,5876,'Images','Surexposé  et  saturé  en  tons  rouges  :  mer . \n'),
(39885,5876,'VoixOffIn','\n'),
(39886,5876,'BandeSon','*Id* *.* \n'),
(39887,5876,'Ecrits','\n'),
(39888,5876,'_product_image_gallery',''),
(39889,5877,'_pingme','1'),
(39890,5877,'_encloseme','1'),
(39891,5877,'Index','820'),
(39892,5877,'Minutage','09’15  \n'),
(39893,5877,'Images','Un  homme  et  une  femme  traversant  en  courant  le  corridor  de  Vasari  à  Florence . \n *Paisà * ( 1946 *), * Roberto  Rossellini .  \n \n En  surimpression ,  *La * *belle * *et * *la * *bête * ( 1946 *), * Jean  Cocteau . \n'),
(39894,5877,'VoixOffIn','S’il  vous  plaît  ( fois  7 ) \n'),
(39895,5877,'BandeSon','Ressac  de  vagues . \n'),
(39896,5877,'Ecrits','\n'),
(39897,5877,'_product_image_gallery',''),
(39898,5878,'_pingme','1'),
(39899,5878,'_encloseme','1'),
(39900,5878,'Index','830'),
(39901,5878,'Minutage','09’23 \n'),
(39902,5878,'Images','Noir . \n'),
(39903,5878,'VoixOffIn','Devenir  immortelle  ne  vous  intéresse  vraiment  pas  ? \n'),
(39904,5878,'BandeSon','*Id* *.* *\n*'),
(39905,5878,'Ecrits','RIM ( AK ) ES \n'),
(39906,5878,'_product_image_gallery',''),
(39907,5879,'_pingme','1'),
(39908,5879,'_encloseme','1'),
(39909,5879,'Index','840'),
(39910,5879,'Minutage','09’27 \n'),
(39911,5879,'Images','Homme  se  jettant  à  la  mer  pour  sauver  une  femme  voulant  se  suicider .  \n *Vertigo * ( 1958 *), * Alfred  Hitchcock . \n'),
(39912,5879,'VoixOffIn','- 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'),
(39913,5879,'BandeSon','*Id* *.* \n'),
(39914,5879,'Ecrits','\n'),
(39915,5879,'_product_image_gallery',''),
(39916,5880,'_pingme','1'),
(39917,5880,'_encloseme','1'),
(39918,5880,'Index','850'),
(39919,5880,'Minutage','09’44 \n'),
(39920,5880,'Images','Noir . \n'),
(39921,5880,'VoixOffIn','je  ne  suis  pas  comme  vous . \n'),
(39922,5880,'BandeSon','*Id* *.* \n'),
(39923,5880,'Ecrits','\n'),
(39924,5880,'_product_image_gallery',''),
(39925,5881,'_pingme','1'),
(39926,5881,'_encloseme','1'),
(39927,5881,'Index','860'),
(39928,5881,'Minutage','09’47 \n'),
(39929,5881,'Images','Surexposé  et  au  ralenti  :  homme  transportant  le  corps  d’une  femme  ayant  risqué  de  se  noyer .  \n *Vertigo * ( 1958 *), * Alfred  Hitchcock . \n'),
(39930,5881,'VoixOffIn','- Fière ,  et  orgueilleuse  avec  ça .  \n \n'),
(39931,5881,'BandeSon','*Id* *.* \n'),
(39932,5881,'Ecrits','\n'),
(39933,5881,'_product_image_gallery',''),
(39934,5882,'_pingme','1'),
(39935,5882,'_encloseme','1'),
(39936,5882,'Index','870'),
(39937,5882,'Minutage','09’49 \n'),
(39938,5882,'Images','Femme  à  la  plage  et  homme  naigeant  dans  la  mer .  \n *Femme * *au * *corbeau * ( 1929 *), * Frank  Borzage . *\n*'),
(39939,5882,'VoixOffIn','-  Oui ,  fière ,  si  je  me  compare .  \n'),
(39940,5882,'BandeSon','*Id* *.* \n'),
(39941,5882,'Ecrits','\n'),
(39942,5882,'_product_image_gallery',''),
(39943,5883,'_pingme','1'),
(39944,5883,'_encloseme','1'),
(39945,5883,'Index','880'),
(39946,5883,'Minutage','09’56 \n'),
(39947,5883,'Images','Caméraman  assis  sur  une  dolly .  \n *Silence* *! * *On * *tourne * ( 2001 *), * Youssef  Chahine . \n'),
(39948,5883,'VoixOffIn','\n'),
(39949,5883,'BandeSon','*Id* *.* \n'),
(39950,5883,'Ecrits','\n'),
(39951,5883,'_product_image_gallery',''),
(39952,5884,'_pingme','1'),
(39953,5884,'_encloseme','1'),
(39954,5884,'Index','890'),
(39955,5884,'Minutage','09’58 \n'),
(39956,5884,'Images','Visage  d’une  femme . \n *L’Atalante * ( 1934 *), * Jean  Vigo ,  au  ralenti  et  superposé  à  l’image  d’un  homme . \n'),
(39957,5884,'VoixOffIn','Et  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'),
(39958,5884,'BandeSon','*Id* *.* \n'),
(39959,5884,'Ecrits','\n'),
(39960,5884,'_product_image_gallery',''),
(39961,5885,'_pingme','1'),
(39962,5885,'_encloseme','1'),
(39963,5885,'Index','900'),
(39964,5885,'Minutage','10’12 \n'),
(39965,5885,'Images','Homme  déposant  une  femme  par  terre  au  bord  d’un  lac . \n *Hélas * *pour * *moi * ( 1993 *), * Jean - Luc  Godard . \n'),
(39966,5885,'VoixOffIn','C’est  notre  première  dispute ,  et  je  t’aime . \n *Hélas * *pour * *moi * ( 1993 *), * Jean - Luc  Godard . \n'),
(39967,5885,'BandeSon','*Id* *.* \n'),
(39968,5885,'Ecrits','\n'),
(39969,5885,'_product_image_gallery',''),
(39970,5886,'_pingme','1'),
(39971,5886,'_encloseme','1'),
(39972,5886,'Index','910'),
(39973,5886,'Minutage','10’19 \n'),
(39974,5886,'Images','Deux  personnes  marchant  à  quatre  pattes  sur  le  sol  au  milieu  de  l\'eau .  \n *La * *furie * *du * *désir * [ *Ruby * *Gentry* ]  ( 1952 *), * King  Vidor . \n'),
(39975,5886,'VoixOffIn','\n'),
(39976,5886,'BandeSon','Silence . \n'),
(39977,5886,'Ecrits','\n'),
(39978,5886,'_product_image_gallery',''),
(39979,5887,'_pingme','1'),
(39980,5887,'_encloseme','1'),
(39981,5887,'Index','920'),
(39982,5887,'Minutage','10’25 \n'),
(39983,5887,'Images','Noir . \n'),
(39984,5887,'VoixOffIn','\n'),
(39985,5887,'BandeSon','*Quintette * *avec * *piano * ( 1944 *), * *Op* *. * *18 * *- * *I * ( 1944 *), * Mieczysław  Weinberg . \n'),
(39986,5887,'Ecrits','\n'),
(39987,5887,'_product_image_gallery',''),
(39988,5888,'_pingme','1'),
(39989,5888,'_encloseme','1'),
(39990,5888,'Index','930'),
(39991,5888,'Minutage','10’27 \n'),
(39992,5888,'Images','Images  d’archives  :  signature  de  l\'armistice  de  la  Seconde  Guerre  mondiale  le  8  mai  1945 .  En  noir  et  blanc ,  puis  en  couleurs . \n'),
(39993,5888,'VoixOffIn','\n'),
(39994,5888,'BandeSon','*Id* *.* *\n*'),
(39995,5888,'Ecrits','\n'),
(39996,5888,'_product_image_gallery',''),
(39997,5889,'_pingme','1'),
(39998,5889,'_encloseme','1'),
(39999,5889,'Index','940'),
(40000,5889,'Minutage','10’37 \n'),
(40001,5889,'Images','Noir . \n'),
(40002,5889,'VoixOffIn','\n'),
(40003,5889,'BandeSon','*Id* *.* \n'),
(40004,5889,'Ecrits','\n'),
(40005,5889,'_product_image_gallery',''),
(40006,5890,'_pingme','1'),
(40007,5890,'_encloseme','1'),
(40008,5890,'Index','950'),
(40009,5890,'Minutage','10’39 \n'),
(40010,5890,'Images','Images  d’archives  de  la  chaîne  de  television  francaise  *Planète * :  folle  fêtant ,  drapeau  Etatsunien  à  la  main .  \n'),
(40011,5890,'VoixOffIn','\n'),
(40012,5890,'BandeSon','*Id* *. * et  silence . \n'),
(40013,5890,'Ecrits','\n'),
(40014,5890,'_product_image_gallery',''),
(40015,5891,'_pingme','1'),
(40016,5891,'_encloseme','1'),
(40017,5891,'Index','960'),
(40018,5891,'Minutage','10’41 \n'),
(40019,5891,'Images','Assignat  de  25  sols .  ( Papier  monnaie  fiduciaire  d’échange ,  instaurée  sous  la  Révolution  française  par  la  loi  du  4  janvier  1792 ). \n'),
(40020,5891,'VoixOffIn','On  a  signé ,  ah  signé ,  assigné ,  assigné ,  assignats .  ( Jean - Luc  Godard ) \n'),
(40021,5891,'BandeSon','Silence . \n'),
(40022,5891,'Ecrits','\n'),
(40023,5891,'_product_image_gallery',''),
(40024,5892,'_pingme','1'),
(40025,5892,'_encloseme','1'),
(40026,5892,'Index','970'),
(40027,5892,'Minutage','10’55 \n'),
(40028,5892,'Images','Noir . \n'),
(40029,5892,'VoixOffIn','Vous  vous  souvenez  de  José .  républicain  espagnol  ?  Avec  les  communistes  j\'irai  jusqu\'à  la  mort . \n'),
(40030,5892,'BandeSon','*Id* *.* *\n*'),
(40031,5892,'Ecrits','\n'),
(40032,5892,'_product_image_gallery',''),
(40033,5893,'_pingme','1'),
(40034,5893,'_encloseme','1'),
(40035,5893,'Index','980'),
(40036,5893,'Minutage','11’00 \n'),
(40037,5893,'Images','Hommes  posant  un  livre  sur  la  tête  d’un  homme  allongé  et  plaçant  le  bout  de  l\'index  et  du  majeur  sur  sa  couverture . \n *Ivan * *le * *terrible * ( 1944 *), * Sergej  Ejzenstejn .  *Liberté * *et * *patrie * ( 2002 *), * Jean - Luc  Godard  et  Anne - Marie  Miéville . \n'),
(40038,5893,'VoixOffIn','Avec  les  communistes  j\'irai  jusqu\'à  la  mort  mais  je  ne  ferai  pas  un  pas  de  plus . \n *L’Espoir * ( 1937 ),  André  Malraux . \n'),
(40039,5893,'BandeSon','*Id* *.* \n'),
(40040,5893,'Ecrits','\n'),
(40041,5893,'_product_image_gallery',''),
(40042,5894,'_pingme','1'),
(40043,5894,'_encloseme','1'),
(40044,5894,'Index','990'),
(40045,5894,'Minutage','11’21 \n'),
(40046,5894,'Images','Enfants  jouant  du  violon .  \n *Les * *enfants * *jouent * *à * *la * *Russie * ( 1993 *), * Jean - Luc  Godard . \n'),
(40047,5894,'VoixOffIn','\n'),
(40048,5894,'BandeSon','Orchestre .  \n'),
(40049,5894,'Ecrits','\n'),
(40050,5894,'_product_image_gallery',''),
(40051,5895,'_pingme','1'),
(40052,5895,'_encloseme','1'),
(40053,5895,'Index','1000'),
(40054,5895,'Minutage','11’26 \n'),
(40055,5895,'Images','Photographie  d’Inès  Armand ,  femme  politique  communiste . \n'),
(40056,5895,'VoixOffIn','\n'),
(40057,5895,'BandeSon','Silence . \n'),
(40058,5895,'Ecrits','\n'),
(40059,5895,'_product_image_gallery',''),
(40060,5896,'_pingme','1'),
(40061,5896,'_encloseme','1'),
(40062,5896,'Index','1010'),
(40063,5896,'Minutage','11’30 \n'),
(40064,5896,'Images','Avec  des  couleurs  surexposées  et  saturées  :  groupe  de  personnes  avec  drapeaux  et  armes . \n *La * *liberté * *guidant * *le * *peuple * ( 1830 ),  Eugène  Delacroix . \n'),
(40065,5896,'VoixOffIn','\n'),
(40066,5896,'BandeSon','*Id* *.* *\n*'),
(40067,5896,'Ecrits','\n'),
(40068,5896,'_product_image_gallery',''),
(40069,5897,'_pingme','1'),
(40070,5897,'_encloseme','1'),
(40071,5897,'Index','1020'),
(40072,5897,'Minutage','11’32 \n'),
(40073,5897,'Images','En  noir  et  blanc  et  surexposé  :  groupe  de  personnes  avec  drapeaux  et  armes .  *\n* *La * *liberté * *guidant * *le * *peuple * ( 1830 ),  Eugène  Delacroix . *\n*'),
(40074,5897,'VoixOffIn','Les  aventures .  Encore  un  rouge .  Dernier ,  le  rouge . \n   \n \n'),
(40075,5897,'BandeSon','*Id* *.* \n'),
(40076,5897,'Ecrits','\n'),
(40077,5897,'_product_image_gallery',''),
(40078,5898,'_pingme','1'),
(40079,5898,'_encloseme','1'),
(40080,5898,'Index','1030'),
(40081,5898,'Minutage','11’35 \n'),
(40082,5898,'Images','Alternance  en  clignotant  de  photos  en  couleur  d’Hitler ,  et  d’une  dame  marchant ,  un  enfant  dans  les  bras .  \n *Angèle * ( 1934 *), * Marcel  Pagnol . \n'),
(40083,5898,'VoixOffIn','- C’est  lui  qui  a  commencé ,  et  c’est  la  vérité .  \n'),
(40084,5898,'BandeSon','*Id* *.* \n'),
(40085,5898,'Ecrits','\n'),
(40086,5898,'_product_image_gallery',''),
(40087,5899,'_pingme','1'),
(40088,5899,'_encloseme','1'),
(40089,5899,'Index','1040'),
(40090,5899,'Minutage','11’40  \n'),
(40091,5899,'Images','Noir . \n'),
(40092,5899,'VoixOffIn','Tais - toi  Cassandre ! \n'),
(40093,5899,'BandeSon','*Id* *.* \n'),
(40094,5899,'Ecrits','\n'),
(40095,5899,'_product_image_gallery',''),
(40096,5900,'_pingme','1'),
(40097,5900,'_encloseme','1'),
(40098,5900,'Index','1050'),
(40099,5900,'Minutage','11’42 \n'),
(40100,5900,'Images','Femme  pleurant .  \n *Les * *larmes * *de * *Freya * ( 1900 *), * Anne - Marie  Zylberman . \n'),
(40101,5900,'VoixOffIn','\n'),
(40102,5900,'BandeSon','*Id* *.* \n'),
(40103,5900,'Ecrits','\n'),
(40104,5900,'_product_image_gallery',''),
(40105,5901,'_pingme','1'),
(40106,5901,'_encloseme','1'),
(40107,5901,'Index','1060'),
(40108,5901,'Minutage','11’45 \n'),
(40109,5901,'Images','Mains  tournées  vers  la  lumière .  \n Fragment  de  tableau  ( 1588 ),  Anonyme ,  Ecole  de  Fontainebleau . \n Une  main  sous  un  sein ,  une  autre  main  joignant  l’index  au  pouce .  \n *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard ,. \n'),
(40110,5901,'VoixOffIn','\n'),
(40111,5901,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n'),
(40112,5901,'Ecrits','\n'),
(40113,5901,'_product_image_gallery',''),
(40114,5902,'_pingme','1'),
(40115,5902,'_encloseme','1'),
(40116,5902,'Index','1070'),
(40117,5902,'Minutage','11’48 \r\n'),
(40118,5902,'Images','Noir . \r\n'),
(40119,5902,'VoixOffIn',''),
(40120,5902,'BandeSon','*Id* *.* \r\n'),
(40121,5902,'Ecrits','2  \r\n LES  SOIRÉES  DE  \r\n ST .  PÉTERSBOURG  ( Joseph  de  Maistre ,  1821 ) \r\n'),
(40122,5902,'_product_image_gallery',''),
(40123,5903,'_pingme','1'),
(40124,5903,'_encloseme','1'),
(40125,5903,'Index','1080'),
(40126,5903,'Minutage','11’53 \n'),
(40127,5903,'Images','Jeune  fille  dansant  à  un  bal .  \n *Guerre * *et * *paix * ( 1967 *), * Sergueï  Bondartchouk . \n'),
(40128,5903,'VoixOffIn','\n'),
(40129,5903,'BandeSon','Instruments  à  cordes  :  bande  son  de  *Guerre * *et * *paix * ( 1967 *), * Sergueï  Bondartchouk . \n'),
(40130,5903,'Ecrits','\n'),
(40131,5903,'_product_image_gallery',''),
(40132,5904,'_pingme','1'),
(40133,5904,'_encloseme','1'),
(40134,5904,'Index','1090'),
(40135,5904,'Minutage','11’55 \n'),
(40136,5904,'Images','Soldats  à  cheval ,  pendant  une  bataille .  \n *Guerre * *et * *paix * ( 1967 *), * Sergueï  Bondartchouk . \n'),
(40137,5904,'VoixOffIn','\n'),
(40138,5904,'BandeSon','Silence  et  *Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n'),
(40139,5904,'Ecrits','\n'),
(40140,5904,'_product_image_gallery',''),
(40141,5905,'_pingme','1'),
(40142,5905,'_encloseme','1'),
(40143,5905,'Index','1100'),
(40144,5905,'Minutage','12’06 \n'),
(40145,5905,'Images','Surexposé ,  puis  perturbé  par  des  scintillements ,  des  taches  noires  ou  des  taches  blanches  surexposées  :  nobles  entrant  dans  une  salle  de  bal . \n *\n* *Guerre * *et * *paix * ( 1967 *), * Sergueï  Bondartchouk . \n'),
(40146,5905,'VoixOffIn','\n'),
(40147,5905,'BandeSon','*Entrance * *of * *Tsar * *Alexander* *(* *Polonaise* *) * :  bande  son  du  film  *Guerre * *et * *paix * ( 1967 *), * Sergueï  Bondartchouk . \n'),
(40148,5905,'Ecrits','\n'),
(40149,5905,'_product_image_gallery',''),
(40150,5906,'_pingme','1'),
(40151,5906,'_encloseme','1'),
(40152,5906,'Index','1110'),
(40153,5906,'Minutage','12’45 \n'),
(40154,5906,'Images','Noir . \n'),
(40155,5906,'VoixOffIn','\n'),
(40156,5906,'BandeSon','Silence . \n'),
(40157,5906,'Ecrits','\n'),
(40158,5906,'_product_image_gallery',''),
(40159,5907,'_pingme','1'),
(40160,5907,'_encloseme','1'),
(40161,5907,'Index','1120'),
(40162,5907,'Minutage','12’47 \n'),
(40163,5907,'Images','Enfants  luttant  à  coups  de  bâton .  \n *Les * *enfants * *de * *la * *guerre * ( 1976 *), * Jocelyne  Saab . \n'),
(40164,5907,'VoixOffIn','La  guerre  est  là .  ( Jean - Luc  Godard ) \n'),
(40165,5907,'BandeSon','*Id* *.* *\n*'),
(40166,5907,'Ecrits','\n'),
(40167,5907,'_product_image_gallery',''),
(40168,5908,'_pingme','1'),
(40169,5908,'_encloseme','1'),
(40170,5908,'Index','1130'),
(40171,5908,'Minutage','13’03 \n'),
(40172,5908,'Images','Femme  allongée  sur  le  dos  devant  un  homme  regardant  la  mer .  \n *Notre * *musique * ( 2004 ),  Jean - Luc  Godard . \n'),
(40173,5908,'VoixOffIn','- 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'),
(40174,5908,'BandeSon','Ressac  de  vagues . \n'),
(40175,5908,'Ecrits','\n'),
(40176,5908,'_product_image_gallery',''),
(40177,5909,'_pingme','1'),
(40178,5909,'_encloseme','1'),
(40179,5909,'Index','1140'),
(40180,5909,'Minutage','13’13 \n'),
(40181,5909,'Images','Noir . \n'),
(40182,5909,'VoixOffIn','Nous  n\'avions  que  du  livre  à  mettre  dans  du  livre .  \n'),
(40183,5909,'BandeSon','Silence . \n'),
(40184,5909,'Ecrits','\n'),
(40185,5909,'_product_image_gallery',''),
(40186,5910,'_pingme','1'),
(40187,5910,'_encloseme','1'),
(40188,5910,'Index','1150'),
(40189,5910,'Minutage','13’17 \n'),
(40190,5910,'Images','Surexposé  :  bateaux  naviguant  en  mer .  \n'),
(40191,5910,'VoixOffIn','Que  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'),
(40192,5910,'BandeSon','*Id* *.* \n'),
(40193,5910,'Ecrits','\n'),
(40194,5910,'_product_image_gallery',''),
(40195,5911,'_pingme','1'),
(40196,5911,'_encloseme','1'),
(40197,5911,'Index','1160'),
(40198,5911,'Minutage','13’29 \n'),
(40199,5911,'Images','Cannon  visant  une  voiture .  \n *De * *l’origine * *du * *XXI * *siècle * ( 2000 *), * Jean - Luc  Godard . \n'),
(40200,5911,'VoixOffIn','mettre  de  la  réalité .  \n'),
(40201,5911,'BandeSon','*Id* *.* \n'),
(40202,5911,'Ecrits','\n'),
(40203,5911,'_product_image_gallery',''),
(40204,5912,'_pingme','1'),
(40205,5912,'_encloseme','1'),
(40206,5912,'Index','1170'),
(40207,5912,'Minutage','13’31 \n'),
(40208,5912,'Images','Femme  se  posant  la  main  sur  la  tête . \n *Le * *silence * *de * *la * *mer * ( 1949 *), * Jean - Pierre  Melville .  \n \n En  alternance  :  canon  visant  une  voiture .  \n *De * *l’origine * *du * *XXI * *siècle * ( 2000 *), * Jean - Luc  Godard . \n'),
(40209,5912,'VoixOffIn','Qu\'arrive - t - il  toujours  mon  ami  ?  \n'),
(40210,5912,'BandeSon','Piano . \n'),
(40211,5912,'Ecrits','\n'),
(40212,5912,'_product_image_gallery',''),
(40213,5913,'_pingme','1'),
(40214,5913,'_encloseme','1'),
(40215,5913,'Index','1180'),
(40216,5913,'Minutage','13’34 \n'),
(40217,5913,'Images','Voiture  militaire  passant  devant  une  folle . \n'),
(40218,5913,'VoixOffIn','\n \n'),
(40219,5913,'BandeSon','*Id* *.* \n'),
(40220,5913,'Ecrits','\n'),
(40221,5913,'_product_image_gallery',''),
(40222,5914,'_pingme','1'),
(40223,5914,'_encloseme','1'),
(40224,5914,'Index','1190'),
(40225,5914,'Minutage','13’36 \n'),
(40226,5914,'Images','Noir .  En  alternance  :  femme  se  posant  la  main  sur  la  tête .  \n *Le * *silence * *de * *la * *mer * ( 1949 *), * Jean - Pierre  Melville . \n'),
(40227,5914,'VoixOffIn','Le  soir  tombe ,  les  vacances  finissent .  \n'),
(40228,5914,'BandeSon','*Id* *.* \n'),
(40229,5914,'Ecrits','\n'),
(40230,5914,'_product_image_gallery',''),
(40231,5915,'_pingme','1'),
(40232,5915,'_encloseme','1'),
(40233,5915,'Index','1200'),
(40234,5915,'Minutage','13’43 \n'),
(40235,5915,'Images','Homme  torturé  au  chalumeau .  \n *Roma * *città * *aperta * ( 1945 *), * Roberto  Rossellini . \n'),
(40236,5915,'VoixOffIn','Il  me  faut  une  journée  pour  faire  l\'histoire  d\'une  seconde .  \n'),
(40237,5915,'BandeSon','*Id* *.* \n'),
(40238,5915,'Ecrits','\n'),
(40239,5915,'_product_image_gallery',''),
(40240,5916,'_pingme','1'),
(40241,5916,'_encloseme','1'),
(40242,5916,'Index','1210'),
(40243,5916,'Minutage','13’46 \n'),
(40244,5916,'Images','Noir . \n'),
(40245,5916,'VoixOffIn','\n'),
(40246,5916,'BandeSon','*Id* *.* \n'),
(40247,5916,'Ecrits','\n'),
(40248,5916,'_product_image_gallery',''),
(40249,5917,'_pingme','1'),
(40250,5917,'_encloseme','1'),
(40251,5917,'Index','1220'),
(40252,5917,'Minutage','13’51 \n'),
(40253,5917,'Images','Détail  surexposé  :  Reporter ,  et  ombre  d’un  soldat  au  fusil . \n'),
(40254,5917,'VoixOffIn','Il  me  faut  une  année  pour  faire  l\'histoire  d\'une  minute . \n'),
(40255,5917,'BandeSon','*Id* *.* \n'),
(40256,5917,'Ecrits','\n'),
(40257,5917,'_product_image_gallery',''),
(40258,5918,'_pingme','1'),
(40259,5918,'_encloseme','1'),
(40260,5918,'Index','1230'),
(40261,5918,'Minutage','13’57 \n'),
(40262,5918,'Images','Reporter ,  et  ombre  d’un  soldat  au  fusil . \n'),
(40263,5918,'VoixOffIn','Il  me  faut  une  vie  pour  faire  l\'histoire  d\'une  heure . \n'),
(40264,5918,'BandeSon','*Id* *.* \n'),
(40265,5918,'Ecrits','\n'),
(40266,5918,'_product_image_gallery',''),
(40267,5919,'_pingme','1'),
(40268,5919,'_encloseme','1'),
(40269,5919,'Index','1240'),
(40270,5919,'Minutage','14’05 \n'),
(40271,5919,'Images','Noir . \n'),
(40272,5919,'VoixOffIn','Il  me  faut  une  éternité  pour  faire  l\'histoire  d\'un  jour .  ( Julie  Delpy ). \n   *Clio* *, * *dialogue * *de * *l’histoire * *et * *de * *l’âme * *païenne * ( 1912 ),  Charles  Péguy . \n'),
(40273,5919,'BandeSon','*Id* *.* \n'),
(40274,5919,'Ecrits','\n'),
(40275,5919,'_product_image_gallery',''),
(40276,5920,'_pingme','1'),
(40277,5920,'_encloseme','1'),
(40278,5920,'Index','1250'),
(40279,5920,'Minutage','14’08 \n'),
(40280,5920,'Images','*Hélas * *pour * *moi * ( 1993 *), * Jean - Luc  Godard . \n'),
(40281,5920,'VoixOffIn','- Au  revoir  Ludovic ,  vous  allez  à  la  guerre  ? \n - Oui  madame  Donadieu . \n'),
(40282,5920,'BandeSon','Au  violon  :  bande  son  *d’Hélas * *pour * *moi * ( 1993 *), * Jean - Luc  Godard . \n'),
(40283,5920,'Ecrits','\n'),
(40284,5920,'_product_image_gallery',''),
(40285,5921,'_pingme','1'),
(40286,5921,'_encloseme','1'),
(40287,5921,'Index','1260'),
(40288,5921,'Minutage','14’25 \n'),
(40289,5921,'Images','Noir . \n'),
(40290,5921,'VoixOffIn','\n'),
(40291,5921,'BandeSon','*Id* *.* \n'),
(40292,5921,'Ecrits','\n'),
(40293,5921,'_product_image_gallery',''),
(40294,5922,'_pingme','1'),
(40295,5922,'_encloseme','1'),
(40296,5922,'Index','1270'),
(40297,5922,'Minutage','14’28 \n'),
(40298,5922,'Images','Homme  lançant  une  lance  dans  le  dos  d\'un  autre  homme . \n *Les * *Nibelungen* *. * *La * *mort * *de * *Siegfried * ( 1924 ),  Fritz  Lang . \n'),
(40299,5922,'VoixOffIn','\n'),
(40300,5922,'BandeSon','*Id* *. * puis  silence . \n'),
(40301,5922,'Ecrits','\n'),
(40302,5922,'_product_image_gallery',''),
(40303,5923,'_pingme','1'),
(40304,5923,'_encloseme','1'),
(40305,5923,'Index','1280'),
(40306,5923,'Minutage','14’32 \n'),
(40307,5923,'Images','Djihadistes  tuant  d’une  une  voiture  des  gens  dans  la  rue . \n *Ici * *et * *ailleurs * ( 1976 *), * Jean - Luc  Godard . \n'),
(40308,5923,'VoixOffIn','\n'),
(40309,5923,'BandeSon','Silence . \n'),
(40310,5923,'Ecrits','\n'),
(40311,5923,'_product_image_gallery',''),
(40312,5924,'_pingme','1'),
(40313,5924,'_encloseme','1'),
(40314,5924,'Index','1290'),
(40315,5924,'Minutage','14’35 \n'),
(40316,5924,'Images','Homme  transpercé  par  un  javelot .  \n *Le * *testament * *d\'Orphée * ( 1960 ),  Jean  Cocteau . \n'),
(40317,5924,'VoixOffIn','Quel  horreur  ( fois  3 ) \n'),
(40318,5924,'BandeSon','Mitraillette ,  voitures . \n'),
(40319,5924,'Ecrits','\n'),
(40320,5924,'_product_image_gallery',''),
(40321,5925,'_pingme','1'),
(40322,5925,'_encloseme','1'),
(40323,5925,'Index','1300'),
(40324,5925,'Minutage','14’42 \n'),
(40325,5925,'Images','Noir . \n'),
(40326,5925,'VoixOffIn','\n'),
(40327,5925,'BandeSon','Silence . \n'),
(40328,5925,'Ecrits','\n'),
(40329,5925,'_product_image_gallery',''),
(40330,5926,'_pingme','1'),
(40331,5926,'_encloseme','1'),
(40332,5926,'Index','1310'),
(40333,5926,'Minutage','14’45 \n'),
(40334,5926,'Images','Maison  en  flammes . \n'),
(40335,5926,'VoixOffIn','C\'est  à  Saint  Petersburg  \n'),
(40336,5926,'BandeSon','Violon . \n'),
(40337,5926,'Ecrits','\n'),
(40338,5926,'_product_image_gallery',''),
(40339,5927,'_pingme','1'),
(40340,5927,'_encloseme','1'),
(40341,5927,'Index','1320'),
(40342,5927,'Minutage','14’51 \n'),
(40343,5927,'Images','Nobles  habillés  pour  une  fête  de  carnaval .  *Guerre * *et * *paix * ( 1967 *), * Sergueï  Bondartchouk . \n'),
(40344,5927,'VoixOffIn','que  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'),
(40345,5927,'BandeSon','*Id* *.* \n'),
(40346,5927,'Ecrits','\n'),
(40347,5927,'_product_image_gallery',''),
(40348,5928,'_pingme','1'),
(40349,5928,'_encloseme','1'),
(40350,5928,'Index','1330'),
(40351,5928,'Minutage','15’17 \n'),
(40352,5928,'Images','Photo  d’une  voiture  avec  militaires . \n'),
(40353,5928,'VoixOffIn','C\'est  lui  \n'),
(40354,5928,'BandeSon','*Id* *.* \n'),
(40355,5928,'Ecrits','\n'),
(40356,5928,'_product_image_gallery',''),
(40357,5929,'_pingme','1'),
(40358,5929,'_encloseme','1'),
(40359,5929,'Index','1340'),
(40360,5929,'Minutage','15’19 \n'),
(40361,5929,'Images','Montage  en  surimpression  :  photo  d’une  comtesse .  *My * *Official * *Wife * ( 1926 ),  Paul  L .  Stein . \n'),
(40362,5929,'VoixOffIn','qui  nous  renvoie  à  notre  juge  naturel ...  Sa  mission  est  sacrée .  \n'),
(40363,5929,'BandeSon','*Id* *.* \n'),
(40364,5929,'Ecrits','\n'),
(40365,5929,'_product_image_gallery',''),
(40366,5930,'_pingme','1'),
(40367,5930,'_encloseme','1'),
(40368,5930,'Index','1350'),
(40369,5930,'Minutage','15’22 \n'),
(40370,5930,'Images','Noir . \n'),
(40371,5930,'VoixOffIn','\n'),
(40372,5930,'BandeSon','*Id* *.* \n'),
(40373,5930,'Ecrits','\n'),
(40374,5930,'_product_image_gallery',''),
(40375,5931,'_pingme','1'),
(40376,5931,'_encloseme','1'),
(40377,5931,'Index','1360'),
(40378,5931,'Minutage','15’26 \n'),
(40379,5931,'Images','Militaires  sur  un  champ  de  bataille ,  explosions .  \n *Guerre * *et * *paix * ( 1956 *), * King  Vidor . \n'),
(40380,5931,'VoixOffIn','Le  ciel  ne  peut  être  apaisé  que  par  le  sang .  L’innocent  peut  payer  pour  le  coupable .  ( Jean  Luc  Godard ). \n *Les * *soirées * *de * *Saint* *-* *Pétersbourg * ( 1821 *), * Joseph  de  Maistre .  \n'),
(40381,5931,'BandeSon','*Id* *. * et  batterie \n'),
(40382,5931,'Ecrits','\n'),
(40383,5931,'_product_image_gallery',''),
(40384,5932,'_pingme','1'),
(40385,5932,'_encloseme','1'),
(40386,5932,'Index','1370'),
(40387,5932,'Minutage','15’33 \n'),
(40388,5932,'Images','En  noir  et  blanc  :  homme  trainant  un  chargement .  \n *Les * *paumés * *de * *la * *mendicité * [ *Ladoni* ]  ( 1994 ),  Artur  Aristakisyan . \n'),
(40389,5932,'VoixOffIn','\n'),
(40390,5932,'BandeSon','Silence ,  puis  *Concerto * *pour * *Violoncelle * *et * *cordes * *: * *part * *II* *. * *Longing * ( 2008 *), * Dobrinka  Tabakova . \n'),
(40391,5932,'Ecrits','\n'),
(40392,5932,'_product_image_gallery',''),
(40393,5933,'_pingme','1'),
(40394,5933,'_encloseme','1'),
(40395,5933,'Index','1380'),
(40396,5933,'Minutage','16’02 \n'),
(40397,5933,'Images','Photo  du  tombeau  de  Rosa  Luxemburg . \n'),
(40398,5933,'VoixOffIn','\n'),
(40399,5933,'BandeSon','*Id* *.* *\n*'),
(40400,5933,'Ecrits','\n'),
(40401,5933,'_product_image_gallery',''),
(40402,5934,'_pingme','1'),
(40403,5934,'_encloseme','1'),
(40404,5934,'Index','1390'),
(40405,5934,'Minutage','16’09 \n'),
(40406,5934,'Images','En  superposition  :  soldats  tirant  une  femme  à  la  bouche  ouverte .  \n *La * *Chanteuse * *de * *café * ( ou  *au * *gant* )  ( 1878 ),  Edgar  Degas .  *Histoire* *(* *s* *) * *du * *cinéma * *1a * ( 1988 - 98 ),  Jean - Luc  Godard . \n'),
(40407,5934,'VoixOffIn','\n'),
(40408,5934,'BandeSon','Silence . \n'),
(40409,5934,'Ecrits','\n'),
(40410,5934,'_product_image_gallery',''),
(40411,5935,'_pingme','1'),
(40412,5935,'_encloseme','1'),
(40413,5935,'Index','1400'),
(40414,5935,'Minutage','16’12 \n'),
(40415,5935,'Images','Cheval  dans  un  cimetière .  Documentaire  *Shoah* *, * *les * *oubliés * *de * *l’histoire * ( 2014 *), * Véronique  Lagoarde - Ségot ,  par  la  chaîne  de  télévision  *Histoire* *.* \n'),
(40416,5935,'VoixOffIn','\n'),
(40417,5935,'BandeSon','*Id* *.* \n'),
(40418,5935,'Ecrits','\n'),
(40419,5935,'_product_image_gallery',''),
(40420,5936,'_pingme','1'),
(40421,5936,'_encloseme','1'),
(40422,5936,'Index','1410'),
(40423,5936,'Minutage','16’18 \n'),
(40424,5936,'Images','Femme  gisant  sur  le  dos ,  devant  un  homme  regardant  la  mer .  \n *Notre * *musique * ( 2004 ),  Jean - Luc  Godard . \n'),
(40425,5936,'VoixOffIn','\n'),
(40426,5936,'BandeSon','Vagues  et  cris  de  mouettes . \n'),
(40427,5936,'Ecrits','\n'),
(40428,5936,'_product_image_gallery',''),
(40429,5937,'_pingme','1'),
(40430,5937,'_encloseme','1'),
(40431,5937,'Index','1420'),
(40432,5937,'Minutage','16’18 \n'),
(40433,5937,'Images','Surexposé  :  femme  gisant  sur  le  dos ,  devant  un  homme  regardant  la  mer .  \n *Notre * *musique * ( 2004 ),  Jean - Luc  Godard . \n'),
(40434,5937,'VoixOffIn','They  are  not  men  of  the  world .  They  told  me  I  was  everything .  It  is  a  lie . \n She  is  gone  forever .  She  is  gone .  \n I  know  when  one  is  dead ,  when  one  leaves .  ( fois  3 )  ( Jean - Luc  Godard  et  Anne - Marie  Miéville ). \n *King * *Lear* ,  Acte  IV  Scène  6  ( 1606 ),  William  Shakespeare ,  avec  modifications  de  Jean - Luc  Godard . \n'),
(40435,5937,'BandeSon','*Id* *.* \n'),
(40436,5937,'Ecrits','\n'),
(40437,5937,'_product_image_gallery',''),
(40438,5938,'_pingme','1'),
(40439,5938,'_encloseme','1'),
(40440,5938,'Index','1430'),
(40441,5938,'Minutage','16’50 \n'),
(40442,5938,'Images','Noir . \n'),
(40443,5938,'VoixOffIn','\n'),
(40444,5938,'BandeSon','*Id* *.* \n'),
(40445,5938,'Ecrits','\n'),
(40446,5938,'_product_image_gallery',''),
(40447,5939,'_pingme','1'),
(40448,5939,'_encloseme','1'),
(40449,5939,'Index','1440'),
(40450,5939,'Minutage','16’54 \n'),
(40451,5939,'Images','Détail  saturé  et  surexposée  :  photographie  d’une  femme  à  terre ,  blessée ,  un  chien  mort  à  ses  côtés .  \n *Histoire* *(* *s* *) * *du * *cinéma * *3a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(40452,5939,'VoixOffIn','\n'),
(40453,5939,'BandeSon','*Id* *.* \n'),
(40454,5939,'Ecrits','\n'),
(40455,5939,'_product_image_gallery',''),
(40456,5940,'_pingme','1'),
(40457,5940,'_encloseme','1'),
(40458,5940,'Index','1450'),
(40459,5940,'Minutage','16’56 \n'),
(40460,5940,'Images','Saturé ,  puis  pris  depuis  le  toit  d\'un  réservoir  :  soldats  traversant  une  rivière ,  les  armes  au - dessus  de  la  tête .  \n'),
(40461,5940,'VoixOffIn','\n'),
(40462,5940,'BandeSon','*Id* *.* \n'),
(40463,5940,'Ecrits','\n'),
(40464,5940,'_product_image_gallery',''),
(40465,5941,'_pingme','1'),
(40466,5941,'_encloseme','1'),
(40467,5941,'Index','1460'),
(40468,5941,'Minutage','17’05 \n'),
(40469,5941,'Images','Noir . \n'),
(40470,5941,'VoixOffIn','\n'),
(40471,5941,'BandeSon','*Id* *.* \n'),
(40472,5941,'Ecrits','\n'),
(40473,5941,'_product_image_gallery',''),
(40474,5942,'_pingme','1'),
(40475,5942,'_encloseme','1'),
(40476,5942,'Index','1470'),
(40477,5942,'Minutage','17’08 \n'),
(40478,5942,'Images','Tableau  représentant  Joseph  de  Maistre ,  père  de  la  philosophie  contre - révolutionnaire ,  et  critique  important  des  idées  des  Lumières . \n'),
(40479,5942,'VoixOffIn','Au  cours  de  la  soirée ,  le  comte  Joseph  de  Maistre  grand  croix  de  l\'ordre  de  saint  Maurice  et  de  Lazare ,  continua …  \n'),
(40480,5942,'BandeSon','*Id* *.* \n'),
(40481,5942,'Ecrits','\n'),
(40482,5942,'_product_image_gallery',''),
(40483,5943,'_pingme','1'),
(40484,5943,'_encloseme','1'),
(40485,5943,'Index','1480'),
(40486,5943,'Minutage','17’16 \n'),
(40487,5943,'Images','Saturé  :  bombardements  aériens . \n'),
(40488,5943,'VoixOffIn','\n'),
(40489,5943,'BandeSon','Explosions  et  avions . \n'),
(40490,5943,'Ecrits','\n'),
(40491,5943,'_product_image_gallery',''),
(40492,5944,'_pingme','1'),
(40493,5944,'_encloseme','1'),
(40494,5944,'Index','1490'),
(40495,5944,'Minutage','17’27 \n'),
(40496,5944,'Images','Voyage  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 .  \n *Alenka * ( 1961 ),  Boris  Barnet .  *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(40497,5944,'VoixOffIn','\n'),
(40498,5944,'BandeSon','*Concerto * *pour * *Violoncelle * *et * *cordes * *: * *part * *II* *. * *Longing * ( 2008 *), * Dobrinka  Tabakova . \n'),
(40499,5944,'Ecrits','La  terre \n'),
(40500,5944,'_product_image_gallery',''),
(40501,5945,'_pingme','1'),
(40502,5945,'_encloseme','1'),
(40503,5945,'Index','1500'),
(40504,5945,'Minutage','17’33 \n'),
(40505,5945,'Images','Femme  poursuivie  et  attaquée  par  un  groupe  d\'hommes .  \n *Les * *Contes * *de * *la * *lune * *vague * *après * *la * *pluie * ( 1953 *), * Kenji  Mizoguchi . \n'),
(40506,5945,'VoixOffIn','continua  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'),
(40507,5945,'BandeSon','Silence . \n'),
(40508,5945,'Ecrits','\n'),
(40509,5945,'_product_image_gallery',''),
(40510,5946,'_pingme','1'),
(40511,5946,'_encloseme','1'),
(40512,5946,'Index','1510'),
(40513,5946,'Minutage','17’56 \n'),
(40514,5946,'Images','Femmes  traversant  une  ville  détruite  dont  les  bâtiments  s\'effondrent  devant  elles .  \n *Histoire* *(* *s* *) * *du * *cinéma * *4b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(40515,5946,'VoixOffIn','doit  être  immolé ,  sans  fin ,  sans  mesure  @ \n'),
(40516,5946,'BandeSon','*Id* *.* \n'),
(40517,5946,'Ecrits','\n'),
(40518,5946,'_product_image_gallery',''),
(40519,5947,'_pingme','1'),
(40520,5947,'_encloseme','1'),
(40521,5947,'Index','1520'),
(40522,5947,'Minutage','17’56 \n'),
(40523,5947,'Images','Saturé  de  jaune  :  id . \n'),
(40524,5947,'VoixOffIn','\n'),
(40525,5947,'BandeSon','*Id* *.* \n'),
(40526,5947,'Ecrits','\n'),
(40527,5947,'_product_image_gallery',''),
(40528,5948,'_pingme','1'),
(40529,5948,'_encloseme','1'),
(40530,5948,'Index','1530'),
(40531,5948,'Minutage','18’02 \n'),
(40532,5948,'Images','En  couleur  :  femme  au  bord  d\'une  route ,  le  visage  défiguré  par  des  coups .  \n *Ici * *et * *ailleurs * ( 1976 ),  Jean - Luc  Godard . \n'),
(40533,5948,'VoixOffIn','Où  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'),
(40534,5948,'BandeSon','*Id* *.* \n'),
(40535,5948,'Ecrits','\n'),
(40536,5948,'_product_image_gallery',''),
(40537,5949,'_pingme','1'),
(40538,5949,'_encloseme','1'),
(40539,5949,'Index','1540'),
(40540,5949,'Minutage','18’15 \n'),
(40541,5949,'Images','Voitures  de  police  djihadistes  défilant  dans  les  rues ,  avec  des  drapeaux  noirs . \n'),
(40542,5949,'VoixOffIn','D’ici  un  mois ,  les  brigades  allaient  devoir  quitter  le  pays .  Une  fois  de  plus ,  nous  comprîmes  à  quel  point  \n'),
(40543,5949,'BandeSon','*Id* *.* \n'),
(40544,5949,'Ecrits','\n'),
(40545,5949,'_product_image_gallery',''),
(40546,5950,'_pingme','1'),
(40547,5950,'_encloseme','1'),
(40548,5950,'Index','1550'),
(40549,5950,'Minutage','18’19 \n'),
(40550,5950,'Images','Voiture  avec  des  soldats  armés  de  fusils  passant  au  milieu  d\'une  rue  avec  des  gens  autour . \n'),
(40551,5950,'VoixOffIn','nous  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'),
(40552,5950,'BandeSon','*Id* *.* \n'),
(40553,5950,'Ecrits','\n'),
(40554,5950,'_product_image_gallery',''),
(40555,5951,'_pingme','1'),
(40556,5951,'_encloseme','1'),
(40557,5951,'Index','1560'),
(40558,5951,'Minutage','18’28 \n'),
(40559,5951,'Images','Noir . \n'),
(40560,5951,'VoixOffIn','La  guerre ,  la  guerre  est  donc  divine  en  elle - même ,  parce  que  c\'est  une  loi  du  monde .  \n'),
(40561,5951,'BandeSon','*Id* *.* \n'),
(40562,5951,'Ecrits','Délivrance \n'),
(40563,5951,'_product_image_gallery',''),
(40564,5952,'_pingme','1'),
(40565,5952,'_encloseme','1'),
(40566,5952,'Index','1570'),
(40567,5952,'Minutage','18’35 \n'),
(40568,5952,'Images','Photos  d\'avions  de  chasse  en  vol . \n'),
(40569,5952,'VoixOffIn','\n'),
(40570,5952,'BandeSon','*Id* *.* \n'),
(40571,5952,'Ecrits','\n'),
(40572,5952,'_product_image_gallery',''),
(40573,5953,'_pingme','1'),
(40574,5953,'_encloseme','1'),
(40575,5953,'Index','1580'),
(40576,5953,'Minutage','18’37 \n'),
(40577,5953,'Images','Saturé  :  bombes  et  explosions . \n'),
(40578,5953,'VoixOffIn','Qui  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'),
(40579,5953,'BandeSon','*Id* *.* \n'),
(40580,5953,'Ecrits','\n'),
(40581,5953,'_product_image_gallery',''),
(40582,5954,'_pingme','1'),
(40583,5954,'_encloseme','1'),
(40584,5954,'Index','1590'),
(40585,5954,'Minutage','18’47 \n'),
(40586,5954,'Images','Photo  d\'une  petite  fille  demandant  désespérément  de  l\'aide  à  un  soldat . \n'),
(40587,5954,'VoixOffIn','jugement  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'),
(40588,5954,'BandeSon','*Id* *.* \n'),
(40589,5954,'Ecrits','\n'),
(40590,5954,'_product_image_gallery',''),
(40591,5955,'_pingme','1'),
(40592,5955,'_encloseme','1'),
(40593,5955,'Index','1600'),
(40594,5955,'Minutage','19’07 \n'),
(40595,5955,'Images','Noir . \n'),
(40596,5955,'VoixOffIn','inexplicable  qui  nous  y  porte .  \n'),
(40597,5955,'BandeSon','*Id* *.* \n'),
(40598,5955,'Ecrits','\n'),
(40599,5955,'_product_image_gallery',''),
(40600,5956,'_pingme','1'),
(40601,5956,'_encloseme','1'),
(40602,5956,'Index','1610'),
(40603,5956,'Minutage','19’11 \n'),
(40604,5956,'Images','Enfants  jouant  à  la  guerre . \n'),
(40605,5956,'VoixOffIn','\n'),
(40606,5956,'BandeSon','*Id* *.* \n'),
(40607,5956,'Ecrits','\n'),
(40608,5956,'_product_image_gallery',''),
(40609,5957,'_pingme','1'),
(40610,5957,'_encloseme','1'),
(40611,5957,'Index','1620'),
(40612,5957,'Minutage','19’21 \n'),
(40613,5957,'Images','Saturé  :  voiture  passant  avec  un  drapeau  étasunien . \n'),
(40614,5957,'VoixOffIn','\n'),
(40615,5957,'BandeSon','*Id* *.* \n'),
(40616,5957,'Ecrits','\n'),
(40617,5957,'_product_image_gallery',''),
(40618,5958,'_pingme','1'),
(40619,5958,'_encloseme','1'),
(40620,5958,'Index','1630'),
(40621,5958,'Minutage','19’24 \n'),
(40622,5958,'Images','Noir . \n'),
(40623,5958,'VoixOffIn','\n'),
(40624,5958,'BandeSon','*Id* *.* \n'),
(40625,5958,'Ecrits','\n'),
(40626,5958,'_product_image_gallery',''),
(40627,5959,'_pingme','1'),
(40628,5959,'_encloseme','1'),
(40629,5959,'Index','1640'),
(40630,5959,'Minutage','19’26 \n'),
(40631,5959,'Images','Femme  militaire .  \n *La * *chute * *de * *Berlin * ( 1950 ),  Mikhaïl  Tchiaoureli . \n'),
(40632,5959,'VoixOffIn','En  fin  de  soirée ,  encore  ces  mots  de  représentants  de  la  diplomatie  française  \n'),
(40633,5959,'BandeSon','*Id* *.* \n'),
(40634,5959,'Ecrits','\n'),
(40635,5959,'_product_image_gallery',''),
(40636,5960,'_pingme','1'),
(40637,5960,'_encloseme','1'),
(40638,5960,'Index','1650'),
(40639,5960,'Minutage','19’33 \n'),
(40640,5960,'Images','Noir . \n'),
(40641,5960,'VoixOffIn','à  Saint - Petersburg .  \n'),
(40642,5960,'BandeSon','*Id* *.* \n'),
(40643,5960,'Ecrits','\n'),
(40644,5960,'_product_image_gallery',''),
(40645,5961,'_pingme','1'),
(40646,5961,'_encloseme','1'),
(40647,5961,'Index','1660'),
(40648,5961,'Minutage','19’36 \n'),
(40649,5961,'Images','Au  ralenti  :  politiciens  débattant  dans  une  assemblée .  \n *Napoléon * ( 1927 *), * Abel  Gance . \n'),
(40650,5961,'VoixOffIn','En  fin  de  soirée ,  encore  ces  mots  de  la  diplomatie  française  à  Saint - Petersburg . \n'),
(40651,5961,'BandeSon','*Id* *.* \n'),
(40652,5961,'Ecrits','\n'),
(40653,5961,'_product_image_gallery',''),
(40654,5962,'_pingme','1'),
(40655,5962,'_encloseme','1'),
(40656,5962,'Index','1670'),
(40657,5962,'Minutage','19’43 \n'),
(40658,5962,'Images','Détail  :  homme  et  femme  pleurant .  \n *Adam * *et * *Ève * *chassés * *du * *paradis * ( 1424 - 1425 ),  Masaccio . \n'),
(40659,5962,'VoixOffIn','Mais  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 ).  \n *Soirées * *de * *Saint* *-* *Pétersbourg * ( 1821 ),  Joseph  de  Maistre . \n'),
(40660,5962,'BandeSon','*Id* *.* \n'),
(40661,5962,'Ecrits','\n'),
(40662,5962,'_product_image_gallery',''),
(40663,5963,'_pingme','1'),
(40664,5963,'_encloseme','1'),
(40665,5963,'Index','1680'),
(40666,5963,'Minutage','19’49 \n'),
(40667,5963,'Images','Chien . \n *Adieu * *au * *langage * ( 2014 *), * Jean - Luc  Godard . \n'),
(40668,5963,'VoixOffIn','\n'),
(40669,5963,'BandeSon','*Id* *.* \n'),
(40670,5963,'Ecrits','\n'),
(40671,5963,'_product_image_gallery',''),
(40672,5964,'_pingme','1'),
(40673,5964,'_encloseme','1'),
(40674,5964,'Index','1690'),
(40675,5964,'Minutage','19’57 \n'),
(40676,5964,'Images','Homme  en  voiture  roulant  très  vite .  \n *Dr* *. * *Mabuse* *, * *le * *joueur * ( 1922 *), * Fritz  Lang . \n'),
(40677,5964,'VoixOffIn','et  Malraux  dira  plus  simplement  transformer  notre  apocalypse  en  armée  ou  crever ,  c’est  tout .  ( Jean - Luc  Godard ) \n'),
(40678,5964,'BandeSon','*Id* *.* \n'),
(40679,5964,'Ecrits','\n'),
(40680,5964,'_product_image_gallery',''),
(40681,5965,'_pingme','1'),
(40682,5965,'_encloseme','1'),
(40683,5965,'Index','1700'),
(40684,5965,'Minutage','20’07 \n'),
(40685,5965,'Images','Noir . \n'),
(40686,5965,'VoixOffIn','Transformer  notre  apocalypse  en  armée  \n'),
(40687,5965,'BandeSon','*Id* *.* \n'),
(40688,5965,'Ecrits','\n'),
(40689,5965,'_product_image_gallery',''),
(40690,5966,'_pingme','1'),
(40691,5966,'_encloseme','1'),
(40692,5966,'Index','1710'),
(40693,5966,'Minutage','20’09 \n'),
(40694,5966,'Images','Saturé  et  en  tons  verts  et  jaunes  :  canard  attaqué  par  un  crocodile ,  et  tentant  de  s\'échapper . \n'),
(40695,5966,'VoixOffIn','ou  crever ,  c’est  tout .  \n *L’espoir * ( 1937 *), * André  Malraux . \n'),
(40696,5966,'BandeSon','*Id* *.* \n'),
(40697,5966,'Ecrits','\n'),
(40698,5966,'_product_image_gallery',''),
(40699,5967,'_pingme','1'),
(40700,5967,'_encloseme','1'),
(40701,5967,'Index','1720'),
(40702,5967,'Minutage','20’13 \n'),
(40703,5967,'Images','Lapin  touché  par  un  coup  de  feu .  \n *La * *règle * *du * *jeu * ( 1939 *), * Jean  Renoir . \n'),
(40704,5967,'VoixOffIn','\n'),
(40705,5967,'BandeSon','Coup  de  feu . \n'),
(40706,5967,'Ecrits','\n'),
(40707,5967,'_product_image_gallery',''),
(40708,5968,'_pingme','1'),
(40709,5968,'_encloseme','1'),
(40710,5968,'Index','1730'),
(40711,5968,'Minutage','20’21 \n'),
(40712,5968,'Images','Photos  de  trois  indiens  à  cheval  au  bord  d\'une  rivière ,  dans  un  quartier  industrialisé .  \n *Notre * *musique * ( 2004 ),  Jean - Luc  Godard . \n'),
(40713,5968,'VoixOffIn','Laissez - moi  seul .  Tout  seul ,  vous  entendez  ?  Je  ne  demande  rien  à  personne  moi . \n *Allô * *Berlin * *? * *Ici * *Paris * *! * ( 1931 *), * Julien  Duvivier . \n'),
(40714,5968,'BandeSon','Silence . \n'),
(40715,5968,'Ecrits','\n'),
(40716,5968,'_product_image_gallery',''),
(40717,5969,'_pingme','1'),
(40718,5969,'_encloseme','1'),
(40719,5969,'Index','1740'),
(40720,5969,'Minutage','20’26 \n'),
(40721,5969,'Images','Rangée  de  personnes  pendues  ensemble .  \n *Shoah* *, * *les * *oubliés * *de * *l’histoire * ( 2014 *), * Véronique  Lagoarde - Ségot ,  par  la  chaîne  de  télévision  *Histoire* *.* \n'),
(40722,5969,'VoixOffIn','\n'),
(40723,5969,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n \n'),
(40724,5969,'Ecrits','\n'),
(40725,5969,'_product_image_gallery',''),
(40726,5970,'_pingme','1'),
(40727,5970,'_encloseme','1'),
(40728,5970,'Index','1750'),
(40729,5970,'Minutage','20’28 \r\n'),
(40730,5970,'Images','Noir . \r\n'),
(40731,5970,'VoixOffIn',''),
(40732,5970,'BandeSon','*Id* *.* *\r\n*'),
(40733,5970,'Ecrits','3 .  \r\n CES  FLEURS  ENTRE  LES  RAILS , \r\n DANS  LE  VENT  CONFUS \r\n DES  VOYAGES \r\n \r\n ( Joseph  Maria  Rilke ). \r\n'),
(40734,5970,'_product_image_gallery',''),
(40735,5971,'_pingme','1'),
(40736,5971,'_encloseme','1'),
(40737,5971,'Index','1760'),
(40738,5971,'Minutage','20’41 \n'),
(40739,5971,'Images','Petite  fille  sur  le  quai  regardant  le  passage  d\'un  train .  \n *Madeline * *+ * *Train * *= * *Sheer * *Delight* ,  Vidéo  sur  youtube  https :// www . youtube . com / watch ? v = rvpCmKUo1Aw .  \n'),
(40740,5971,'VoixOffIn','\n'),
(40741,5971,'BandeSon','Piano . \n'),
(40742,5971,'Ecrits','\n'),
(40743,5971,'_product_image_gallery',''),
(40744,5972,'_pingme','1'),
(40745,5972,'_encloseme','1'),
(40746,5972,'Index','1770'),
(40747,5972,'Minutage','20’42 \n'),
(40748,5972,'Images','En  négatif  et  passé  en  noir  et  blanc  :  train  à  vapeur  passant .  \n *Visual * *essays* *: * *origins * *of * *film * ( 1983 ),  Al  Razutis . \n'),
(40749,5972,'VoixOffIn','- What’s  coming  ? \n - A  train . \n \n'),
(40750,5972,'BandeSon','*Id* *.* \n'),
(40751,5972,'Ecrits','\n'),
(40752,5972,'_product_image_gallery',''),
(40753,5973,'_pingme','1'),
(40754,5973,'_encloseme','1'),
(40755,5973,'Index','1780'),
(40756,5973,'Minutage','20’45 \n'),
(40757,5973,'Images','Images  du  19ème  siècle  :  passagers  montant  dans  un  train . \n'),
(40758,5973,'VoixOffIn','-  Oh  is  gonna  arrive  the  train  ? \n - Yeah \n'),
(40759,5973,'BandeSon','*Id* *.* \n'),
(40760,5973,'Ecrits','\n'),
(40761,5973,'_product_image_gallery',''),
(40762,5974,'_pingme','1'),
(40763,5974,'_encloseme','1'),
(40764,5974,'Index','1790'),
(40765,5974,'Minutage','20’59 \n'),
(40766,5974,'Images','Noir . \n'),
(40767,5974,'VoixOffIn','- Here  he  comes ! \n - We  are  gonna  be  safe ,  let\'s  go  back \n'),
(40768,5974,'BandeSon','*Id* *.* \n'),
(40769,5974,'Ecrits','\n'),
(40770,5974,'_product_image_gallery',''),
(40771,5975,'_pingme','1'),
(40772,5975,'_encloseme','1'),
(40773,5975,'Index','1800'),
(40774,5975,'Minutage','21’03 \n'),
(40775,5975,'Images','En  négatif ,  passé  en  noir  et  blanc ,  clignotant  sur  les  images  originales  :  train  à  vapeur  passant .  \n *The * *edge * ( 2010 *), * Alekseï  Outchitel .  \n'),
(40776,5975,'VoixOffIn','\n'),
(40777,5975,'BandeSon','Train  en  approche . \n'),
(40778,5975,'Ecrits','\n'),
(40779,5975,'_product_image_gallery',''),
(40780,5976,'_pingme','1'),
(40781,5976,'_encloseme','1'),
(40782,5976,'Index','1810'),
(40783,5976,'Minutage','21’05 \n'),
(40784,5976,'Images','Noir . \n'),
(40785,5976,'VoixOffIn','- Oooh \n *Madeline * *+ * *Train * *= * *Sheer * *Delight* ,  Vidéo  sur  youtube  https :// www . youtube . com / watch ? v = rvpCmKUo1Aw .  \n'),
(40786,5976,'BandeSon','*Id* *.* \n'),
(40787,5976,'Ecrits','\n'),
(40788,5976,'_product_image_gallery',''),
(40789,5977,'_pingme','1'),
(40790,5977,'_encloseme','1'),
(40791,5977,'Index','1820'),
(40792,5977,'Minutage','21’07 \n'),
(40793,5977,'Images','Saturé  :  fleurs . \n'),
(40794,5977,'VoixOffIn','\n'),
(40795,5977,'BandeSon','Silence . \n'),
(40796,5977,'Ecrits','\n'),
(40797,5977,'_product_image_gallery',''),
(40798,5978,'_pingme','1'),
(40799,5978,'_encloseme','1'),
(40800,5978,'Index','1830'),
(40801,5978,'Minutage','21’09 \n'),
(40802,5978,'Images','Hommes  jetant  des  pierres  sur  un  train  venant  de  passer .  \n *Hélas * *pour * *moi * ( 1993 *), * Jean - Luc  Godard . \n'),
(40803,5978,'VoixOffIn','-  lui  jette  la  première  pierre ! \n'),
(40804,5978,'BandeSon','*Id* *.* \n'),
(40805,5978,'Ecrits','\n'),
(40806,5978,'_product_image_gallery',''),
(40807,5979,'_pingme','1'),
(40808,5979,'_encloseme','1'),
(40809,5979,'Index','1840'),
(40810,5979,'Minutage','21’14 \n'),
(40811,5979,'Images','Noir . \n'),
(40812,5979,'VoixOffIn','\n'),
(40813,5979,'BandeSon','*Id* *.* \n'),
(40814,5979,'Ecrits','\n'),
(40815,5979,'_product_image_gallery',''),
(40816,5980,'_pingme','1'),
(40817,5980,'_encloseme','1'),
(40818,5980,'Index','1850'),
(40819,5980,'Minutage','21’19 \n'),
(40820,5980,'Images','Passagers  d\'un  train  s\'installant  dans  leurs  cabines  avant  le  départ .  \n *Berlin * *express * ( 1948 *), * Jacques  Tourneur . \n'),
(40821,5980,'VoixOffIn','Compartment  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 .  \n Compartment  G ,  Hans  Schmidt ,  birthplace  Munich ,  occupation \n'),
(40822,5980,'BandeSon','*Id* *.* \n'),
(40823,5980,'Ecrits','\n'),
(40824,5980,'_product_image_gallery',''),
(40825,5981,'_pingme','1'),
(40826,5981,'_encloseme','1'),
(40827,5981,'Index','1860'),
(40828,5981,'Minutage','22’27 \n'),
(40829,5981,'Images','Noir . \n'),
(40830,5981,'VoixOffIn','\n'),
(40831,5981,'BandeSon','*Id* *.* \n'),
(40832,5981,'Ecrits','\n'),
(40833,5981,'_product_image_gallery',''),
(40834,5982,'_pingme','1'),
(40835,5982,'_encloseme','1'),
(40836,5982,'Index','1870'),
(40837,5982,'Minutage','22’30 \n'),
(40838,5982,'Images','Train  à  vapeur  en  approche  traversant  un  bois  sous  la  neige .  \n *The * *edge * ( 2010 *), * Alekseï  Outchitel .  \n'),
(40839,5982,'VoixOffIn','Il  était  environ  neuf  heures  du  matin  \n'),
(40840,5982,'BandeSon','*Id* *.* \n'),
(40841,5982,'Ecrits','\n'),
(40842,5982,'_product_image_gallery',''),
(40843,5983,'_pingme','1'),
(40844,5983,'_encloseme','1'),
(40845,5983,'Index','1880'),
(40846,5983,'Minutage','22’38 \n'),
(40847,5983,'Images','En  couleurs  :  gens  poursuivant  un  train  en  partance .  \n *The * *edge * ( 2010 *), * Alekseï  Outchitel .  \n'),
(40848,5983,'VoixOffIn','c’était  à  la  fin  de  novembre ,  par  un  temps  de  dégel .  Le  train  de  Varsovie  filait  à  toute  vapeur  vers  Petersburg .  \n'),
(40849,5983,'BandeSon','*Id* *.* \n'),
(40850,5983,'Ecrits','\n'),
(40851,5983,'_product_image_gallery',''),
(40852,5984,'_pingme','1'),
(40853,5984,'_encloseme','1'),
(40854,5984,'Index','1890'),
(40855,5984,'Minutage','22’42 \n'),
(40856,5984,'Images','Suresposé  et  passé  en  noir  et  blanc  :  Femmes  nues  au  sauna .  \n *The * *edge * ( 2010 *), * Alekseï  Outchitel .  \n'),
(40857,5984,'VoixOffIn','L’humidité  et  la  brume  étaient  telles  que  le  jour  avait  peine  à  percer .  \n'),
(40858,5984,'BandeSon','*Id* *.* \n'),
(40859,5984,'Ecrits','\n'),
(40860,5984,'_product_image_gallery',''),
(40861,5985,'_pingme','1'),
(40862,5985,'_encloseme','1'),
(40863,5985,'Index','1900'),
(40864,5985,'Minutage','22’51 \n'),
(40865,5985,'Images','Deux  enfants  devant  un  train  en  partance .  \n *Paysage * *dans * *le * *brouillard * ( 1988 ),  Theo  Angelopoulos . \n'),
(40866,5985,'VoixOffIn','A  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 ).  \n *L’idiot * ( 1962 *), * Fiodor  Dostoïevski . \n'),
(40867,5985,'BandeSon','*Id* *. * puis  trains  et  foule  dans  une  gare . \n'),
(40868,5985,'Ecrits','\n'),
(40869,5985,'_product_image_gallery',''),
(40870,5986,'_pingme','1'),
(40871,5986,'_encloseme','1'),
(40872,5986,'Index','1910'),
(40873,5986,'Minutage','23’23 \n'),
(40874,5986,'Images','Noir . \n'),
(40875,5986,'VoixOffIn','Quand  un  siècle \n'),
(40876,5986,'BandeSon','Silence . \n'),
(40877,5986,'Ecrits','\n'),
(40878,5986,'_product_image_gallery',''),
(40879,5987,'_pingme','1'),
(40880,5987,'_encloseme','1'),
(40881,5987,'Index','1920'),
(40882,5987,'Minutage','23’28 \n'),
(40883,5987,'Images','Photo  d\'une  femme  en  robe  rose . \n'),
(40884,5987,'VoixOffIn','se  dissout  lentement  dans  le  siècle  suivant \n'),
(40885,5987,'BandeSon','*Id* *.* \n'),
(40886,5987,'Ecrits','\n'),
(40887,5987,'_product_image_gallery',''),
(40888,5988,'_pingme','1'),
(40889,5988,'_encloseme','1'),
(40890,5988,'Index','1930'),
(40891,5988,'Minutage','23’34 \n'),
(40892,5988,'Images','Enfants  photographiant  un  canard .  \n *Histoires * *du * *cinéma * *4b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(40893,5988,'VoixOffIn','quelques  individus  transforment  les  moyens  de  survie  anciens  en  moyens  nouveaux .  Ce  sont  ces  derniers  que  nous  appelons  arts . \n'),
(40894,5988,'BandeSon','*Id* *.* \n'),
(40895,5988,'Ecrits','\n'),
(40896,5988,'_product_image_gallery',''),
(40897,5989,'_pingme','1'),
(40898,5989,'_encloseme','1'),
(40899,5989,'Index','1940'),
(40900,5989,'Minutage','23’44 \n'),
(40901,5989,'Images','Photo  de  Louis - Ferdinand  Céline . \n'),
(40902,5989,'VoixOffIn','La  seule  chose  qui  survit  à  une  époque  \n'),
(40903,5989,'BandeSon','*Id* *.* \n'),
(40904,5989,'Ecrits','\n'),
(40905,5989,'_product_image_gallery',''),
(40906,5990,'_pingme','1'),
(40907,5990,'_encloseme','1'),
(40908,5990,'Index','1950'),
(40909,5990,'Minutage','23’50 \n'),
(40910,5990,'Images','Surexposé  :  maisons  blanches  cubiques .  \n'),
(40911,5990,'VoixOffIn','c\'est  la  forme  d\'art  qu\'elle  s\'est  créée .  Aucune  activité  ne  deviendra  un  art  \n'),
(40912,5990,'BandeSon','*Id* *.* \n'),
(40913,5990,'Ecrits','\n'),
(40914,5990,'_product_image_gallery',''),
(40915,5991,'_pingme','1'),
(40916,5991,'_encloseme','1'),
(40917,5991,'Index','1960'),
(40918,5991,'Minutage','23’56 \n'),
(40919,5991,'Images','Saturé  :  personnes  assises  à  des  tables  en  terrasse  d\'un  bar . \n'),
(40920,5991,'VoixOffIn','avant  que  son  époque  ne  soit  terminée .  Ensuite  \n'),
(40921,5991,'BandeSon','*Id* *.* \n'),
(40922,5991,'Ecrits','\n'),
(40923,5991,'_product_image_gallery',''),
(40924,5992,'_pingme','1'),
(40925,5992,'_encloseme','1'),
(40926,5992,'Index','1970'),
(40927,5992,'Minutage','24’00 \n'),
(40928,5992,'Images','Fragment  surexposé .  \n *Louis * *IX* *, * *dit * *Saint * *Louis* *, * *Roi * *de * *France * ( 1844 *), * Emile  Signol . \n'),
(40929,5992,'VoixOffIn','cet  art  disparaîtra .  ( Jean  Luc  Godard ).  \n *Pour * *une * *métahistoire * *du * *film * ( printemps  1997 ),  Hollis  Frampton ,  «  Trafic  *», * n .  21 . \n'),
(40930,5992,'BandeSon','*Id* *.* \n'),
(40931,5992,'Ecrits','Le  roi  Saint  Louis \n'),
(40932,5992,'_product_image_gallery',''),
(40933,5993,'_pingme','1'),
(40934,5993,'_encloseme','1'),
(40935,5993,'Index','1980'),
(40936,5993,'Minutage','24’05 \n'),
(40937,5993,'Images','Femme  traversant  un  train  bondé *. * *\n* *Manon * ( 1949 ),  Henri - Georges  Clouzot . \n'),
(40938,5993,'VoixOffIn','- C’est  pire  que  dans  le  métro . \n - Pardon ,  laissez  passer . \n - Merde  alors ,  vous  pouvez  pas  rester  à  votre  place  non  ? \n'),
(40939,5993,'BandeSon','*Das * *Buch * *der * *Klange * *I* *-* *XII* *, * *V * ( 1999 *), * Hans  Otte . \n'),
(40940,5993,'Ecrits','\n'),
(40941,5993,'_product_image_gallery',''),
(40942,5994,'_pingme','1'),
(40943,5994,'_encloseme','1'),
(40944,5994,'Index','1990'),
(40945,5994,'Minutage','24’46 \n'),
(40946,5994,'Images','Train  prenant  un  virage . \n'),
(40947,5994,'VoixOffIn','- Suivez - moi  Monsieur . \n - Décidément  vous  dormez \n - Oui ,  oui  je  dors .  C’est  très  curieux .  \n - Enfin  madame ,  mais  expliquerez - vous  ? \n \n'),
(40948,5994,'BandeSon','Silence . \n'),
(40949,5994,'Ecrits','\n'),
(40950,5994,'_product_image_gallery',''),
(40951,5995,'_pingme','1'),
(40952,5995,'_encloseme','1'),
(40953,5995,'Index','2000'),
(40954,5995,'Minutage','25’02 \n'),
(40955,5995,'Images','Cadavres  le  long  de  voies  ferrées .  \n *Nuit * *et * *Brouillard * ( 1956 *), * Alain  Resnais . \n'),
(40956,5995,'VoixOffIn','-  Rien .  Si  vous  dormez ,  si  vous  rêvez ,  acceptez  vos  rêves .  C\'est  le  rôle  du  dormeur . \n * * *Orphée * ( 1950 *), * Jean  Cocteau . \n \n'),
(40957,5995,'BandeSon','*Id* *.* \n'),
(40958,5995,'Ecrits','\n'),
(40959,5995,'_product_image_gallery',''),
(40960,5996,'_pingme','1'),
(40961,5996,'_encloseme','1'),
(40962,5996,'Index','2010'),
(40963,5996,'Minutage','25’08 \n'),
(40964,5996,'Images','Couple  dans  un  train  regardant  par  la  fenêtre .  \n *Film * *socialisme * ( 2010 *), * Jean - Luc  Godard . \n'),
(40965,5996,'VoixOffIn','Elle  était  devenue  terrible ,  la  langue  de  Goethe ,  quand  on  l\'entendait  dans  la  nuit  des  petites  gares  russes .  ( Jean  Luc  Godard ).  \n *Vie * *et * *destin * ( 1930 ),  Vasiliĭ  Semenovich  Grossman . \n \n Femme  [ traduction  du  dialecte  tunisien ]: \n On  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 \n Homme  ( traduction  du  dialecte  tunisien ): \n Je  te  souhaite  la  sûreté .  \n'),
(40966,5996,'BandeSon','*Id* *.* \n'),
(40967,5996,'Ecrits','\n'),
(40968,5996,'_product_image_gallery',''),
(40969,5997,'_pingme','1'),
(40970,5997,'_encloseme','1'),
(40971,5997,'Index','2020'),
(40972,5997,'Minutage','25’53 \n'),
(40973,5997,'Images','Femme  marchant  et  trébuchant  parmi  des  soldats  campant  par  terre  après  une  catastrophe  ferroviaire  en  Inde .  \n *La * *Croisée * *des * *destins * [ *Bhowani * *Junction* ]  ( 1956 *), * George  Cukor . \n'),
(40974,5997,'VoixOffIn','\n'),
(40975,5997,'BandeSon','Nombreuses  personnes  parlant  et  criant .  \n'),
(40976,5997,'Ecrits','\n'),
(40977,5997,'_product_image_gallery',''),
(40978,5998,'_pingme','1'),
(40979,5998,'_encloseme','1'),
(40980,5998,'Index','2030'),
(40981,5998,'Minutage','26’00 \n'),
(40982,5998,'Images','Homme  aidant  une  femme  à  sortir  par  la  fenêtre  d\'un  wagon  de  train .  \n *Le * *Mécano * *de * *la * *General * [ *The * *General* ]  ( 1927 *), * Buster  Keaton . \n'),
(40983,5998,'VoixOffIn','Nous  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 .  *\n* *Histoires * *du * *cinéma * *2a * ( 1989 - 1999 *), * Jean - Luc  Godard . \n'),
(40984,5998,'BandeSon','Silence  et  *Le * *Clavier * *bien * *tempéré * *1* *, * *BWV * *846* *-* *869 * ( 1722 ),  Johann  Sebastian  Bach . \n'),
(40985,5998,'Ecrits','\n'),
(40986,5998,'_product_image_gallery',''),
(40987,5999,'_pingme','1'),
(40988,5999,'_encloseme','1'),
(40989,5999,'Index','2040'),
(40990,5999,'Minutage','26’30 \n'),
(40991,5999,'Images','Train  en  Afrique  avec  autour  des  femmes  et  hommes  vendant  des  fruits  et  vêtements  dans  un  marché .  Enfants  suivant  un  train  qui  s’éloigne .  \n *Les * *routes * *de * *l’impossible * ( 2007 *), * Tony  Comiti ,  France  5 . \n'),
(40992,5999,'VoixOffIn','\n'),
(40993,5999,'BandeSon','Personnes  parlant  et  criant .  En  arrière - plan  sonore  :  tambours . \n'),
(40994,5999,'Ecrits','\n'),
(40995,5999,'_product_image_gallery',''),
(40996,6000,'_pingme','1'),
(40997,6000,'_encloseme','1'),
(40998,6000,'Index','2050'),
(40999,6000,'Minutage','26’46 \n'),
(41000,6000,'Images','Homme  et  femme  mangeant  assis  sur  les  sièges  d\'un  train . *\n* *Manon * ( 1949 ),  Henri - Georges  Clouzot . *\n*'),
(41001,6000,'VoixOffIn','\n'),
(41002,6000,'BandeSon','Silence . \n'),
(41003,6000,'Ecrits','\n'),
(41004,6000,'_product_image_gallery',''),
(41005,6001,'_pingme','1'),
(41006,6001,'_encloseme','1'),
(41007,6001,'Index','2060'),
(41008,6001,'Minutage','26’48 \n'),
(41009,6001,'Images','Passagers  dans  un  wagon . \n *Manon * ( 1949 ),  Henri - Georges  Clouzot . \n'),
(41010,6001,'VoixOffIn','\n'),
(41011,6001,'BandeSon','Accordéon . \n'),
(41012,6001,'Ecrits','\n'),
(41013,6001,'_product_image_gallery',''),
(41014,6002,'_pingme','1'),
(41015,6002,'_encloseme','1'),
(41016,6002,'Index','2070'),
(41017,6002,'Minutage','26’50 \n'),
(41018,6002,'Images','Homme  parlant  de  manière  animée  à  une  femme  dans  un  train . \n *Manon * ( 1949 ),  Henri - Georges  Clouzot . \n'),
(41019,6002,'VoixOffIn','\n'),
(41020,6002,'BandeSon','Sifflement  de  la  vapeur  s\'échappant  d\'un  train . \n'),
(41021,6002,'Ecrits','\n'),
(41022,6002,'_product_image_gallery',''),
(41023,6003,'_pingme','1'),
(41024,6003,'_encloseme','1'),
(41025,6003,'Index','2080'),
(41026,6003,'Minutage','26’53 \n'),
(41027,6003,'Images','Passagers  à  l\'intérieur  d\'une  voiture .  \n *Manon * ( 1949 ),  Henri - Georges  Clouzot . \n'),
(41028,6003,'VoixOffIn','\n'),
(41029,6003,'BandeSon','Accordéon ,  voix  de  personnes  qui  discutent . \n'),
(41030,6003,'Ecrits','\n'),
(41031,6003,'_product_image_gallery',''),
(41032,6004,'_pingme','1'),
(41033,6004,'_encloseme','1'),
(41034,6004,'Index','2090'),
(41035,6004,'Minutage','26’55 \n'),
(41036,6004,'Images','Groupe  de  personnes  à  l\'intérieur  d\'une  voiture ,  jouant  de  l\'accordéon .  \n *Manon * ( 1949 ),  Henri - Georges  Clouzot . \n'),
(41037,6004,'VoixOffIn','\n'),
(41038,6004,'BandeSon','*Id* *.* *\n*'),
(41039,6004,'Ecrits','\n'),
(41040,6004,'_product_image_gallery',''),
(41041,6005,'_pingme','1'),
(41042,6005,'_encloseme','1'),
(41043,6005,'Index','2100'),
(41044,6005,'Minutage','26’56 \n'),
(41045,6005,'Images','Noir .  \n'),
(41046,6005,'VoixOffIn','Les  voix  de  la  séquence  précédente  continuent \n'),
(41047,6005,'BandeSon','*Id* *.* \n'),
(41048,6005,'Ecrits','\n'),
(41049,6005,'_product_image_gallery',''),
(41050,6006,'_pingme','1'),
(41051,6006,'_encloseme','1'),
(41052,6006,'Index','2110'),
(41053,6006,'Minutage','27’00 \n'),
(41054,6006,'Images','Train  passant  au  ralenti  avec  un  drapeau  nazi . \n'),
(41055,6006,'VoixOffIn','\n'),
(41056,6006,'BandeSon','Silence  et  train  passant . \n'),
(41057,6006,'Ecrits','\n'),
(41058,6006,'_product_image_gallery',''),
(41059,6007,'_pingme','1'),
(41060,6007,'_encloseme','1'),
(41061,6007,'Index','2120'),
(41062,6007,'Minutage','27’05 \n'),
(41063,6007,'Images','Train  traversant  lentement  un  marché  en  Chine .  \n *Shanghai * *Express* ( 1932 *), * Josef  von  Sternberg . \n'),
(41064,6007,'VoixOffIn','\n'),
(41065,6007,'BandeSon','Silence . \n'),
(41066,6007,'Ecrits','\n'),
(41067,6007,'_product_image_gallery',''),
(41068,6008,'_pingme','1'),
(41069,6008,'_encloseme','1'),
(41070,6008,'Index','2130'),
(41071,6008,'Minutage','27’07 \n'),
(41072,6008,'Images','Saturé  :  fleurs . \n'),
(41073,6008,'VoixOffIn','\n'),
(41074,6008,'BandeSon','*Rising * *Grace * ( 2016 ),  Wolfgang  Muthspiel . \n'),
(41075,6008,'Ecrits','\n'),
(41076,6008,'_product_image_gallery',''),
(41077,6009,'_pingme','1'),
(41078,6009,'_encloseme','1'),
(41079,6009,'Index','2140'),
(41080,6009,'Minutage','27’17 \n'),
(41081,6009,'Images','Noir . \n'),
(41082,6009,'VoixOffIn','\n'),
(41083,6009,'BandeSon','Silence . \n'),
(41084,6009,'Ecrits','Sous  les  yeux  de  l’occident .  \n *Under * *Western * *Eyes * ( 1911 ),  Joseph  Conrad *.* \n'),
(41085,6009,'_product_image_gallery',''),
(41086,6010,'_pingme','1'),
(41087,6010,'_encloseme','1'),
(41088,6010,'Index','2150'),
(41089,6010,'Minutage','27’19 \n'),
(41090,6010,'Images','Personne  en  tuant  une  autre  dans  un  train .  \n *Shanghai * *Express * ( 1932 *), * Josef  von  Sternberg . \n'),
(41091,6010,'VoixOffIn','\n'),
(41092,6010,'BandeSon','Vapeur  s\'échappant  d\'un  train . \n'),
(41093,6010,'Ecrits','\n'),
(41094,6010,'_product_image_gallery',''),
(41095,6011,'_pingme','1'),
(41096,6011,'_encloseme','1'),
(41097,6011,'Index','2160'),
(41098,6011,'Minutage','27’23 \n'),
(41099,6011,'Images','Soldat  tirant  sur  d\'autres  soldats ,  au - delà  d\'une  barricade .  \n'),
(41100,6011,'VoixOffIn','\n'),
(41101,6011,'BandeSon','Tirs  de  pistolets  et  mitraillettes . \n'),
(41102,6011,'Ecrits','\n'),
(41103,6011,'_product_image_gallery',''),
(41104,6012,'_pingme','1'),
(41105,6012,'_encloseme','1'),
(41106,6012,'Index','2170'),
(41107,6012,'Minutage','27’25 \n'),
(41108,6012,'Images','Au  ralenti  :  homme  et  femme  passant  dans  le  couloir  d\'un  train . *\n* *\n* *Terror * *by * *night * ( 1946 *), * Roy  William  Neill . *\n*'),
(41109,6012,'VoixOffIn','Mais  enfin  dites - moi  pourquoi  vous  avez  fait  de  l’espionnage  ? \n - J\'en  sais  rien .  \n - Vous  avez  accepté  ? \n'),
(41110,6012,'BandeSon','Silence . \n'),
(41111,6012,'Ecrits','\n'),
(41112,6012,'_product_image_gallery',''),
(41113,6013,'_pingme','1'),
(41114,6013,'_encloseme','1'),
(41115,6013,'Index','2180'),
(41116,6013,'Minutage','27’36 \n'),
(41117,6013,'Images','Noir . \n'),
(41118,6013,'VoixOffIn','-  D’entrer  dans  son  organisation  ?  Non  Michel . \n Mais  même  chez  les  communistes  l’agent  compte  plus  que  tout  le  reste . \n'),
(41119,6013,'BandeSon','*Id* *.* *\n*'),
(41120,6013,'Ecrits','\n'),
(41121,6013,'_product_image_gallery',''),
(41122,6014,'_pingme','1'),
(41123,6014,'_encloseme','1'),
(41124,6014,'Index','2190'),
(41125,6014,'Minutage','27’45 \n'),
(41126,6014,'Images','Vapeur  sortant  d\'un  train  prenant  un  virage .  \n *Terror * *by * *night * ( 1946 *), * Roy  William  Neill . \n'),
(41127,6014,'VoixOffIn','\n'),
(41128,6014,'BandeSon','Sifflet ,  puis  passage  d\'un  train . \n'),
(41129,6014,'Ecrits','\n'),
(41130,6014,'_product_image_gallery',''),
(41131,6015,'_pingme','1'),
(41132,6015,'_encloseme','1'),
(41133,6015,'Index','2200'),
(41134,6015,'Minutage','27’50  \n'),
(41135,6015,'Images','Homme  regardant  une  femme  boire ,  au  restaurant  d\'un  train .  \n *Terror * *by * *night * ( 1946 *), * Roy  William  Neill . \n'),
(41136,6015,'VoixOffIn','Deux  discours  prononcés  par  George  Steiner  et  Cornelius  Castoriadis  se  chevauchent  :  \n Steiner  :  Il  fera  exactement  la  même  chose  que  les  autres ,  ce  que  les  autres  lui  ont  appris .  \n'),
(41137,6015,'BandeSon','Silence . \n'),
(41138,6015,'Ecrits','\n'),
(41139,6015,'_product_image_gallery',''),
(41140,6016,'_pingme','1'),
(41141,6016,'_encloseme','1'),
(41142,6016,'Index','2210'),
(41143,6016,'Minutage','27’54 \n'),
(41144,6016,'Images','Enfant  regardant  par  la  fenêtre  d\'un  train  des  wagons  militaires  transportant  des  réservoirs .  \n *Le * *silence * ( 1963 *), * Ingmar  Bergman . \n'),
(41145,6016,'VoixOffIn','Pour  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 \n Castoriadis  :  Quelque  chose  a  surgi  de  barbare .  Quelque  chose  d’immense  lumière  qui  a  accentué  les  beaux  mystères  de  la  vie \n \n'),
(41146,6016,'BandeSon','*Id* *.* \n'),
(41147,6016,'Ecrits','\n'),
(41148,6016,'_product_image_gallery',''),
(41149,6017,'_pingme','1'),
(41150,6017,'_encloseme','1'),
(41151,6017,'Index','2220'),
(41152,6017,'Minutage','28’11 \n'),
(41153,6017,'Images','Au  ralenti  :  femme  dans  le  vagons  d’un  train .  \n *Terror * *by * *night * ( 1946 *), * Roy  William  Neill . \n'),
(41154,6017,'VoixOffIn','- Come  va  a  New  York  ?  Va  bene ?  \n -  Non  ci  si  arricchisce \n -  Che  importa  questo ?  Si  può  star  bene  senza  arricchire \n'),
(41155,6017,'BandeSon','Train *.* \n'),
(41156,6017,'Ecrits','\n'),
(41157,6017,'_product_image_gallery',''),
(41158,6018,'_pingme','1'),
(41159,6018,'_encloseme','1'),
(41160,6018,'Index','2230'),
(41161,6018,'Minutage','28’14 \n'),
(41162,6018,'Images','Hommes  parlant  en  regardant  par  la  fenêtre  d\'un  train .  \n *Sicilia * *! * ( 1998 ),  Jean - Marie  Straub  et  Danièle  Huillet . \n'),
(41163,6018,'VoixOffIn','-  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'),
(41164,6018,'BandeSon','*Id* *.* \n'),
(41165,6018,'Ecrits','\n'),
(41166,6018,'_product_image_gallery',''),
(41167,6019,'_pingme','1'),
(41168,6019,'_encloseme','1'),
(41169,6019,'Index','2240'),
(41170,6019,'Minutage','28’35 \n'),
(41171,6019,'Images','Femme  entrant  dans  un  wagon  de  train ,  hommes  se  retournant  pour  la  regarder .  \n *Johnny * *Guitar * ( 1954 ),  Nicholas  Ray . \n'),
(41172,6019,'VoixOffIn','\n'),
(41173,6019,'BandeSon','*Image * *The * *Fog * *Dirappearing * ( 2016 *), * Tord  Gustavsen . \n'),
(41174,6019,'Ecrits','\n'),
(41175,6019,'_product_image_gallery',''),
(41176,6020,'_pingme','1'),
(41177,6020,'_encloseme','1'),
(41178,6020,'Index','2250'),
(41179,6020,'Minutage','29’03 \n'),
(41180,6020,'Images','Noir . \n'),
(41181,6020,'VoixOffIn','\n'),
(41182,6020,'BandeSon','*Id* *.* \n'),
(41183,6020,'Ecrits','\n'),
(41184,6020,'_product_image_gallery',''),
(41185,6021,'_pingme','1'),
(41186,6021,'_encloseme','1'),
(41187,6021,'Index','2260'),
(41188,6021,'Minutage','29’07 \n'),
(41189,6021,'Images','Cheval  et  cavalier  au  galop ,  derrière  un  train .  \n *Turksib * ( 1921 *), * Viktor  Alexandrovitch  Turin . \n \n'),
(41190,6021,'VoixOffIn','\n'),
(41191,6021,'BandeSon','*Id* *.* \n'),
(41192,6021,'Ecrits','\n'),
(41193,6021,'_product_image_gallery',''),
(41194,6022,'_pingme','1'),
(41195,6022,'_encloseme','1'),
(41196,6022,'Index','2270'),
(41197,6022,'Minutage','29’10 \n'),
(41198,6022,'Images','Homme  passant  la  main  sur  un  vinyle  et  écoutant  la  musique  qui  s\'en  dégage .  \n *L’Atalante * ( 1934 *), * Jean  Vigo . \n'),
(41199,6022,'VoixOffIn','\n'),
(41200,6022,'BandeSon','Silence  et  *Concerto * *Grosso * *No* *. * *4 * ( 1988 *), * Alfred  Schnittke . \n'),
(41201,6022,'Ecrits','\n'),
(41202,6022,'_product_image_gallery',''),
(41203,6023,'_pingme','1'),
(41204,6023,'_encloseme','1'),
(41205,6023,'Index','2280'),
(41206,6023,'Minutage','29’16 \n'),
(41207,6023,'Images','Cheval  et  cavalier  au  galop ,  le  long  d’un  train .  \n *Turksib * ( 1921 *), * Viktor  Alexandrovitch  Turin . \n \n'),
(41208,6023,'VoixOffIn','\n'),
(41209,6023,'BandeSon','*Id* *.* *\n*'),
(41210,6023,'Ecrits','\n'),
(41211,6023,'_product_image_gallery',''),
(41212,6024,'_pingme','1'),
(41213,6024,'_encloseme','1'),
(41214,6024,'Index','2290'),
(41215,6024,'Minutage','29’22 \n'),
(41216,6024,'Images','Noir .  \n'),
(41217,6024,'VoixOffIn','\n'),
(41218,6024,'BandeSon','Silence . \n'),
(41219,6024,'Ecrits','\n'),
(41220,6024,'_product_image_gallery',''),
(41221,6025,'_pingme','1'),
(41222,6025,'_encloseme','1'),
(41223,6025,'Index','2300'),
(41224,6025,'Minutage','29’24 \n'),
(41225,6025,'Images','Chameau  reniflant  les  rails  d\'un  train ,  train  traversant  une  prairie  déserte .  \n *Turksib * ( 1921 *), * Viktor  Alexandrovitch  Turin . \n'),
(41226,6025,'VoixOffIn','\n'),
(41227,6025,'BandeSon','*Image * *The * *Fog * *Dirappearing * ( 2016 *), * Tord  Gustavsen . \n'),
(41228,6025,'Ecrits','\n'),
(41229,6025,'_product_image_gallery',''),
(41230,6026,'_pingme','1'),
(41231,6026,'_encloseme','1'),
(41232,6026,'Index','2310'),
(41233,6026,'Minutage','29’31 \n'),
(41234,6026,'Images','Paysage  vu  d\'un  train .  \n'),
(41235,6026,'VoixOffIn','j\'avoue  qu\'avant  d\'embarquer  à  bord  \n'),
(41236,6026,'BandeSon','Voix  masculine  accompagnée  au  piano . \n'),
(41237,6026,'Ecrits','\n'),
(41238,6026,'_product_image_gallery',''),
(41239,6027,'_pingme','1'),
(41240,6027,'_encloseme','1'),
(41241,6027,'Index','2320'),
(41242,6027,'Minutage','29’36 \n'),
(41243,6027,'Images','Saturé  et  surexposé  :  train  avançant . \n'),
(41244,6027,'VoixOffIn','de  ce  vieux \n   piano \n'),
(41245,6027,'BandeSon','*Id* *.* \n'),
(41246,6027,'Ecrits','\n'),
(41247,6027,'_product_image_gallery',''),
(41248,6028,'_pingme','1'),
(41249,6028,'_encloseme','1'),
(41250,6028,'Index','2330'),
(41251,6028,'Minutage','29’39 \n'),
(41252,6028,'Images','Montage  en  superposition  :  rose . \n   *Allemagne * *90 * *neuf * *zéro * ( 1991 ),  Jean - Luc  Godard . \n'),
(41253,6028,'VoixOffIn','j\'ai  scruté  la  météo \n'),
(41254,6028,'BandeSon','*Id* *.* \n'),
(41255,6028,'Ecrits','\n'),
(41256,6028,'_product_image_gallery',''),
(41257,6029,'_pingme','1'),
(41258,6029,'_encloseme','1'),
(41259,6029,'Index','2340'),
(41260,6029,'Minutage','29’42 \n'),
(41261,6029,'Images','Passage  du  métro .  Superposé  :  femme  semblant  avoir  été  heurtée  par  un  train .  \n *Liberté * *et * *patrie * ( 2002 *), * Jean - Luc  Godard  et  Anne - Marie  Miéville . \n'),
(41262,6029,'VoixOffIn','j\'ai  longtemps  flâné \n \n'),
(41263,6029,'BandeSon','*Id* *. * et  silence . \n'),
(41264,6029,'Ecrits','\n'),
(41265,6029,'_product_image_gallery',''),
(41266,6030,'_pingme','1'),
(41267,6030,'_encloseme','1'),
(41268,6030,'Index','2350'),
(41269,6030,'Minutage','29’45 \n'),
(41270,6030,'Images','Dessin  :  femme  vue  de  dos .  \n *Liberté * *et * *patrie * ( 2002 *), * Jean - Luc  Godard  et  Anne - Marie  Miéville . \n'),
(41271,6030,'VoixOffIn','\n'),
(41272,6030,'BandeSon','Silence . \n'),
(41273,6030,'Ecrits','\n'),
(41274,6030,'_product_image_gallery',''),
(41275,6031,'_pingme','1'),
(41276,6031,'_encloseme','1'),
(41277,6031,'Index','2360'),
(41278,6031,'Minutage','29’50 \n'),
(41279,6031,'Images','Noir . \n'),
(41280,6031,'VoixOffIn','Eux  tous \n'),
(41281,6031,'BandeSon','*Fratres * *pour * *12 * *violoncelles * ( 1977 ),  Arvo  Pärt . \n'),
(41282,6031,'Ecrits','\n'),
(41283,6031,'_product_image_gallery',''),
(41284,6032,'_pingme','1'),
(41285,6032,'_encloseme','1'),
(41286,6032,'Index','2370'),
(41287,6032,'Minutage','29’53 \n'),
(41288,6032,'Images','Hommes  saluant  joyeusement  des  deux  mains ,  depuis  un  train .  \n *Les * *Deux * *Fedor * ( 1959 *), * Marlen  Khoutsiev . \n'),
(41289,6032,'VoixOffIn','enfilés  sur  le  fond \n'),
(41290,6032,'BandeSon','*Id* *.* \n'),
(41291,6032,'Ecrits','\n'),
(41292,6032,'_product_image_gallery',''),
(41293,6033,'_pingme','1'),
(41294,6033,'_encloseme','1'),
(41295,6033,'Index','2380'),
(41296,6033,'Minutage','29’57 \n'),
(41297,6033,'Images','Femmes  courant . \n *Les * *Deux * *Fedor * ( 1959 *), * Marlen  Khoutsiev . \n'),
(41298,6033,'VoixOffIn','Du  vert  luxuriant . \n'),
(41299,6033,'BandeSon','*Id* *.* \n'),
(41300,6033,'Ecrits','\n'),
(41301,6033,'_product_image_gallery',''),
(41302,6034,'_pingme','1'),
(41303,6034,'_encloseme','1'),
(41304,6034,'Index','2390'),
(41305,6034,'Minutage','30’00 \n'),
(41306,6034,'Images','Saturé  :  paysage  vu  depuis  la  fenêtre  d’un  train . \n'),
(41307,6034,'VoixOffIn','De  l’été . \n'),
(41308,6034,'BandeSon','*Id* *.* \n'),
(41309,6034,'Ecrits','\n'),
(41310,6034,'_product_image_gallery',''),
(41311,6035,'_pingme','1'),
(41312,6035,'_encloseme','1'),
(41313,6035,'Index','2400'),
(41314,6035,'Minutage','30’03 \n'),
(41315,6035,'Images','Noir . \n'),
(41316,6035,'VoixOffIn','\n'),
(41317,6035,'BandeSon','*Id* *.* \n'),
(41318,6035,'Ecrits','\n'),
(41319,6035,'_product_image_gallery',''),
(41320,6036,'_pingme','1'),
(41321,6036,'_encloseme','1'),
(41322,6036,'Index','2410'),
(41323,6036,'Minutage','30’04 \n'),
(41324,6036,'Images','Homme  courant  le  long  d\'un  train .  *\n* *Wild * *boys * *on * *the * *road * ( 1933 ),  William  A .  Wellman .  *Liberté * *et * *patrie * ( 2002 *), * Jean - Luc  Godard  et  Anne - Marie  Miéville . \n'),
(41325,6036,'VoixOffIn','Et  l’embrasement \n'),
(41326,6036,'BandeSon','*Id* *.* \n'),
(41327,6036,'Ecrits','\n'),
(41328,6036,'_product_image_gallery',''),
(41329,6037,'_pingme','1'),
(41330,6037,'_encloseme','1'),
(41331,6037,'Index','2420'),
(41332,6037,'Minutage','30’06  \n'),
(41333,6037,'Images','Au  ralenti  :  homme  s\'approchant  d\'une  femme  assise  dans  une  grange  devant  un  brasier .  \n *Wild * *boys * *on * *the * *road * ( 1933 ),  William  A .  Wellman . \n'),
(41334,6037,'VoixOffIn','\n'),
(41335,6037,'BandeSon','*Id* *.* \n'),
(41336,6037,'Ecrits','\n'),
(41337,6037,'_product_image_gallery',''),
(41338,6038,'_pingme','1'),
(41339,6038,'_encloseme','1'),
(41340,6038,'Index','2430'),
(41341,6038,'Minutage','30’07 \n'),
(41342,6038,'Images','Foule  d\'hommes  se  pressant  pour  monter  dans  un  train .  \n *Wild * *boys * *on * *the * *road * ( 1933 ),  William  A .  Wellman . \n'),
(41343,6038,'VoixOffIn','Royal \n'),
(41344,6038,'BandeSon','*Id* *.* \n'),
(41345,6038,'Ecrits','\n'),
(41346,6038,'_product_image_gallery',''),
(41347,6039,'_pingme','1'),
(41348,6039,'_encloseme','1'),
(41349,6039,'Index','2440'),
(41350,6039,'Minutage','30’10 \n'),
(41351,6039,'Images','Saturé  :  trains  miniatures  passant  sur  une  ligne  de  chemin  de  fer .  *Toccata * *for * *Toy * *Trains * ( 1957 *), * Charles  and  Ray  Eames . \n'),
(41352,6039,'VoixOffIn','de  l\'automne . \n -  Et  la  ruine  de  l’hiver \n'),
(41353,6039,'BandeSon','*Id* *.* \n'),
(41354,6039,'Ecrits','\n'),
(41355,6039,'_product_image_gallery',''),
(41356,6040,'_pingme','1'),
(41357,6040,'_encloseme','1'),
(41358,6040,'Index','2450'),
(41359,6040,'Minutage','30’15 \n'),
(41360,6040,'Images','Noir . \n'),
(41361,6040,'VoixOffIn','avant  que  ne  fleurisse \n'),
(41362,6040,'BandeSon','*Id* *.* \n'),
(41363,6040,'Ecrits','\n'),
(41364,6040,'_product_image_gallery',''),
(41365,6041,'_pingme','1'),
(41366,6041,'_encloseme','1'),
(41367,6041,'Index','2460'),
(41368,6041,'Minutage','30’19 \n'),
(41369,6041,'Images','Fille  faisant  de  l\'escrime  devant  un  projecteur  montrant  une  cathédrale  gothique .  En  montage  clignotant  :  cameraman  sur  un  dolly . \n'),
(41370,6041,'VoixOffIn','à  nouveau \n le  printemps , \n salit  maintenant \n un  peu  noirci \n'),
(41371,6041,'BandeSon','*Id* *.* \n'),
(41372,6041,'Ecrits','\n'),
(41373,6041,'_product_image_gallery',''),
(41374,6042,'_pingme','1'),
(41375,6042,'_encloseme','1'),
(41376,6042,'Index','2470'),
(41377,6042,'Minutage','30’30 \n'),
(41378,6042,'Images','Homme  se  traînant  le  long  d\'une  voie  ferrée .  \n *Wild * *boys * *on * *the * *road * ( 1933 ),  William  A .  Wellman .  \n'),
(41379,6042,'VoixOffIn','\n'),
(41380,6042,'BandeSon','Train  en  approche . \n'),
(41381,6042,'Ecrits','\n'),
(41382,6042,'_product_image_gallery',''),
(41383,6043,'_pingme','1'),
(41384,6043,'_encloseme','1'),
(41385,6043,'Index','2480'),
(41386,6043,'Minutage','30’33 \n'),
(41387,6043,'Images','Noir . \n'),
(41388,6043,'VoixOffIn','\n'),
(41389,6043,'BandeSon','*Id* *.* \n'),
(41390,6043,'Ecrits','\n'),
(41391,6043,'_product_image_gallery',''),
(41392,6044,'_pingme','1'),
(41393,6044,'_encloseme','1'),
(41394,6044,'Index','2490'),
(41395,6044,'Minutage','30’36 \n'),
(41396,6044,'Images','Homme  se  traînant  le  long  d\'une  voie  ferrée ,  et  essayant  de  ne  pas  être  écrasé  par  un  train  en  approche .  \n *Wild * *boys * *on * *the * *road * ( 1933 ),  William  A .  Wellman .  \n'),
(41397,6044,'VoixOffIn','\n'),
(41398,6044,'BandeSon','*Id* *.* \n'),
(41399,6044,'Ecrits','\n'),
(41400,6044,'_product_image_gallery',''),
(41401,6045,'_pingme','1'),
(41402,6045,'_encloseme','1'),
(41403,6045,'Index','2500'),
(41404,6045,'Minutage','30’39 \n'),
(41405,6045,'Images','Noir . \n'),
(41406,6045,'VoixOffIn','par  le  temps . \n'),
(41407,6045,'BandeSon','*Fratres * *pour * *12 * *violoncelles * ( 1977 ),  Arvo  Pärt . \n'),
(41408,6045,'Ecrits','\n'),
(41409,6045,'_product_image_gallery',''),
(41410,6046,'_pingme','1'),
(41411,6046,'_encloseme','1'),
(41412,6046,'Index','2510'),
(41413,6046,'Minutage','30’41 \n'),
(41414,6046,'Images','Homme  évanoui  et  écrasé  par  un  train .  \n *Wild * *boys * *on * *the * *road * ( 1933 ),  William  A .  Wellman .  \n'),
(41415,6046,'VoixOffIn','\n Toujours  serein \n'),
(41416,6046,'BandeSon','Train  en  approche ,  cris . \n'),
(41417,6046,'Ecrits','\n'),
(41418,6046,'_product_image_gallery',''),
(41419,6047,'_pingme','1'),
(41420,6047,'_encloseme','1'),
(41421,6047,'Index','2520'),
(41422,6047,'Minutage','30’45 \n'),
(41423,6047,'Images','Noir . \n'),
(41424,6047,'VoixOffIn','\n'),
(41425,6047,'BandeSon','*Id * et  silence . \n'),
(41426,6047,'Ecrits','\n'),
(41427,6047,'_product_image_gallery',''),
(41428,6048,'_pingme','1'),
(41429,6048,'_encloseme','1'),
(41430,6048,'Index','2530'),
(41431,6048,'Minutage','30’47 \n'),
(41432,6048,'Images','Femme  arrachant  ses  boucles  d\'oreilles  en  perle ,  horrifiée . \n *Au * *bord * *de * *la * *mer * *bleue * ( 1937 *), * Boris  Barnet . \n'),
(41433,6048,'VoixOffIn','…  des  sentinelles .  Non . \n - Comme  s\'ils  défendaient \n'),
(41434,6048,'BandeSon','*Id* *.* \n'),
(41435,6048,'Ecrits','\n'),
(41436,6048,'_product_image_gallery',''),
(41437,6049,'_pingme','1'),
(41438,6049,'_encloseme','1'),
(41439,6049,'Index','2540'),
(41440,6049,'Minutage','31’01 \n'),
(41441,6049,'Images','Perles  tombant .  \n *Au * *bord * *de * *la * *mer * *bleue * ( 1937 *), * Boris  Barnet . \n Enchaînement  avec  un  montage  clignotant  :  cadavres  le  long  d\'une  voie  ferrée .  \n *Nuit * *et * *brouillard * ( 1956 *), * Alain  Resnais . \n'),
(41442,6049,'VoixOffIn','de  leurs  énormes  et  monolithiques  \n'),
(41443,6049,'BandeSon','*Fratres * *pour * *12 * *violoncelles * ( 1977 ),  Arvo  Pärt . \n'),
(41444,6049,'Ecrits','\n'),
(41445,6049,'_product_image_gallery',''),
(41446,6050,'_pingme','1'),
(41447,6050,'_encloseme','1'),
(41448,6050,'Index','2550'),
(41449,6050,'Minutage','31’09 \n'),
(41450,6050,'Images','Montage  clignotant  :  sous  des  cadavres  longant  les  rails  d\'un  train ,  folle  dans  une  église  du  tableau .  \n *L\'église * *Ludwigskirche * *à * *Munich * ( 1908 *), * Wassily  Kandinsky . \n'),
(41451,6050,'VoixOffIn','Les  vivants  contre  les  morts .  \n'),
(41452,6050,'BandeSon','*Id* *.* \n'),
(41453,6050,'Ecrits','\n'),
(41454,6050,'_product_image_gallery',''),
(41455,6051,'_pingme','1'),
(41456,6051,'_encloseme','1'),
(41457,6051,'Index','2560'),
(41458,6051,'Minutage','31’18 \n'),
(41459,6051,'Images','Noir . \n'),
(41460,6051,'VoixOffIn','Tous .  \n Les  ossements .  \n'),
(41461,6051,'BandeSon','*Id* *.* \n'),
(41462,6051,'Ecrits','\n'),
(41463,6051,'_product_image_gallery',''),
(41464,6052,'_pingme','1'),
(41465,6052,'_encloseme','1'),
(41466,6052,'Index','2570'),
(41467,6052,'Minutage','31’21 \n'),
(41468,6052,'Images','Femmes  et  hommes  autour  d\'une  table ,  plaçant  leurs  mains  en  cercle  lors  d\'une  séance  de  spiritisme .  *Anna * *Karénine * ( 1948 ),  Julien  Duvivier . \n'),
(41469,6052,'VoixOffIn','Avant  que  ne  fleurissent \n'),
(41470,6052,'BandeSon','*Id* *.* \n'),
(41471,6052,'Ecrits','\n'),
(41472,6052,'_product_image_gallery',''),
(41473,6053,'_pingme','1'),
(41474,6053,'_encloseme','1'),
(41475,6053,'Index','2580'),
(41476,6053,'Minutage','31’26 \n'),
(41477,6053,'Images','Noir . \n'),
(41478,6053,'VoixOffIn','à  nouveau  le  printemps  \n'),
(41479,6053,'BandeSon','*Id* *.* \n'),
(41480,6053,'Ecrits','\n'),
(41481,6053,'_product_image_gallery',''),
(41482,6054,'_pingme','1'),
(41483,6054,'_encloseme','1'),
(41484,6054,'Index','2590'),
(41485,6054,'Minutage','31’28 \n'),
(41486,6054,'Images','Train  passant  dans  le  blizzard  et  personnes  marchant  sous  la  neige  et  dans  le  vent .  \n *Anna * *Karénine * ( 1948 ),  Julien  Duvivier . \n \n'),
(41487,6054,'VoixOffIn','\n'),
(41488,6054,'BandeSon','*Id* *. * et  train  passant . \n'),
(41489,6054,'Ecrits','\n'),
(41490,6054,'_product_image_gallery',''),
(41491,6055,'_pingme','1'),
(41492,6055,'_encloseme','1'),
(41493,6055,'Index','2600'),
(41494,6055,'Minutage','31’43 \n'),
(41495,6055,'Images','En  superposition ,  et  en  alternance  :  dessin  d\'un  mort . \n *Les * *désastres * *de * *la * *guerre * ( 1815 - 20 ),  Francisco  Goya .  \n \n Puis  montage  clignotant  :  personne  levant  un  fusil  vers  le  ciel ,  femme  juive . \n'),
(41496,6055,'VoixOffIn','Eux  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'),
(41497,6055,'BandeSon','*Fratres * *pour * *12 * *violoncelles * ( 1977 ),  Arvo  Pärt  et  silence . \n'),
(41498,6055,'Ecrits','\n'),
(41499,6055,'_product_image_gallery',''),
(41500,6056,'_pingme','1'),
(41501,6056,'_encloseme','1'),
(41502,6056,'Index','2610'),
(41503,6056,'Minutage','32’09 \n'),
(41504,6056,'Images','Au  ralenti ,  saturé  :  voie  ferrée  parcourue  par  un  train .  \n *Après * *le * *feu * ( 2010 *), * Jacques  Perconte . \n'),
(41505,6056,'VoixOffIn','avant  que  ne  fleurisse  à  nouveau  le  printemps .  Eux  tous .  \n *Sépulture * *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'),
(41506,6056,'BandeSon','Silence . \n'),
(41507,6056,'Ecrits','\n'),
(41508,6056,'_product_image_gallery',''),
(41509,6057,'_pingme','1'),
(41510,6057,'_encloseme','1'),
(41511,6057,'Index','2620'),
(41512,6057,'Minutage','32’23 \n'),
(41513,6057,'Images','Homme  saluant  une  femme  le  regardant  par  la  fenêtre  d\'un  train ,  et  poursuvant  le  train  qui  s’éloigne .  \n *Le * *plaisir * ( 1938 *), * Max  Ophüls . \n'),
(41514,6057,'VoixOffIn','\n'),
(41515,6057,'BandeSon','Silence  et  *Das * *Buch * *der * *Klange * *I* *-* *XII* *, * *V * ( 1999 *), * Hans  Otte . \n'),
(41516,6057,'Ecrits','\n'),
(41517,6057,'_product_image_gallery',''),
(41518,6058,'_pingme','1'),
(41519,6058,'_encloseme','1'),
(41520,6058,'Index','2630'),
(41521,6058,'Minutage','32’51 \n'),
(41522,6058,'Images','Pellicule  passant  dans  un  projecteur . \n *Deux * *fois * *cinquante * *ans * *de * *cinéma * *français * ( 1995 *), * Jean - Luc  Godard . \n'),
(41523,6058,'VoixOffIn','\n'),
(41524,6058,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 ),  Mieczysław  Weinberg . \n \n'),
(41525,6058,'Ecrits','\n'),
(41526,6058,'_product_image_gallery',''),
(41527,6059,'_pingme','1'),
(41528,6059,'_encloseme','1'),
(41529,6059,'Index','2640'),
(41530,6059,'Minutage','33’02 \r\n'),
(41531,6059,'Images','Noir . \r\n'),
(41532,6059,'VoixOffIn',''),
(41533,6059,'BandeSon','*Id* *.* \r\n \r\n'),
(41534,6059,'Ecrits',''),
(41535,6059,'_product_image_gallery',''),
(41536,6060,'_pingme','1'),
(41537,6060,'_encloseme','1'),
(41538,6060,'Index','2650'),
(41539,6060,'Minutage','33’05 \n'),
(41540,6060,'Images','Noir . \n'),
(41541,6060,'VoixOffIn','\n'),
(41542,6060,'BandeSon','*Id* *.* \n'),
(41543,6060,'Ecrits','4  \n L’ESPRIT  DES  LOIS \n'),
(41544,6060,'_product_image_gallery',''),
(41545,6061,'_pingme','1'),
(41546,6061,'_encloseme','1'),
(41547,6061,'Index','2660'),
(41548,6061,'Minutage','33’08 \n'),
(41549,6061,'Images','Acteurs  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'),
(41550,6061,'VoixOffIn','Écartez - vous .  Première  sommation ,  nous  allons  faire  usage  de  la  force .  Deuxième  et  dernière  sommation ,  nous  allons  faire  usage  de  la  force .  Dispersez - vous . \n'),
(41551,6061,'BandeSon','Personnes  protestant  et  criant .  \n *Three * *Little * *Nocturnes* *, * *II * *Allegro * *appassionata * ( 2005 ),  Hans  Abrahamsen . \n'),
(41552,6061,'Ecrits','\n'),
(41553,6061,'_product_image_gallery',''),
(41554,6062,'_pingme','1'),
(41555,6062,'_encloseme','1'),
(41556,6062,'Index','2670'),
(41557,6062,'Minutage','34’08 \n'),
(41558,6062,'Images','Hommes  derrière  une  barricade  attaqués  par  des  soldats .  \n *Vendémiaire * ( 1918 ),  Louis  Feuillade .  \n *Histoire* *(* *s* *) * *du * *cinéma * *3b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(41559,6062,'VoixOffIn','-  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'),
(41560,6062,'BandeSon','*Breit* *-* *sehr * *frisch * *und * *straff * ( 1939 *), * Paul  Hindemith . \n'),
(41561,6062,'Ecrits','\n'),
(41562,6062,'_product_image_gallery',''),
(41563,6063,'_pingme','1'),
(41564,6063,'_encloseme','1'),
(41565,6063,'Index','2680'),
(41566,6063,'Minutage','34’20 \n'),
(41567,6063,'Images','Photographie  d’Arthur  Rimbaud . \n'),
(41568,6063,'VoixOffIn','-  la  mélancolie  suprême  d’Enjolras .  *Les * *Misérables * ( 1862 *), * Victor  Hugo . \n - Le  drapeau  va  au  paysage  infâme \n'),
(41569,6063,'BandeSon','Silence . \n'),
(41570,6063,'Ecrits','\n'),
(41571,6063,'_product_image_gallery',''),
(41572,6064,'_pingme','1'),
(41573,6064,'_encloseme','1'),
(41574,6064,'Index','2690'),
(41575,6064,'Minutage','34’30 \n'),
(41576,6064,'Images','Femme  tout  en  blanc  se  dirigeant  vers  un  écran  puis  reculant  de  peur ,  les  mains  en  l\'air .  *\n* *Le * *Mystère * *des * *roches * *de * *Kador * ( 1912 ),  Léonce  Perret .  *Histoire* *(* *s* *) * *du * *cinéma * *2a * ( 1988 - 89 *), * Jean - Luc  Godard .  \n'),
(41577,6064,'VoixOffIn','et  notre  patois  étouffe  le \n tambour .  Arthur  Rimbaud ,  \n'),
(41578,6064,'BandeSon','*Id* *.* \n'),
(41579,6064,'Ecrits','\n'),
(41580,6064,'_product_image_gallery',''),
(41581,6065,'_pingme','1'),
(41582,6065,'_encloseme','1'),
(41583,6065,'Index','2700'),
(41584,6065,'Minutage','34’36 \n'),
(41585,6065,'Images','Noir . \n'),
(41586,6065,'VoixOffIn','démocratie .  ( Jean  Luc  Godard ).  *Les * *Illuminations* *. * *Démocratie * ( 1854 *), * Arthur  Rimbaud . \n'),
(41587,6065,'BandeSon','*Id* *.* \n'),
(41588,6065,'Ecrits','TERRORISM  CONSIDERED  \n as  one  of  the  \n FINE  ARTS \n'),
(41589,6065,'_product_image_gallery',''),
(41590,6066,'_pingme','1'),
(41591,6066,'_encloseme','1'),
(41592,6066,'Index','2710'),
(41593,6066,'Minutage','34’38 \n'),
(41594,6066,'Images','Noir . \n'),
(41595,6066,'VoixOffIn','\n'),
(41596,6066,'BandeSon','*Id* *.* \n'),
(41597,6066,'Ecrits','Dissonance  Films \n'),
(41598,6066,'_product_image_gallery',''),
(41599,6067,'_pingme','1'),
(41600,6067,'_encloseme','1'),
(41601,6067,'Index','2720'),
(41602,6067,'Minutage','34’41 \n'),
(41603,6067,'Images','Femme  supliant  un  homme  jettant  un  bébé  par  la  fenêtre .  \n *Histoire* *(* *s* *) * *du * *cinéma* *, * ( 1988 - 89 *), * Jean - Luc  Godard . *\n*'),
(41604,6067,'VoixOffIn','Après  une  révolution  dans  la  révolution  ( Philippe  Sollers ). \n'),
(41605,6067,'BandeSon','*Id* *.* \n'),
(41606,6067,'Ecrits','End  Lo  Sung \n'),
(41607,6067,'_product_image_gallery',''),
(41608,6068,'_pingme','1'),
(41609,6068,'_encloseme','1'),
(41610,6068,'Index','2730'),
(41611,6068,'Minutage','34’44 \n'),
(41612,6068,'Images','Noir . \n'),
(41613,6068,'VoixOffIn','\n'),
(41614,6068,'BandeSon','Au  violon \n'),
(41615,6068,'Ecrits','\n'),
(41616,6068,'_product_image_gallery',''),
(41617,6069,'_pingme','1'),
(41618,6069,'_encloseme','1'),
(41619,6069,'Index','2740'),
(41620,6069,'Minutage','34’48 \n'),
(41621,6069,'Images','Saturé  :  torero  transperçant  un  taureau  à  coups  d’épée . \n'),
(41622,6069,'VoixOffIn','\n'),
(41623,6069,'BandeSon','Silence . \n'),
(41624,6069,'Ecrits','\n'),
(41625,6069,'_product_image_gallery',''),
(41626,6070,'_pingme','1'),
(41627,6070,'_encloseme','1'),
(41628,6070,'Index','2750'),
(41629,6070,'Minutage','34’49 \n'),
(41630,6070,'Images','Au  ralenti  :  homme  courant  et  criant  en  faisant  claquer  ses  poignets  ensemble .  \n *La * *terre * ( 1930 *), * Alexandre  Dovjenko .  *Histoire* *(* *s* *) * *du * *cinéma * *2a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(41631,6070,'VoixOffIn','\n'),
(41632,6070,'BandeSon','Voix  masculine ,  accompagnée  à  la  guitare  :  chant  russe .  \n *La * *chasse * *aux * *loups * ( 1977 *), * Vladimir  Vissotsky . \n'),
(41633,6070,'Ecrits','\n'),
(41634,6070,'_product_image_gallery',''),
(41635,6071,'_pingme','1'),
(41636,6071,'_encloseme','1'),
(41637,6071,'Index','2760'),
(41638,6071,'Minutage','35’12 \n'),
(41639,6071,'Images','Noir . \n'),
(41640,6071,'VoixOffIn','\n'),
(41641,6071,'BandeSon','Silence . \n'),
(41642,6071,'Ecrits','\n'),
(41643,6071,'_product_image_gallery',''),
(41644,6072,'_pingme','1'),
(41645,6072,'_encloseme','1'),
(41646,6072,'Index','2770'),
(41647,6072,'Minutage','35’14 \n'),
(41648,6072,'Images','Surexposé  :  photographie  d’un  buste  de  Montesquieu . \n'),
(41649,6072,'VoixOffIn','Si  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'),
(41650,6072,'BandeSon','*Id* *.* *\n*'),
(41651,6072,'Ecrits','\n'),
(41652,6072,'_product_image_gallery',''),
(41653,6073,'_pingme','1'),
(41654,6073,'_encloseme','1'),
(41655,6073,'Index','2780'),
(41656,6073,'Minutage','35’26 \n'),
(41657,6073,'Images','Enfants  en  Asie  faisant  un  exercice  militaire . \n'),
(41658,6073,'VoixOffIn','\n'),
(41659,6073,'BandeSon','Voix  d\'enfants  chantant  et  criant  ensemble . \n'),
(41660,6073,'Ecrits','\n'),
(41661,6073,'_product_image_gallery',''),
(41662,6074,'_pingme','1'),
(41663,6074,'_encloseme','1'),
(41664,6074,'Index','2790'),
(41665,6074,'Minutage','35’31 \n'),
(41666,6074,'Images','Surexposé  :  personnes  marchant  courbées  et  vacillantes  le  long  d\'un  couloir .  \n *Alphaville * ( 1965 *), * Jean - Luc  Godard . \n'),
(41667,6074,'VoixOffIn','Je  me  croirais  le  plus  heureux  des  hommes . \n'),
(41668,6074,'BandeSon','Silence . \n'),
(41669,6074,'Ecrits','\n'),
(41670,6074,'_product_image_gallery',''),
(41671,6075,'_pingme','1'),
(41672,6075,'_encloseme','1'),
(41673,6075,'Index','2800'),
(41674,6075,'Minutage','35’37 \n'),
(41675,6075,'Images','Noir . \n'),
(41676,6075,'VoixOffIn','Je  me  croirais  le  plus  heureux  des  mortels . \n'),
(41677,6075,'BandeSon','*Id* *.* \n'),
(41678,6075,'Ecrits','\n'),
(41679,6075,'_product_image_gallery',''),
(41680,6076,'_pingme','1'),
(41681,6076,'_encloseme','1'),
(41682,6076,'Index','2810'),
(41683,6076,'Minutage','35’40 \n'),
(41684,6076,'Images','Saturé  et  surexposé  :  pellicule  d’aspect  usée  et  déchirée .  \n *Notre * *caméra * *analytique * ( 2015 ),  Yervant  Gianikian  et  Angela  Ricci  Lucchi . \n'),
(41685,6076,'VoixOffIn','Je  me  croirais  le  plus  heureux  des  mortels ,  si  je  pouvais  faire  que  les  hommes  \n'),
(41686,6076,'BandeSon','*Id* *.* \n'),
(41687,6076,'Ecrits','\n'),
(41688,6076,'_product_image_gallery',''),
(41689,6077,'_pingme','1'),
(41690,6077,'_encloseme','1'),
(41691,6077,'Index','2820'),
(41692,6077,'Minutage','35’50 \n'),
(41693,6077,'Images','Couverture  des  volumes  de  *l\'Esprit * *des * *lois * ( 1748 ),  Montesquieu . \n'),
(41694,6077,'VoixOffIn','puissent  se  guérir  de  leurs  préjugés .  *\n* *L’esprit * *des * *lois * ( 1748 *), * Montesquieu .  \n'),
(41695,6077,'BandeSon','*Id* *.* \n'),
(41696,6077,'Ecrits','\n'),
(41697,6077,'_product_image_gallery',''),
(41698,6078,'_pingme','1'),
(41699,6078,'_encloseme','1'),
(41700,6078,'Index','2830'),
(41701,6078,'Minutage','35’54 \n'),
(41702,6078,'Images','Saturé  :  visage  d’un  homme  de  profil  allumant  une  cigarette .  \n *Détective * ( 1985 ),  Jean - Luc  Godard .  *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(41703,6078,'VoixOffIn','J\'appelle  ici  préjugés ,  \n'),
(41704,6078,'BandeSon','*Id* *.* \n'),
(41705,6078,'Ecrits','\n'),
(41706,6078,'_product_image_gallery',''),
(41707,6079,'_pingme','1'),
(41708,6079,'_encloseme','1'),
(41709,6079,'Index','2840'),
(41710,6079,'Minutage','35’56 \n'),
(41711,6079,'Images','Montage  superposé  :  main  tenant  une  bougie .  \n *Ivan * *le * *terrible * ( 1944 - 46 *), * Sergueï  Eisenstein .  *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(41712,6079,'VoixOffIn','non  pas  \n'),
(41713,6079,'BandeSon','*Id* *.* \n'),
(41714,6079,'Ecrits','\n'),
(41715,6079,'_product_image_gallery',''),
(41716,6080,'_pingme','1'),
(41717,6080,'_encloseme','1'),
(41718,6080,'Index','2850'),
(41719,6080,'Minutage','35’59 \n'),
(41720,6080,'Images','Noir . \n'),
(41721,6080,'VoixOffIn','ce  qui  fait  qu\'on  ignore  de  certaines  choses ,  \n'),
(41722,6080,'BandeSon','*Id* *.* \n'),
(41723,6080,'Ecrits','\n'),
(41724,6080,'_product_image_gallery',''),
(41725,6081,'_pingme','1'),
(41726,6081,'_encloseme','1'),
(41727,6081,'Index','2860'),
(41728,6081,'Minutage','36’00 \n'),
(41729,6081,'Images','Surexposé  :  buste  de  Montesquieu . \n'),
(41730,6081,'VoixOffIn','mais  ce  qui  fait  qu\'on  s\'ignore  soi - même .  ( Jean  Luc  Godard ) \n *L’esprit * *des * *lois * ( 1748 *), * Montesquieu .  \n'),
(41731,6081,'BandeSon','*Id* *.* \n'),
(41732,6081,'Ecrits','\n'),
(41733,6081,'_product_image_gallery',''),
(41734,6082,'_pingme','1'),
(41735,6082,'_encloseme','1'),
(41736,6082,'Index','2870'),
(41737,6082,'Minutage','36’02 \n'),
(41738,6082,'Images','Couteau  planté  sur  une  surface  noire .  \n *Au * *cœur * *de * *l\'orage * ( 1948 ),  Jean - Paul  Le  Chanois . \n'),
(41739,6082,'VoixOffIn','E  arrivato  Zampanò  !  è  arrivato  Zampanò  ! \n'),
(41740,6082,'BandeSon','Tambours . \n'),
(41741,6082,'Ecrits','\n'),
(41742,6082,'_product_image_gallery',''),
(41743,6083,'_pingme','1'),
(41744,6083,'_encloseme','1'),
(41745,6083,'Index','2880'),
(41746,6083,'Minutage','36’13 \n'),
(41747,6083,'Images','Au  ralenti  :  deux  clowns  parmi  une  foule  de  gens .  \n *La * *Strada * ( 1954 *), * Federico  Fellini . \n'),
(41748,6083,'VoixOffIn','\n'),
(41749,6083,'BandeSon','Silence . \n'),
(41750,6083,'Ecrits','\n'),
(41751,6083,'_product_image_gallery',''),
(41752,6084,'_pingme','1'),
(41753,6084,'_encloseme','1'),
(41754,6084,'Index','2890'),
(41755,6084,'Minutage','36’18 \n'),
(41756,6084,'Images','Femme  au  bord  d\'une  rivière . \n *Pastorales * *Tahitiennes * ( 1893 ),  Paul  Gauguin .  Alternant ,  en  montage  clignotant  :  homme  l’observant  à  travers  une  vitre .  \n *Le * *Pré * *de * *Béjine * ( 1935 - 37 ),  Sergueï  Eisenstein .  En  alternance  :  femme  en  blanc  des  *Pastorales * *tahitiennes * ( 1892 ),  Paul  Gauguin . \n'),
(41757,6084,'VoixOffIn','\n'),
(41758,6084,'BandeSon','*Id* *.* \n'),
(41759,6084,'Ecrits','\n'),
(41760,6084,'_product_image_gallery',''),
(41761,6085,'_pingme','1'),
(41762,6085,'_encloseme','1'),
(41763,6085,'Index','2900'),
(41764,6085,'Minutage','36’22 \n'),
(41765,6085,'Images','Saturé  :  homme  et  femme  marchant  entre  des  voitures  en  feu .  \n *Weekend * ( 1967 *), * Jean - Luc  Godard . \n'),
(41766,6085,'VoixOffIn','C’est  qu’il  n’est  pas  \n \n'),
(41767,6085,'BandeSon','*Choral * *pour * *orgue* *, * *BWV * *721 * («  *Aie * *pitié * *de * *moi * *Seigneur * »)  ( 1704 *), * Johann  Sebastian  Bach . \n'),
(41768,6085,'Ecrits','\n'),
(41769,6085,'_product_image_gallery',''),
(41770,6086,'_pingme','1'),
(41771,6086,'_encloseme','1'),
(41772,6086,'Index','2910'),
(41773,6086,'Minutage','36’27 \n'),
(41774,6086,'Images','Noir . \n'),
(41775,6086,'VoixOffIn','plus  permis  à  un  gouvernement \n qu’à  un  individu  d’être  un  assassin .  C’est  que  l’Europe  est  solidaire \n'),
(41776,6086,'BandeSon','*Id* *.* \n'),
(41777,6086,'Ecrits','\n'),
(41778,6086,'_product_image_gallery',''),
(41779,6087,'_pingme','1'),
(41780,6087,'_encloseme','1'),
(41781,6087,'Index','2920'),
(41782,6087,'Minutage','36’32 \n'),
(41783,6087,'Images','Femmes  décapitant  un  homme . \n * * *Judith * *tranchant * *la * *tête * *d’Holopherne * ( 1620 ),  Artemisia  Gentileschi . \n'),
(41784,6087,'VoixOffIn','c’est  que  tout  ce  qui  se  fait  en  Europe \n est  fait  par  l’Europe \n'),
(41785,6087,'BandeSon','*Id* *.* \n'),
(41786,6087,'Ecrits','\n'),
(41787,6087,'_product_image_gallery',''),
(41788,6088,'_pingme','1'),
(41789,6088,'_encloseme','1'),
(41790,6088,'Index','2930'),
(41791,6088,'Minutage','35’34 \n'),
(41792,6088,'Images','Homme  pillant  un  cadavre . \n'),
(41793,6088,'VoixOffIn','c’est  que \n s’il  existe  un  gouvernement  \n de  bêtes  fauves \n il  doit  être  traité  \n'),
(41794,6088,'BandeSon','*Id* *.* \n'),
(41795,6088,'Ecrits','\n'),
(41796,6088,'_product_image_gallery',''),
(41797,6089,'_pingme','1'),
(41798,6089,'_encloseme','1'),
(41799,6089,'Index','2940'),
(41800,6089,'Minutage','36’41 \n'),
(41801,6089,'Images','Homme  regardant  à  travers  une  caméra .  En  superposition  :  cadavre  d’homme  dans  la  rue . \n'),
(41802,6089,'VoixOffIn','en  bête  fauve \n'),
(41803,6089,'BandeSon','*Id* *.* \n'),
(41804,6089,'Ecrits','\n'),
(41805,6089,'_product_image_gallery',''),
(41806,6090,'_pingme','1'),
(41807,6090,'_encloseme','1'),
(41808,6090,'Index','2950'),
(41809,6090,'Minutage','36’44 \n'),
(41810,6090,'Images','Homme  conduisant  une  voiture  à  toute  vitesse . \n *Dr* *. * *Mabuse* *, * *le * *joueur * ( 1922 *), * Fritz  Lang .  \n \n En  superposition  :  dessin  d\'homme .  *Combats * ( 1915 ),  Ernst  Ludwig  Kirchner .  *Histoire* *(* *s* *) * *du * *cinéma * *3a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(41811,6090,'VoixOffIn','c’est  qu’à  l’heure  qu’il  est ,  tout  près  de  nous  là ,  sous  nos  yeux  on  massacre \n on  incendie \n on  pille \n on  extermine \n \n'),
(41812,6090,'BandeSon','*Id* *.* \n'),
(41813,6090,'Ecrits','\n'),
(41814,6090,'_product_image_gallery',''),
(41815,6091,'_pingme','1'),
(41816,6091,'_encloseme','1'),
(41817,6091,'Index','2960'),
(41818,6091,'Minutage','36’49 \n'),
(41819,6091,'Images','Noir . \n'),
(41820,6091,'VoixOffIn','on  égorge  les  pères  et  les  mères \n on  vend  les  petites  filles  et  les  petits  garçons \n'),
(41821,6091,'BandeSon','*Id* *.* \n'),
(41822,6091,'Ecrits','\n'),
(41823,6091,'_product_image_gallery',''),
(41824,6092,'_pingme','1'),
(41825,6092,'_encloseme','1'),
(41826,6092,'Index','2970'),
(41827,6092,'Minutage','36’52 \n \n'),
(41828,6092,'Images','Femme  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 .  \n *Lady * *Macbeth * *somnambule * ( 1781 - 84 ),  Johann  Heinrich  Füssli .  *Histoire* *(* *s* *) * *du * *cinéma * *3a* *, * Jean - Luc  Godard  ( 1889 - 99 ) \n'),
(41829,6092,'VoixOffIn','on  vend  les  petites  filles  et  les  petits  garçons  \n \n'),
(41830,6092,'BandeSon','*Id* *.* \n'),
(41831,6092,'Ecrits','\n'),
(41832,6092,'_product_image_gallery',''),
(41833,6093,'_pingme','1'),
(41834,6093,'_encloseme','1'),
(41835,6093,'Index','2980'),
(41836,6093,'Minutage','36’55 \n'),
(41837,6093,'Images','Lady  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 .  \n *Bel * *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'),
(41838,6093,'VoixOffIn','c’est  que  les  enfants  trop  petits  \n pour  être  vendus \n on  les  fend  d’un  coup  de  sabre \n \n'),
(41839,6093,'BandeSon','*Id* *.* \n'),
(41840,6093,'Ecrits','\n'),
(41841,6093,'_product_image_gallery',''),
(41842,6094,'_pingme','1'),
(41843,6094,'_encloseme','1'),
(41844,6094,'Index','2990'),
(41845,6094,'Minutage','36’58 \n'),
(41846,6094,'Images','Goya  id .  Clignotant  :  enfant  errant  dans  une  ville .  \n *Allemagne * *année * *zéro * ( 1948 ),  Roberto  Rossellini . \n'),
(41847,6094,'VoixOffIn','c’est  qu’on  brûle  les  familles  dans  les  maisons \n'),
(41848,6094,'BandeSon','*Id* *.* \n'),
(41849,6094,'Ecrits','\n'),
(41850,6094,'_product_image_gallery',''),
(41851,6095,'_pingme','1'),
(41852,6095,'_encloseme','1'),
(41853,6095,'Index','3000'),
(41854,6095,'Minutage','37’03 \n'),
(41855,6095,'Images','Enfant  errant  dans  une  ville . \n *Allemagne * *année * *zéro * ( 1948 ),  Roberto  Rossellini . \n'),
(41856,6095,'VoixOffIn','\n'),
(41857,6095,'BandeSon','Silence . \n'),
(41858,6095,'Ecrits','\n'),
(41859,6095,'_product_image_gallery',''),
(41860,6096,'_pingme','1'),
(41861,6096,'_encloseme','1'),
(41862,6096,'Index','3010'),
(41863,6096,'Minutage','37’09 \n'),
(41864,6096,'Images','Id .  Rossellini .  En  surimpression  :  homme  avec  une  tête  au  bout  d’un  pique .  *\n* Gravure  des  *Disparates * ( 1821 - 24 *), * Francisco  de  Goya .  *Histoire* *(* *s* *) * *du * *cinéma * *3a * ( 1889 - 99 *), * Jean - Luc  Godard . \n'),
(41865,6096,'VoixOffIn','de  sorte  qu’aux  vivants  qui  leur  ont  envoyé  le  carnage \n les  morts  envoient  la  peste ,  ce  qui  est  bien  fait \n nous  apprenons  aux  gouvernements  d’Europe \n ceci : \n c’est  qu’on  ouvre  les  femmes  grosses \n pour  leur  tuer  les  enfants  dans  les  entrailles \n'),
(41866,6096,'BandeSon','*Choral * *pour * *orgue* *, * *BWV * *721 * *(« * *Aie * *pitié * *de * *moi * *Seigneur * *») * ( 1704 *), * Johann  Sebastian  Bach . \n'),
(41867,6096,'Ecrits','Les  signes  parmi  nous . \n'),
(41868,6096,'_product_image_gallery',''),
(41869,6097,'_pingme','1'),
(41870,6097,'_encloseme','1'),
(41871,6097,'Index','3020'),
(41872,6097,'Minutage','37’25 \n'),
(41873,6097,'Images','Noir . \n'),
(41874,6097,'VoixOffIn','c’est  qu’il  y  a  dans  les  places  publiques \n des  tas  de  squelettes .  ( Jean - Luc  Godard ) \n *Pour * *la * *Serbie * ( 1876 *), * Victor  Hugo . \n'),
(41875,6097,'BandeSon','*Id* *.* \n'),
(41876,6097,'Ecrits','\n'),
(41877,6097,'_product_image_gallery',''),
(41878,6098,'_pingme','1'),
(41879,6098,'_encloseme','1'),
(41880,6098,'Index','3030'),
(41881,6098,'Minutage','37’27 \n'),
(41882,6098,'Images','Chat  noir  descendant  les  escaliers  au  ralenti . \n *De * *l’origine * *du * *XXI * *siècle * ( 2000 *), * Jean - Luc  Godard . \n'),
(41883,6098,'VoixOffIn','Le  sort  de  la  France \n'),
(41884,6098,'BandeSon','Silence . \n'),
(41885,6098,'Ecrits','\n'),
(41886,6098,'_product_image_gallery',''),
(41887,6099,'_pingme','1'),
(41888,6099,'_encloseme','1'),
(41889,6099,'Index','3040'),
(41890,6099,'Minutage','37’29 \n'),
(41891,6099,'Images','Surexposé  :  homme  se  traînant  péniblement  vers  une  chaise .  \n *Docteur * *Jerry * *et * *Mister * *Love * ( 1963 ),  Jerry  Lewis . \n'),
(41892,6099,'VoixOffIn','Suivait  celui  de  l’Amérique .  Comme  dans  les  contes  romantiques  allemandes ,  le  chat \n'),
(41893,6099,'BandeSon','*Id* *.* \n'),
(41894,6099,'Ecrits','\n'),
(41895,6099,'_product_image_gallery',''),
(41896,6100,'_pingme','1'),
(41897,6100,'_encloseme','1'),
(41898,6100,'Index','3050'),
(41899,6100,'Minutage','37’37 \n'),
(41900,6100,'Images','Noir . \n'),
(41901,6100,'VoixOffIn','qui  éprouve  à  son  tour  les  amours \n'),
(41902,6100,'BandeSon','*Id* *.* \n'),
(41903,6100,'Ecrits','\n'),
(41904,6100,'_product_image_gallery',''),
(41905,6101,'_pingme','1'),
(41906,6101,'_encloseme','1'),
(41907,6101,'Index','3060'),
(41908,6101,'Minutage','37’42 \n'),
(41909,6101,'Images','Pieds  marchant  au  milieu  de  l\'eau .  \n *La * *couleur * *de * *la * *grenade * ( 1968 *), * Sergei  Parajanov . \n'),
(41910,6101,'VoixOffIn','et  les  ambitions  de  son  maître  et  les  rend  dérisoires .  \n'),
(41911,6101,'BandeSon','*Id* *.* \n'),
(41912,6101,'Ecrits','\n'),
(41913,6101,'_product_image_gallery',''),
(41914,6102,'_pingme','1'),
(41915,6102,'_encloseme','1'),
(41916,6102,'Index','3070'),
(41917,6102,'Minutage','37’44 \n'),
(41918,6102,'Images','Pieds  marchant  dans  la  rue .  \n *Les * *Olvidados * ( 1950 *), * Luis  Buñuel . \n'),
(41919,6102,'VoixOffIn','\n'),
(41920,6102,'BandeSon','Cloche  d’enterrement .  \n'),
(41921,6102,'Ecrits','\n'),
(41922,6102,'_product_image_gallery',''),
(41923,6103,'_pingme','1'),
(41924,6103,'_encloseme','1'),
(41925,6103,'Index','3080'),
(41926,6103,'Minutage','37’46 \n'),
(41927,6103,'Images','Photographie  de  Marilyn  Monroe .  \n *Histoire* *(* *s* *) * *du * *cinéma * *4b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(41928,6103,'VoixOffIn','\n'),
(41929,6103,'BandeSon','Silence . \n'),
(41930,6103,'Ecrits','\n'),
(41931,6103,'_product_image_gallery',''),
(41932,6104,'_pingme','1'),
(41933,6104,'_encloseme','1'),
(41934,6104,'Index','3090'),
(41935,6104,'Minutage','37’47 \n'),
(41936,6104,'Images','Homme  et  jeune  femme  sous  la  pluie .  \n *Le * *premier * *maître * ( 1965 *), * Andreï  Kontchalovski .  *De * *l’origine * *du * *XXI * *siècle * ( 2000 *), * Jean - Luc  Godard . \n'),
(41937,6104,'VoixOffIn','\n'),
(41938,6104,'BandeSon','*Id* *.* \n'),
(41939,6104,'Ecrits','\n'),
(41940,6104,'_product_image_gallery',''),
(41941,6105,'_pingme','1'),
(41942,6105,'_encloseme','1'),
(41943,6105,'Index','3100'),
(41944,6105,'Minutage','37’50 \n'),
(41945,6105,'Images','Visage  de  femme  aux  mains  jointes  dans  un  geste  de  prière . En  tons  rouges  : \n détail  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'),
(41946,6105,'VoixOffIn','\n'),
(41947,6105,'BandeSon','*Id* *.* \n'),
(41948,6105,'Ecrits','\n'),
(41949,6105,'_product_image_gallery',''),
(41950,6106,'_pingme','1'),
(41951,6106,'_encloseme','1'),
(41952,6106,'Index','3110'),
(41953,6106,'Minutage','37’51 \n'),
(41954,6106,'Images','Jean - 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 .  A  côté ,  *JLG* */* *JLG * ( 1995 ),  Jean - Luc  Godard .  *Histoire* *(* *s* *) * *du * *cinéma * *3a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(41955,6106,'VoixOffIn','\n'),
(41956,6106,'BandeSon','*Klavierquintett* *, * *Op* *. * *18* ,  *Moderato * *con * *moto * ( 1946 *), * Mieczysław  Weinberg . \n'),
(41957,6106,'_product_image_gallery',''),
(41958,6107,'_pingme','1'),
(41959,6107,'_encloseme','1'),
(41960,6107,'Index','3120'),
(41961,6107,'Minutage','37’59 \n'),
(41962,6107,'Images','Iris  :  détail ,  un  visage .  \n *Judith * *et * *Holopherne * ( 1820 - 23 *), * Francisco  de  Goya .  *Histoire* *(* *s* *) * *du * *cinéma * *3a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(41963,6107,'VoixOffIn','-  Pourquoi  Sarajevo  ? \n -  On  dit  deux  cents  villages  brûlés \n il  n’y  en  a  que  quatre  vingt  dix  neuf \n ce  que  vous  appelez  la  peste \n n’est  que  le  typhus \n toutes  les  femmes  n’ont  pas  été  violées \n \n'),
(41964,6107,'BandeSon','Cloche  d’enterrement  et  silence . \n'),
(41965,6107,'Ecrits','Des  ténèbres \n'),
(41966,6107,'_product_image_gallery',''),
(41967,6108,'_pingme','1'),
(41968,6108,'_encloseme','1'),
(41969,6108,'Index','3130'),
(41970,6108,'Minutage','38’10 \n'),
(41971,6108,'Images','Noir . \n'),
(41972,6108,'VoixOffIn','toutes  les  filles  n’ont  pas  été  vendues \n quelques - unes  ont  échappé \n on  a  châtré  les  prisonniers \n'),
(41973,6108,'BandeSon','*Id* *.* \n'),
(41974,6108,'Ecrits','\n'),
(41975,6108,'_product_image_gallery',''),
(41976,6109,'_pingme','1'),
(41977,6109,'_encloseme','1'),
(41978,6109,'Index','3140'),
(41979,6109,'Minutage','38’15 \n'),
(41980,6109,'Images','Détail  du  visage  d\'une  femme .  \n *Balcon * ( 1868 ),  Edouard  Manet .  *Histoire* *(* *s* *) * *du * *cinéma * *3a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(41981,6109,'VoixOffIn','mais  on  leur  a  aussi  coupé  la  tête … \n - Parce  que  la  Palestine \n -... à  la  pointe  d’une  baïonnette .  ( Jean - Luc  Godard ) \n *Pour * *la * *Serbie * ( 1876 *), * Victor  Hugo . \n'),
(41982,6109,'BandeSon','*Id* *.* \n'),
(41983,6109,'Ecrits','Je  sais  à  quoi  tu  penses \n'),
(41984,6109,'_product_image_gallery',''),
(41985,6110,'_pingme','1'),
(41986,6110,'_encloseme','1'),
(41987,6110,'Index','3150'),
(41988,6110,'Minutage','38’27 \n'),
(41989,6110,'Images','Noir . \n'),
(41990,6110,'VoixOffIn','Et  cetera ,  et  cetera .  ( Jean - Luc  Godard ) \n'),
(41991,6110,'BandeSon','Silence . \n'),
(41992,6110,'Ecrits','\n'),
(41993,6110,'_product_image_gallery',''),
(41994,6111,'_pingme','1'),
(41995,6111,'_encloseme','1'),
(41996,6111,'Index','3160'),
(41997,6111,'Minutage','38’31 \n'),
(41998,6111,'Images','Quatrièmes  de  couverture  des  exemplaires  des  volumes  de  *l\'Esprit * *des * *lois * ( 1748 ),  Montesquieu . \n'),
(41999,6111,'VoixOffIn','C\'est  en  cherchant  à  instruire  les  hommes ,  que  l\'on  peut  pratiquer  cette  vertu  générale  qui  comprend  l\'amour  de  tous .  L\'homme …  \n que  l\'on  peut  pratiquer  cette  vertu  générale  qui  comprend  l\'amour  de  tous . \n'),
(42000,6111,'BandeSon','*Id* *.* \n'),
(42001,6111,'Ecrits','\n'),
(42002,6111,'_product_image_gallery',''),
(42003,6112,'_pingme','1'),
(42004,6112,'_encloseme','1'),
(42005,6112,'Index','3170'),
(42006,6112,'Minutage','38’58 \n'),
(42007,6112,'Images','Hommes  encagoulés  de  blanc  sur  le  toit  d\'une  voiture  avec  une  croix  en  bois  sur  le  coffre . \n'),
(42008,6112,'VoixOffIn','L\'homme ,  l’homme \n'),
(42009,6112,'BandeSon','*Id* *.* \n'),
(42010,6112,'Ecrits','\n'),
(42011,6112,'_product_image_gallery',''),
(42012,6113,'_pingme','1'),
(42013,6113,'_encloseme','1'),
(42014,6113,'Index','3180'),
(42015,6113,'Minutage','39’00 \n'),
(42016,6113,'Images','Au  ralenti  :  homme  ouvrant  un  canif  avec  sa  main .  \n *M * *le * *maudit * ( 1931 *), * Fritz  Lang .  *Histoire* *(* *s* *) * *du * *cinéma * *1a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42017,6113,'VoixOffIn','cet  être  flexible ,  se  pliant  dans  la  société  \n'),
(42018,6113,'BandeSon','*Id* *.* \n'),
(42019,6113,'Ecrits','\n'),
(42020,6113,'_product_image_gallery',''),
(42021,6114,'_pingme','1'),
(42022,6114,'_encloseme','1'),
(42023,6114,'Index','3190'),
(42024,6114,'Minutage','39’07 \n'),
(42025,6114,'Images','Homme  tenant  un  appareil  photo .  \n'),
(42026,6114,'VoixOffIn','aux  pensées  \n'),
(42027,6114,'BandeSon','*Id* *.* \n'),
(42028,6114,'Ecrits','\n'),
(42029,6114,'_product_image_gallery',''),
(42030,6115,'_pingme','1'),
(42031,6115,'_encloseme','1'),
(42032,6115,'Index','3200'),
(42033,6115,'Minutage','39’09 \n'),
(42034,6115,'Images','Femme  mourant  dans  les  bras  d\'un  homme  et  s\'effondrant  sur  le  sol .  \n'),
(42035,6115,'VoixOffIn','et  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 ). \n *L’esprit * *des * *lois* ( 1748 *), * Montesquieu . \n'),
(42036,6115,'BandeSon','*Id* *.* \n'),
(42037,6115,'Ecrits','\n'),
(42038,6115,'_product_image_gallery',''),
(42039,6116,'_pingme','1'),
(42040,6116,'_encloseme','1'),
(42041,6116,'Index','3210'),
(42042,6116,'Minutage','39’30 \n'),
(42043,6116,'Images','Homme  poussant  un  autre  homme  au  sol .  \n *Francesco* *, * *giullare * *di * *dio * ( 1950 *), * Roberto  Rossellini . \n'),
(42044,6116,'VoixOffIn','\n'),
(42045,6116,'BandeSon','*Id* *.* \n'),
(42046,6116,'Ecrits','\n'),
(42047,6116,'_product_image_gallery',''),
(42048,6117,'_pingme','1'),
(42049,6117,'_encloseme','1'),
(42050,6117,'Index','3220'),
(42051,6117,'Minutage','39’39 \n'),
(42052,6117,'Images','Photographie  d\'un  réalisateur  regardant  à  travers  une  caméra  \n'),
(42053,6117,'VoixOffIn','\n'),
(42054,6117,'BandeSon','*Id* *.* \n'),
(42055,6117,'Ecrits','\n'),
(42056,6117,'_product_image_gallery',''),
(42057,6118,'_pingme','1'),
(42058,6118,'_encloseme','1'),
(42059,6118,'Index','3230'),
(42060,6118,'Minutage','39’46 \n'),
(42061,6118,'Images','Saturé  et  ouverture  iris  entourée  de  noir  :  mains  d\'une  femme  avec  des  ciseaux  coupant  une  pellicule . \n'),
(42062,6118,'VoixOffIn','- Books ? \n - Yeah ,  in  the  last  barrel \n - Books \n \n'),
(42063,6118,'BandeSon','*Id* *.* \n'),
(42064,6118,'Ecrits','\n'),
(42065,6118,'_product_image_gallery',''),
(42066,6119,'_pingme','1'),
(42067,6119,'_encloseme','1'),
(42068,6119,'Index','3240'),
(42069,6119,'Minutage','39’48 \n'),
(42070,6119,'Images','Homme  trouvant  un  livre  et  le  lisant ,  pendant  que  d\'autres  enfants  et  adultes  l\'entourent  avec  intérêt .  *\n* *Vers * *sa * *destinée * ( 1939 *), * John  Ford . \n'),
(42071,6119,'VoixOffIn','-  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'),
(42072,6119,'BandeSon','*Id* *.* \n'),
(42073,6119,'Ecrits','\n'),
(42074,6119,'_product_image_gallery',''),
(42075,6120,'_pingme','1'),
(42076,6120,'_encloseme','1'),
(42077,6120,'Index','3250'),
(42078,6120,'Minutage','40’07 \n'),
(42079,6120,'Images','Noir . \n'),
(42080,6120,'VoixOffIn','\n'),
(42081,6120,'BandeSon','*Id* *.* \n'),
(42082,6120,'Ecrits','\n'),
(42083,6120,'_product_image_gallery',''),
(42084,6121,'_pingme','1'),
(42085,6121,'_encloseme','1'),
(42086,6121,'Index','3260'),
(42087,6121,'Minutage','40’10 \n'),
(42088,6121,'Images','Homme  allongé ,  les  jambes  contre  un  arbre ,  un  livre  à  la  main .  *\n* *Vers * *sa * *destinée * ( 1939 *), * John  Ford . \n'),
(42089,6121,'VoixOffIn','A  bas  le  roi  ! \n Il  a  dix  femmes  dans  son  lit  pour  y  passer  de  folles  nuits .  A  Bas  le  roi  ! \n Vive  la  loi  !  Vive  la  loi  ! \n Vive  le  roi  !  Peut  contenter  d’une  traite .  A  bas  la  loi  ! \n *Chanson * *paillarde * *républicaine* *.* *\n*'),
(42090,6121,'BandeSon','Accordéon ,  voix  féminine . \n'),
(42091,6121,'Ecrits','\n'),
(42092,6121,'_product_image_gallery',''),
(42093,6122,'_pingme','1'),
(42094,6122,'_encloseme','1'),
(42095,6122,'Index','3270'),
(42096,6122,'Minutage','40’32 \n'),
(42097,6122,'Images','Homme  en  menaçant  et  poussant  un  autre  dans  des  escaliers .  \n *Le * *Chaos * ( 2007 *), * Youssef  Chahine . \n'),
(42098,6122,'VoixOffIn','\n'),
(42099,6122,'BandeSon','Silence . \n'),
(42100,6122,'Ecrits','\n'),
(42101,6122,'_product_image_gallery',''),
(42102,6123,'_pingme','1'),
(42103,6123,'_encloseme','1'),
(42104,6123,'Index','3280'),
(42105,6123,'Minutage','40’36 \n'),
(42106,6123,'Images','Noir . \n'),
(42107,6123,'VoixOffIn','\n'),
(42108,6123,'BandeSon','*Id* *.* \n'),
(42109,6123,'Ecrits','\n'),
(42110,6123,'_product_image_gallery',''),
(42111,6124,'_pingme','1'),
(42112,6124,'_encloseme','1'),
(42113,6124,'Index','3290'),
(42114,6124,'Minutage','40’39 \n'),
(42115,6124,'Images','Au  ralenti  :  homme  souriant ,  les  dents  découvertes .  \n *Freaks * ( 1939 ),  Tod  Browning .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42116,6124,'VoixOffIn','\n'),
(42117,6124,'BandeSon','*Id* *.* \n'),
(42118,6124,'Ecrits','\n'),
(42119,6124,'_product_image_gallery',''),
(42120,6125,'_pingme','1'),
(42121,6125,'_encloseme','1'),
(42122,6125,'Index','3300'),
(42123,6125,'Minutage','40’44 \n'),
(42124,6125,'Images','Femme  nue ,  homme  lui  lèchant  l’anus .  \n Extrait  d’un  film  pornographique .  \n *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42125,6125,'VoixOffIn','\n'),
(42126,6125,'BandeSon','*Id* *.* \n'),
(42127,6125,'Ecrits','\n'),
(42128,6125,'_product_image_gallery',''),
(42129,6126,'_pingme','1'),
(42130,6126,'_encloseme','1'),
(42131,6126,'Index','3310'),
(42132,6126,'Minutage','40’51 \n \n \n'),
(42133,6126,'Images','Homme  riant ,  et  se  couvrant  la  bouche  avec  la  main .  \n *Freaks * ( 1939 ),  Tod  Browning .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42134,6126,'VoixOffIn','\n'),
(42135,6126,'BandeSon','*Id* *. * et  *Arcadiana* *, * *Op* *. * *12* *: * *IV* *. * *Et* *… * *(* *tango * *mortale* )  ( 1994 ),  Thomas  Adès . \n'),
(42136,6126,'Ecrits','\n'),
(42137,6126,'_product_image_gallery',''),
(42138,6127,'_pingme','1'),
(42139,6127,'_encloseme','1'),
(42140,6127,'Index','3320'),
(42141,6127,'Minutage','40’57 \n'),
(42142,6127,'Images','Surexposé ,  en  noir  et  blanc  :  François  Truffaut . \n'),
(42143,6127,'VoixOffIn','\n'),
(42144,6127,'BandeSon','*Arcadiana* *, * *Op* *. * *12* *: * *IV* *. * *Et* *… * *(* *tango * *mortale* )  ( 1994 ),  Thomas  Adès . *\n*'),
(42145,6127,'Ecrits','\n'),
(42146,6127,'_product_image_gallery',''),
(42147,6128,'_pingme','1'),
(42148,6128,'_encloseme','1'),
(42149,6128,'Index','3330'),
(42150,6128,'Minutage','41’00 \n'),
(42151,6128,'Images','Surexposé ,  en  noir  et  blanc  :  Jacques  Rivette . \n'),
(42152,6128,'VoixOffIn','\n'),
(42153,6128,'BandeSon','*Id* *.* \n'),
(42154,6128,'Ecrits','\n'),
(42155,6128,'_product_image_gallery',''),
(42156,6129,'_pingme','1'),
(42157,6129,'_encloseme','1'),
(42158,6129,'Index','3340'),
(42159,6129,'Minutage','41’04 \n'),
(42160,6129,'Images','Surexposé ,  en  noir  et  blanc  :  Eric  Rohmer . \n'),
(42161,6129,'VoixOffIn','On  sent  que  l’on  tombera .  Doit  tomber . \n Va  tomber . \n'),
(42162,6129,'BandeSon','*Id* *.* \n'),
(42163,6129,'Ecrits','\n'),
(42164,6129,'_product_image_gallery',''),
(42165,6130,'_pingme','1'),
(42166,6130,'_encloseme','1'),
(42167,6130,'Index','3350'),
(42168,6130,'Minutage','41’08 \n'),
(42169,6130,'Images','Noir . \n'),
(42170,6130,'VoixOffIn','\n'),
(42171,6130,'BandeSon','*Id* *.* \n'),
(42172,6130,'Ecrits','le  secret  et  la  loi \n'),
(42173,6130,'_product_image_gallery',''),
(42174,6131,'_pingme','1'),
(42175,6131,'_encloseme','1'),
(42176,6131,'Index','3360'),
(42177,6131,'Minutage','41’16 \n'),
(42178,6131,'Images','Saturé  :  femme  attachée  à  un  poteau ,  et  brûlée  vive .  \n *Jeanne * *au * *bûcher * ( 1954 )  Roberto  Rossellini .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard .  \n'),
(42179,6131,'VoixOffIn','\n'),
(42180,6131,'BandeSon','*Id* *.* \n'),
(42181,6131,'Ecrits','\n'),
(42182,6131,'_product_image_gallery',''),
(42183,6132,'_pingme','1'),
(42184,6132,'_encloseme','1'),
(42185,6132,'Index','3370'),
(42186,6132,'Minutage','41’30 \n'),
(42187,6132,'Images','Noir . \n'),
(42188,6132,'VoixOffIn','\n'),
(42189,6132,'BandeSon','*Id* *.* \n'),
(42190,6132,'Ecrits','\n'),
(42191,6132,'_product_image_gallery',''),
(42192,6133,'_pingme','1'),
(42193,6133,'_encloseme','1'),
(42194,6133,'Index','3380'),
(42195,6133,'Minutage','41’32  \n'),
(42196,6133,'Images','Homme  marchant  sous  un  arbre . \n'),
(42197,6133,'VoixOffIn','Qu’est - ce  que  cela  fait  ?  Tout  est  grâce .  Je  crois  qu’il  est  mort  presque  aussitôt .  ( Jean - Luc  Godard ).  \n *Journal * *d\'un * *curé * *de * *campagne * ( 1951 ),  Robert  Bresson . \n \n'),
(42198,6133,'BandeSon','*Id* *. * \n'),
(42199,6133,'Ecrits','\n'),
(42200,6133,'_product_image_gallery',''),
(42201,6134,'_pingme','1'),
(42202,6134,'_encloseme','1'),
(42203,6134,'Index','3390'),
(42204,6134,'Minutage','41’37 \n'),
(42205,6134,'Images','Chars  traversant  une  forêt . \n'),
(42206,6134,'VoixOffIn','\n'),
(42207,6134,'BandeSon','*Id* *.* \n'),
(42208,6134,'Ecrits','\n'),
(42209,6134,'_product_image_gallery',''),
(42210,6135,'_pingme','1'),
(42211,6135,'_encloseme','1'),
(42212,6135,'Index','3400'),
(42213,6135,'Minutage','41’41 \n'),
(42214,6135,'Images','Noir . \n'),
(42215,6135,'VoixOffIn','\n'),
(42216,6135,'BandeSon','Silence . \n'),
(42217,6135,'Ecrits','\n'),
(42218,6135,'_product_image_gallery',''),
(42219,6136,'_pingme','1'),
(42220,6136,'_encloseme','1'),
(42221,6136,'Index','3410'),
(42222,6136,'Minutage','41’43 \n'),
(42223,6136,'Images','Hommes  courbés  à  genoux  ponçant  un  parquet .  \n *Les * *Raboteurs * *de * *parquet * ( 1875 ),  Gustave  Caillebotte . \n'),
(42224,6136,'VoixOffIn','Un  homme  que  la  justice  a  retranché  du  nombre  des  vivants  \n'),
(42225,6136,'BandeSon','*Id* *.* \n'),
(42226,6136,'Ecrits','\n'),
(42227,6136,'_product_image_gallery',''),
(42228,6137,'_pingme','1'),
(42229,6137,'_encloseme','1'),
(42230,6137,'Index','3420'),
(42231,6137,'Minutage','41’47 \n'),
(42232,6137,'Images','Homme  marchant  derrière  les  barreaux  d\'une  prison . \n *La * *faux * *coupable * ( 1956 *), * Alfred  Hitchcock . \n'),
(42233,6137,'VoixOffIn','appartient  au  Parquet .  Le  Parquet  est  souverain  @ \n'),
(42234,6137,'BandeSon','*Id* *.* \n'),
(42235,6137,'Ecrits','\n'),
(42236,6137,'_product_image_gallery',''),
(42237,6138,'_pingme','1'),
(42238,6138,'_encloseme','1'),
(42239,6138,'Index','3430'),
(42240,6138,'Minutage','41’54 \n'),
(42241,6138,'Images','Noir . \n'),
(42242,6138,'VoixOffIn','il  ne  dépend  de  personne ,  il  ne  relève  que  de  sa  conscience .  \n'),
(42243,6138,'BandeSon','*Id* *.* \n'),
(42244,6138,'Ecrits','\n'),
(42245,6138,'_product_image_gallery',''),
(42246,6139,'_pingme','1'),
(42247,6139,'_encloseme','1'),
(42248,6139,'Index','3440'),
(42249,6139,'Minutage','42’00 \n'),
(42250,6139,'Images','Homme  serrant  les  poings .  \n *Le * *faux * *coupable * ( 1956 *), * Alfred  Hitchcock . \n'),
(42251,6139,'VoixOffIn','La  prison  appartient  au  Parquet \n'),
(42252,6139,'BandeSon','*Id* *.* \n'),
(42253,6139,'Ecrits','\n'),
(42254,6139,'_product_image_gallery',''),
(42255,6140,'_pingme','1'),
(42256,6140,'_encloseme','1'),
(42257,6140,'Index','3450'),
(42258,6140,'Minutage','42’03 \n'),
(42259,6140,'Images','Noir . \n'),
(42260,6140,'VoixOffIn','il  en  est \n'),
(42261,6140,'BandeSon','*Id* *.* \n'),
(42262,6140,'Ecrits','\n'),
(42263,6140,'_product_image_gallery',''),
(42264,6141,'_pingme','1'),
(42265,6141,'_encloseme','1'),
(42266,6141,'Index','3460'),
(42267,6141,'Minutage','42’06 \n'),
(42268,6141,'Images','Juge  enjoinant  à  une  femme  de  garder  le  silence *. * *\n* *Jour * *de * *colère * ( 1943 ),  Carl  Theodor  Dreyer . \n'),
(42269,6141,'VoixOffIn','le  maître  absolu .  ( Jean - Luc  Godard ) *\n* *Scènes * *de * *la * *vie * *parisienne * ( 1820 ),  Honoré  Balzac . \n'),
(42270,6141,'BandeSon','*Id* *.* \n'),
(42271,6141,'Ecrits','\n'),
(42272,6141,'_product_image_gallery',''),
(42273,6142,'_pingme','1'),
(42274,6142,'_encloseme','1'),
(42275,6142,'Index','3470'),
(42276,6142,'Minutage','42’10 \n'),
(42277,6142,'Images','Homme  marchant  dans  un  long  couloir  obscure .  \n *La * *dame * *de * *Shanghai * ( 1948 *), * Orson  Welles .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42278,6142,'VoixOffIn','-  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 .  *\n* *Wyatt * *Earp * ( 1994 *), * Lawrence  Kasdan . \n'),
(42279,6142,'BandeSon','*Id* *.* \n'),
(42280,6142,'Ecrits','- Tais  toi  ! \n'),
(42281,6142,'_product_image_gallery',''),
(42282,6143,'_pingme','1'),
(42283,6143,'_encloseme','1'),
(42284,6143,'Index','3480'),
(42285,6143,'Minutage','42’22 \n'),
(42286,6143,'Images','Noir . \n'),
(42287,6143,'VoixOffIn','*\n*'),
(42288,6143,'BandeSon','*Insight * ( 2002 *), * Dobrinka  Tabakova . \n'),
(42289,6143,'Ecrits','\n'),
(42290,6143,'_product_image_gallery',''),
(42291,6144,'_pingme','1'),
(42292,6144,'_encloseme','1'),
(42293,6144,'Index','3490'),
(42294,6144,'Minutage','42’23 \n'),
(42295,6144,'Images','Saturé  :  hommes  marchant  en  rang ,  les  mains  au - dessus  de  la  tête .  En  arrière - plan  :  fumée  d’incendie .  \n *Tout * *va * *bien * ( 1972 ),  Jean  Luc  Godard . \n'),
(42296,6144,'VoixOffIn','\n'),
(42297,6144,'BandeSon','*Id* *.* \n'),
(42298,6144,'Ecrits','\n'),
(42299,6144,'_product_image_gallery',''),
(42300,6145,'_pingme','1'),
(42301,6145,'_encloseme','1'),
(42302,6145,'Index','3500'),
(42303,6145,'Minutage','42’32 \n'),
(42304,6145,'Images','Au  ralenti  :  homme  désignant  de  la  main  un  point  hors - champ .  \n *Alexandre * *Nevski * ( 1938 ),  Sergueï  Eisenstein  et  Dmitri  Vassiliev . \n'),
(42305,6145,'VoixOffIn','\n'),
(42306,6145,'BandeSon','*Id* *.* \n'),
(42307,6145,'Ecrits','\n'),
(42308,6145,'_product_image_gallery',''),
(42309,6146,'_pingme','1'),
(42310,6146,'_encloseme','1'),
(42311,6146,'Index','3510'),
(42312,6146,'Minutage','42’39 \n'),
(42313,6146,'Images','Noir . \n'),
(42314,6146,'VoixOffIn','\n'),
(42315,6146,'BandeSon','*Id* *.* \n'),
(42316,6146,'Ecrits','\n'),
(42317,6146,'_product_image_gallery',''),
(42318,6147,'_pingme','1'),
(42319,6147,'_encloseme','1'),
(42320,6147,'Index','3520'),
(42321,6147,'Minutage','42’44 \n'),
(42322,6147,'Images','Prisonnier  nu ,  assis  et  recroquevillé .  \n *Eau * *argentée* ,  *Syrie * *autoportrait * ( 2014 *), * Ossama  Mohammad  et  Wiam  Simav  Bedirxan . \n'),
(42323,6147,'VoixOffIn','\n'),
(42324,6147,'BandeSon','*Id* *.* \n'),
(42325,6147,'Ecrits','\n'),
(42326,6147,'_product_image_gallery',''),
(42327,6148,'_pingme','1'),
(42328,6148,'_encloseme','1'),
(42329,6148,'Index','3530'),
(42330,6148,'Minutage','42’52 \n'),
(42331,6148,'Images','Femme  avec  un  foulard  autour  de  la  bouche  et  du  nez  regardant  à  travers  les  barreaux .  \n *Tout * *va * *bien * ( 1972 ),  Jean  Luc  Godard .  *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42332,6148,'VoixOffIn','\n'),
(42333,6148,'BandeSon','*Id* *.* \n'),
(42334,6148,'Ecrits','\n'),
(42335,6148,'_product_image_gallery',''),
(42336,6149,'_pingme','1'),
(42337,6149,'_encloseme','1'),
(42338,6149,'Index','3540'),
(42339,6149,'Minutage','42’57 \n'),
(42340,6149,'Images','Prisonnier  d\'un  camp  de  concentration  regardant  à  travers  la  fenêtre  d’un  train . \n *Nuit * *et * *brouillard * ( 1956 *), * Alain  Resnais .  *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42341,6149,'VoixOffIn','\n'),
(42342,6149,'BandeSon','*Id* *.* \n'),
(42343,6149,'Ecrits','\n'),
(42344,6149,'_product_image_gallery',''),
(42345,6150,'_pingme','1'),
(42346,6150,'_encloseme','1'),
(42347,6150,'Index','3550'),
(42348,6150,'Minutage','42’59 \n'),
(42349,6150,'Images','Soldats . \n'),
(42350,6150,'VoixOffIn','\n'),
(42351,6150,'BandeSon','*Id* *.* \n'),
(42352,6150,'Ecrits','\n'),
(42353,6150,'_product_image_gallery',''),
(42354,6151,'_pingme','1'),
(42355,6151,'_encloseme','1'),
(42356,6151,'Index','3560'),
(42357,6151,'Minutage','43’00 \n'),
(42358,6151,'Images','Manifestation  appelant  à  la  grève  générale  diffusée  par  la  programme  télévisé  français  *C\'est * *dans * *l\'air* *.* *\n*'),
(42359,6151,'VoixOffIn','Grève  générale , \n Jusqu’au  retrait  total .  ( 2x ) \n \n'),
(42360,6151,'BandeSon','*Id* *.* \n'),
(42361,6151,'Ecrits','\n'),
(42362,6151,'_product_image_gallery',''),
(42363,6152,'_pingme','1'),
(42364,6152,'_encloseme','1'),
(42365,6152,'Index','3570'),
(42366,6152,'Minutage','43’04 \n'),
(42367,6152,'Images','Homme  dans  l\'obscurité ,  le  menton  appuyé  sur  la  paume  de  la  main . \n *Fantômas * ( 1913 ),  Louis  Feuillade .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42368,6152,'VoixOffIn','-  Et  toujours  le  même  slogan ,  et  la  même  connerie . \n \n Tous  ensemble ,  tous  ensemble  ! \n'),
(42369,6152,'BandeSon','*Id* *.* \n'),
(42370,6152,'Ecrits','\n'),
(42371,6152,'_product_image_gallery',''),
(42372,6153,'_pingme','1'),
(42373,6153,'_encloseme','1'),
(42374,6153,'Index','3580'),
(42375,6153,'Minutage','43’13 \n'),
(42376,6153,'Images','Blanc \n'),
(42377,6153,'VoixOffIn','Grève  générale  ! \n Tous  ensemble ,  tous  ensemble  ! \n Il  faut  que  ça  continue ,  il  faut  que  ça  continue  pour  faire  céder  ce  gouvernement .  ( Discours  de  François  Ruffin ) *\n*'),
(42378,6153,'BandeSon','*Id* *.* \n'),
(42379,6153,'Ecrits','la  société \n est  fondée \n sur  un  crime \n en  commun \n *La * *violence * *et * *le * *sacré * ( 1972 ),  René  Girard . \n'),
(42380,6153,'_product_image_gallery',''),
(42381,6154,'_pingme','1'),
(42382,6154,'_encloseme','1'),
(42383,6154,'Index','3590'),
(42384,6154,'Minutage','43’20 \n'),
(42385,6154,'Images','Homme  recourbé ,  la  tête  posée  sur  un  bloc  de  bois ,  condamné  à  mort ,  puis  décapité .  *Le * *procès * *de * *Charles * *I * ( 1963 *), * Guy  Lessertisseur . \n'),
(42386,6154,'VoixOffIn','Souvenez - vous  !  ( Sigmund  Freud ) \n'),
(42387,6154,'BandeSon','*Id* *.* \n'),
(42388,6154,'Ecrits','\n'),
(42389,6154,'_product_image_gallery',''),
(42390,6155,'_pingme','1'),
(42391,6155,'_encloseme','1'),
(42392,6155,'Index','3600'),
(42393,6155,'Minutage','43’35 \n'),
(42394,6155,'Images','Au  ralenti  :  personnes  dans  le  procès  de  Nuremberg  ( 1945 - 46 ). \n'),
(42395,6155,'VoixOffIn','\n'),
(42396,6155,'BandeSon','Silence . \n'),
(42397,6155,'Ecrits','\n'),
(42398,6155,'_product_image_gallery',''),
(42399,6156,'_pingme','1'),
(42400,6156,'_encloseme','1'),
(42401,6156,'Index','3610'),
(42402,6156,'Minutage','43’46 \n'),
(42403,6156,'Images','Noir . \n'),
(42404,6156,'VoixOffIn','\n'),
(42405,6156,'BandeSon','*Insight * ( 2002 *), * Dobrinka  Tabakova . \n'),
(42406,6156,'Ecrits','\n'),
(42407,6156,'_product_image_gallery',''),
(42408,6157,'_pingme','1'),
(42409,6157,'_encloseme','1'),
(42410,6157,'Index','3620'),
(42411,6157,'Minutage','43’50 \n'),
(42412,6157,'Images','Saturé  et  surexposé  :  femme  et  fleurs  géantes .  \n *La * *Fée * *Libellule * ( 1908 ),  Georges  Méliès .  *Histoire* *(* *s* *) * *du * *cinéma * *2a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42413,6157,'VoixOffIn','\n'),
(42414,6157,'BandeSon','*Id* *.* \n'),
(42415,6157,'Ecrits','\n'),
(42416,6157,'_product_image_gallery',''),
(42417,6158,'_pingme','1'),
(42418,6158,'_encloseme','1'),
(42419,6158,'Index','3630'),
(42420,6158,'Minutage','44’04 \n'),
(42421,6158,'Images','Photographie  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'),
(42422,6158,'VoixOffIn','Devenue  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'),
(42423,6158,'BandeSon','*Id* *.* \n'),
(42424,6158,'Ecrits','\n'),
(42425,6158,'_product_image_gallery',''),
(42426,6159,'_pingme','1'),
(42427,6159,'_encloseme','1'),
(42428,6159,'Index','3640'),
(42429,6159,'Minutage','44’12 \n'),
(42430,6159,'Images','Noir . \n'),
(42431,6159,'VoixOffIn','\n'),
(42432,6159,'BandeSon','*Id* *.* \n'),
(42433,6159,'Ecrits','\n'),
(42434,6159,'_product_image_gallery',''),
(42435,6160,'_pingme','1'),
(42436,6160,'_encloseme','1'),
(42437,6160,'Index','3650'),
(42438,6160,'Minutage','44’13 \n'),
(42439,6160,'Images','Banc  de  montage .  Puis  en  surimpression  :  détail  de  *Gabrielle * *d\'Estrées * *et * *une * *de * *ses * *sœurs* \n ( 1594 *), * Anonyme ,  Ecole  Française .  La  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'),
(42440,6160,'VoixOffIn','non  par  principe ,  mais  parce  que  l\'Europe  \n'),
(42441,6160,'BandeSon','*Id* *. * et  silence . \n'),
(42442,6160,'Ecrits','\n'),
(42443,6160,'_product_image_gallery',''),
(42444,6161,'_pingme','1'),
(42445,6161,'_encloseme','1'),
(42446,6161,'Index','3660'),
(42447,6161,'Minutage','44’16 \n'),
(42448,6161,'Images','Hommes  prononçant  un  discours  devant  une  foule ,  à  la  fin  du  XVII  siècle .  \n'),
(42449,6161,'VoixOffIn','n\'a  pas  les  vertus  nécessaires .  ( Jean - Luc  Godard ). \n *Mémoire * *de * *la * *reine * *Hortense * ( 1831 *), * *Hortense * *de * *Beauharnais* . \n'),
(42450,6161,'BandeSon','Silence . \n'),
(42451,6161,'Ecrits','\n'),
(42452,6161,'_product_image_gallery',''),
(42453,6162,'_pingme','1'),
(42454,6162,'_encloseme','1'),
(42455,6162,'Index','3670'),
(42456,6162,'Minutage','44’21 \n'),
(42457,6162,'Images','Plusieurs  personnes  dansant  dans  une  salle .  *This * *Country\'s * *Going * *to * *War* ,  *Duck * *soup * ( 1933 ),  Leo  McCarey . \n'),
(42458,6162,'VoixOffIn','\n'),
(42459,6162,'BandeSon','Bande  son  de  *This * *Country\'s * *Going * *to * *War* ,  *Duck * *soup * ( 1933 ),  Leo  McCarey .  Et  voix  qui  chantent . \n'),
(42460,6162,'Ecrits','\n'),
(42461,6162,'_product_image_gallery',''),
(42462,6163,'_pingme','1'),
(42463,6163,'_encloseme','1'),
(42464,6163,'Index','3680'),
(42465,6163,'Minutage','44’24 \n'),
(42466,6163,'Images','Noir . \n'),
(42467,6163,'VoixOffIn','Les  rebels ,  c’est  vous  ?  Vous  vous  insurgez  contre  l’ordre \n'),
(42468,6163,'BandeSon','Silence . \n'),
(42469,6163,'Ecrits','t \n'),
(42470,6163,'_product_image_gallery',''),
(42471,6164,'_pingme','1'),
(42472,6164,'_encloseme','1'),
(42473,6164,'Index','3690'),
(42474,6164,'Minutage','44’28 \n'),
(42475,6164,'Images','Chat  se  retournant ,  l’air  terrifié .  Cartoon  de  Tex  Avery .  En  surimpression  :  texte .  *\n* *Histoire* *(* *s* *) * *du * *cinéma * *4b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42476,6164,'VoixOffIn','- Non ,  contre  les  privilèges  ! \n \n \n'),
(42477,6164,'BandeSon','*Id* *.* *\n*'),
(42478,6164,'Ecrits','montage \n inter \n dit  / \n par \n andré \n bazin \n'),
(42479,6164,'_product_image_gallery',''),
(42480,6165,'_pingme','1'),
(42481,6165,'_encloseme','1'),
(42482,6165,'Index','3700'),
(42483,6165,'Minutage','44’34 \n'),
(42484,6165,'Images','Adolescent  parlant  à  une  caméra ,  habillé  en  soldat  avec  un  foulard  sur  la  tête . \n'),
(42485,6165,'VoixOffIn','Devant  nous  de  la  République \n L\'étendard … \n ( réécriture  de  *La * *Marseillaise* *, * paroles  de  l’Abbé  René  Charles  de  Lusson ) \n'),
(42486,6165,'BandeSon','Voix  masculine  chantant  *La * *Marseillaise* *.* \n'),
(42487,6165,'Ecrits','Et  je  vous  invite  à  égorger  les  mécréants \n'),
(42488,6165,'_product_image_gallery',''),
(42489,6166,'_pingme','1'),
(42490,6166,'_encloseme','1'),
(42491,6166,'Index','3710'),
(42492,6166,'Minutage','44’37 \n'),
(42493,6166,'Images','Adolescent  tirant  avec  une  arme  à  feu  sur  un  autre  dans  les  couloirs  d\'une  école *. * *\n* *Elephant * ( 2003 *), * Gus  Van  Sant . \n'),
(42494,6166,'VoixOffIn','la  sensation  mentale  qu’il  éprouvait  depuis  quelques  temps ,  se  transforma  en  un  tourbillon  de  ténèbres \n'),
(42495,6166,'BandeSon','Coup  de  mitraillette . \n'),
(42496,6166,'Ecrits','\n'),
(42497,6166,'_product_image_gallery',''),
(42498,6167,'_pingme','1'),
(42499,6167,'_encloseme','1'),
(42500,6167,'Index','3720'),
(42501,6167,'Minutage','44’41 \n'),
(42502,6167,'Images','Noir . \n'),
(42503,6167,'VoixOffIn','Les  pauvres  gens ,  ceux  pour  qui  j’avais  \n'),
(42504,6167,'BandeSon','Silence . \n'),
(42505,6167,'Ecrits','\n'),
(42506,6167,'_product_image_gallery',''),
(42507,6168,'_pingme','1'),
(42508,6168,'_encloseme','1'),
(42509,6168,'Index','3730'),
(42510,6168,'Minutage','44’44 \n'),
(42511,6168,'Images','Au  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*'),
(42512,6168,'VoixOffIn','Je  les  préfère  [ les  pauvres ] \n'),
(42513,6168,'BandeSon','*Id* *.* \n'),
(42514,6168,'Ecrits','\n'),
(42515,6168,'_product_image_gallery',''),
(42516,6169,'_pingme','1'),
(42517,6169,'_encloseme','1'),
(42518,6169,'Index','3740'),
(42519,6169,'Minutage','44’50 \n'),
(42520,6169,'Images','Dessin  :  femme ,  homme  et  deux  enfants  manipulant  une  lanterne  magique . \n *Histoire* *(* *s* *) * *du * *cinéma * *3b * ( 1988 - 98 *), * Jean - Luc  Godard . *\n*'),
(42521,6169,'VoixOffIn','mais  uniquement  parce  qu\'ils  sont  les  vaincus .  ( Jean - Luc  Godard ) \n   *Les * *Conquérants * ( 1928 ),  André  Malraux . \n'),
(42522,6169,'BandeSon','*Id* *.* \n'),
(42523,6169,'Ecrits','\n'),
(42524,6169,'_product_image_gallery',''),
(42525,6170,'_pingme','1'),
(42526,6170,'_encloseme','1'),
(42527,6170,'Index','3750'),
(42528,6170,'Minutage','44’55 \n'),
(42529,6170,'Images','Gris \n'),
(42530,6170,'VoixOffIn','\n'),
(42531,6170,'BandeSon','*Id* *.* \n'),
(42532,6170,'Ecrits','\n'),
(42533,6170,'_product_image_gallery',''),
(42534,6171,'_pingme','1'),
(42535,6171,'_encloseme','1'),
(42536,6171,'Index','3760'),
(42537,6171,'Minutage','44’56 \n'),
(42538,6171,'Images','Homme  avec  un  chapeau  mexicain  et  une  moustache ,  l\'air  en  colère . \n *Viva * *Villa* *! * ( 1934 ),  Jack  Conway . \n'),
(42539,6171,'VoixOffIn','\n'),
(42540,6171,'BandeSon','*\n*'),
(42541,6171,'Ecrits','\n'),
(42542,6171,'_product_image_gallery',''),
(42543,6172,'_pingme','1'),
(42544,6172,'_encloseme','1'),
(42545,6172,'Index','3770'),
(42546,6172,'Minutage','44’58 \n'),
(42547,6172,'Images','Au  ralenti  :  Cavaliers  passant  au - dessus  d’un  jeune  homme  enterré  jusqu’aux  épaules .  \n *Que * *Viva * *Mexico * *! * ( 1931 - 1979 ),  Sergueï  Eisenstein . \n'),
(42548,6172,'VoixOffIn','[ Bruit  d\'une  voiture  qui  freine  et  accélère ] \n Et  bien  des  fois  abandonné  cet  ouvrage \n'),
(42549,6172,'BandeSon','Freinage  et  accélération  de  la  voiture . \n'),
(42550,6172,'Ecrits','\n'),
(42551,6172,'_product_image_gallery',''),
(42552,6173,'_pingme','1'),
(42553,6173,'_encloseme','1'),
(42554,6173,'Index','3780'),
(42555,6173,'Minutage','45’06 \n'),
(42556,6173,'Images','Homme  passant  la  main  à  travers  le  feu  d’une  cheminée .  \n *Les * *visiteurs * *du * *soir * ( 1942 ),  Marcel  Carné . \n'),
(42557,6173,'VoixOffIn','Je  suivais  mon  objet  sans  former  de  dessein  @  je  ne  connaissais  ni  les  règles  \n'),
(42558,6173,'BandeSon','Silence . \n'),
(42559,6173,'Ecrits','\n'),
(42560,6173,'_product_image_gallery',''),
(42561,6174,'_pingme','1'),
(42562,6174,'_encloseme','1'),
(42563,6174,'Index','3790'),
(42564,6174,'Minutage','45’15 \n'),
(42565,6174,'Images','Noir . \n'),
(42566,6174,'VoixOffIn','ni  les  exceptions . \n'),
(42567,6174,'BandeSon','*Id* *.* \n'),
(42568,6174,'Ecrits','\n'),
(42569,6174,'_product_image_gallery',''),
(42570,6175,'_pingme','1'),
(42571,6175,'_encloseme','1'),
(42572,6175,'Index','3800'),
(42573,6175,'Minutage','45’16 \n'),
(42574,6175,'Images','Paysage  de  jour ,  paisible . \n   *JLG* */* *JLG * ( 1995 ),  Jean - Luc  Godard .  \n \n En  alternance  :  homme  à  cheval  semblant  mort ,  battu  par  le  vent .  \n *Nan * *of * *the * *Music * *Mountain * ( 1917 ),  G .  H .  Melford .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42575,6175,'VoixOffIn','Je  ne  trouvais  la  vérité  que  pour  la  perdre .  ( Jean - Luc  Godard ).  \n *L’Esprit * *des * *lois * ( 1887 ),  Montesquieu . \n \n'),
(42576,6175,'BandeSon','*Id* *.* \n'),
(42577,6175,'Ecrits','\n'),
(42578,6175,'_product_image_gallery',''),
(42579,6176,'_pingme','1'),
(42580,6176,'_encloseme','1'),
(42581,6176,'Index','3810'),
(42582,6176,'Minutage','45’19 \n'),
(42583,6176,'Images','Noir . \n'),
(42584,6176,'VoixOffIn','Il  n’y  a  que  de  traits  noir .  *Histoire * *de * *l’art* ,  «  L’art  moderne  »,  I ,  ( 1921 ),  Elie  Faure ,. \n *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42585,6176,'BandeSon','*Id* *.* \n'),
(42586,6176,'Ecrits','\n'),
(42587,6176,'_product_image_gallery',''),
(42588,6177,'_pingme','1'),
(42589,6177,'_encloseme','1'),
(42590,6177,'Index','3820'),
(42591,6177,'Minutage','45’21 \n'),
(42592,6177,'Images','Saturé  et  surexposé  en  tons  rouges  :  flammes  et  fumée  s\'élevant  à  l\'horizon . \n'),
(42593,6177,'VoixOffIn','\n'),
(42594,6177,'BandeSon','Violons .  Sergei  Sergeyevich  Prokofiev . \n'),
(42595,6177,'Ecrits','\n'),
(42596,6177,'_product_image_gallery',''),
(42597,6178,'_pingme','1'),
(42598,6178,'_encloseme','1'),
(42599,6178,'Index','3830'),
(42600,6178,'Minutage','45’28 \n'),
(42601,6178,'Images','Noir . \n'),
(42602,6178,'VoixOffIn','\n'),
(42603,6178,'BandeSon','*Id* *.* \n'),
(42604,6178,'Ecrits','\n'),
(42605,6178,'_product_image_gallery',''),
(42606,6179,'_pingme','1'),
(42607,6179,'_encloseme','1'),
(42608,6179,'Index','3840'),
(42609,6179,'Minutage','45’30 \n'),
(42610,6179,'Images','Couverture  du  livre  de  science - fiction . \n *La * *fin * *du * *A * ( 1984 *), * A .  E .  Van  Vogt . \n'),
(42611,6179,'VoixOffIn','\n'),
(42612,6179,'BandeSon','*Id* *.* \n'),
(42613,6179,'Ecrits','\n'),
(42614,6179,'_product_image_gallery',''),
(42615,6180,'_pingme','1'),
(42616,6180,'_encloseme','1'),
(42617,6180,'Index','3850'),
(42618,6180,'Minutage','45’37 \n'),
(42619,6180,'Images','Écoliers  aux  bras  croisés ,  l\'air  sérieux .  \n Luis  Buñuel  ( 1932 ),  *Las * *Hurdes* .  *Liberté * *et * *Patrie * ( 2002 ),  Jean - Luc  Godard  et  Anne - Marie  Miéville . \n'),
(42620,6180,'VoixOffIn','-  Vous  êtes  un  drôle  de  pistolet ,  c\'est  ça  que  vous  vouliez  dire  à  la  tribune ,  pourquoi  vous  ne  l’avez  pas  dit  ?  \n'),
(42621,6180,'BandeSon','*Id* *.* \n'),
(42622,6180,'Ecrits','\n'),
(42623,6180,'_product_image_gallery',''),
(42624,6181,'_pingme','1'),
(42625,6181,'_encloseme','1'),
(42626,6181,'Index','3860'),
(42627,6181,'Minutage','45’46 \n'),
(42628,6181,'Images','Fragment  de  texte . \n'),
(42629,6181,'VoixOffIn','-  Je  l\'ai  dit  mais  je  n\'ai  pas  su  me  faire  entendre . \n \n En  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'),
(42630,6181,'BandeSon','Silence . \n'),
(42631,6181,'Ecrits','plus  la  pein  la  la \n dans  la  boue  j \n plus  soif  la  lang \n se  referme  elle \n droite  à  présent  c’ \n l’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'),
(42632,6181,'_product_image_gallery',''),
(42633,6182,'_pingme','1'),
(42634,6182,'_encloseme','1'),
(42635,6182,'Index','3870'),
(42636,6182,'Minutage','45’51 \n'),
(42637,6182,'Images','Au  ralenti  :  foule  se  pressant  et  tendant  les  mains .  \n *Metropolis * ( 1927 ),  Fritz  Lang .  *Histoire* *(* *s* *) * *du * *cinéma * *4b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42638,6182,'VoixOffIn','C’est  également  une  certaine  interférence  des  événements  qui  embrouille  tout .  ( Jean - Luc  Godard ).  \n *Guerre * *et * *Paix * ( 1867 *), * Léon  Tolstoï . \n   \n Les  phares ,  éteignez  les  phares !  \n *Nuit * *du * *carrefour * ( 1932 *), * Jean  Renoir . \n'),
(42639,6182,'BandeSon','*Id* *.* \n'),
(42640,6182,'Ecrits','\n'),
(42641,6182,'_product_image_gallery',''),
(42642,6183,'_pingme','1'),
(42643,6183,'_encloseme','1'),
(42644,6183,'Index','3880'),
(42645,6183,'Minutage','46’00 \n'),
(42646,6183,'Images','Noir . \n'),
(42647,6183,'VoixOffIn','\n'),
(42648,6183,'BandeSon','*Id* *.* \n'),
(42649,6183,'Ecrits','\n'),
(42650,6183,'_product_image_gallery',''),
(42651,6184,'_pingme','1'),
(42652,6184,'_encloseme','1'),
(42653,6184,'Index','3890'),
(42654,6184,'Minutage','46’02 \n'),
(42655,6184,'Images','Femme  au  nez  en  sang  se  faisant  pousser  par  des  policiers  et  juge  parlant  animeusement .  \n *Vladimir * *et * *Rosa * ( 1971 *), * Jean - Luc  Godard . \n'),
(42656,6184,'VoixOffIn','Politique ,  ça  veut  dire  quoi  politique ?! \n'),
(42657,6184,'BandeSon','*Id* *.* \n'),
(42658,6184,'Ecrits','\n'),
(42659,6184,'_product_image_gallery',''),
(42660,6185,'_pingme','1'),
(42661,6185,'_encloseme','1'),
(42662,6185,'Index','3900'),
(42663,6185,'Minutage','46’03 \n'),
(42664,6185,'Images','Juge  parlant  animeusement .  *\n* *Vent * *d’est * ( 1969 ),  Jean - Luc  Godard  et  Jean - Pierre  Gorin . \n'),
(42665,6185,'VoixOffIn','\n'),
(42666,6185,'BandeSon','*Id* *.* \n'),
(42667,6185,'Ecrits','\n'),
(42668,6185,'_product_image_gallery',''),
(42669,6186,'_pingme','1'),
(42670,6186,'_encloseme','1'),
(42671,6186,'Index','3910'),
(42672,6186,'Minutage','46’06 \n'),
(42673,6186,'Images','Juge  en  hauteur ,  derrière  le  banc ,  dans  une  salle  d\'audience . \n *La * *terreur * *et * *la * *vertu * ( 1964 *), * Stellio  Lorenzi . \n'),
(42674,6186,'VoixOffIn','Deux  discours  solennels  prononcés  par  un  homme  se  chevauchent .  \n \n Le  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 ,  \n car  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'),
(42675,6186,'BandeSon','Applaudissements *.* \n'),
(42676,6186,'Ecrits','\n'),
(42677,6186,'_product_image_gallery',''),
(42678,6187,'_pingme','1'),
(42679,6187,'_encloseme','1'),
(42680,6187,'Index','3920'),
(42681,6187,'Minutage','46’24 \n'),
(42682,6187,'Images','Couverture  d’un  exemplaire  de  *De * *l’Esprit * *des * *Lois * ( 1748 *), * Montesquieu . \n'),
(42683,6187,'VoixOffIn','\n'),
(42684,6187,'BandeSon','Applaudissements *.* \n'),
(42685,6187,'Ecrits','\n'),
(42686,6187,'_product_image_gallery',''),
(42687,6188,'_pingme','1'),
(42688,6188,'_encloseme','1'),
(42689,6188,'Index','3930'),
(42690,6188,'Minutage','46’27 \n'),
(42691,6188,'Images','Surexposé  et  saturé  en  tons  rouge  :  photographie  des  manifestations  en  Grèce  ( 2015 ),  *Alkis * *Konstantinidis* . \n'),
(42692,6188,'VoixOffIn','\n'),
(42693,6188,'BandeSon','*Klavierquintett* *, * *Op* *. * *18* ,  *Moderato * *con * *moto * ( 1946 *), * Mieczysław  Weinberg . \n'),
(42694,6188,'Ecrits','\n'),
(42695,6188,'_product_image_gallery',''),
(42696,6189,'_pingme','1'),
(42697,6189,'_encloseme','1'),
(42698,6189,'Index','3940'),
(42699,6189,'Minutage','46’42 \n'),
(42700,6189,'Images','Surexposée  et  saturé  en  tons  rouges  et  jaunes  :  presque  illisible . \n'),
(42701,6189,'VoixOffIn','-  Qu’est - ce  qu’elle  dit  ?  J’entends  rien  ! \n \n'),
(42702,6189,'BandeSon','*Id* *. * et  vagues \n'),
(42703,6189,'Ecrits','\n'),
(42704,6189,'_product_image_gallery',''),
(42705,6190,'_pingme','1'),
(42706,6190,'_encloseme','1'),
(42707,6190,'Index','3950'),
(42708,6190,'Minutage','46’52 \n'),
(42709,6190,'Images','En  surimpression  :  défilement  d’une  pellicule  dans  un  iris .  Couple  au  projecteur .  \n *La * *Prison * ( 1949 *), * Ingmar  Bergman .  *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42710,6190,'VoixOffIn','-  Elle  dit  que  les  pauvres  sauveront  le  monde  \n *Notre * *Musique * ( 2004 *), * Jean - Luc  Godard . \n'),
(42711,6190,'BandeSon','*Klavierquintett* *, * *Op* *. * *18* ,  *Moderato * *con * *moto * ( 1946 *), * Mieczysław  Weinberg . \n'),
(42712,6190,'Ecrits','\n'),
(42713,6190,'_product_image_gallery',''),
(42714,6191,'_pingme','1'),
(42715,6191,'_encloseme','1'),
(42716,6191,'Index','3960'),
(42717,6191,'Minutage','46’59 \n'),
(42718,6191,'Images','Noir . \n'),
(42719,6191,'VoixOffIn','\n'),
(42720,6191,'BandeSon','*Id* *.* *\n*'),
(42721,6191,'Ecrits','\n'),
(42722,6191,'_product_image_gallery',''),
(42723,6192,'_pingme','1'),
(42724,6192,'_encloseme','1'),
(42725,6192,'Index','3970'),
(42726,6192,'Minutage','47’01 \n'),
(42727,6192,'Images','Femme  mourant  dans  les  bras  d\'une  autre  femme  essayant  de  parler  à  un  homme  devant  elle  répétant  à  haute  voix  ce  qu\'il  entend *. * *\n* *Notre * *Musique * ( 2004 *), * Jean - Luc  Godard . \n'),
(42728,6192,'VoixOffIn','Ils  ne  demanderont  rien  en  échange .  Ils  ne  savent  pas  le  prix  du  service  rendu .  Ils  feront  cette  colossale  affaire . \n \n'),
(42729,6192,'BandeSon','Brusquement  :  silence . \n'),
(42730,6192,'Ecrits','\n'),
(42731,6192,'_product_image_gallery',''),
(42732,6193,'_pingme','1'),
(42733,6193,'_encloseme','1'),
(42734,6193,'Index','3980'),
(42735,6193,'Minutage','47’46 \n'),
(42736,6193,'Images','Noir . \n'),
(42737,6193,'VoixOffIn','Et … \n'),
(42738,6193,'BandeSon','*Id* *.* \n'),
(42739,6193,'Ecrits','\n'),
(42740,6193,'_product_image_gallery',''),
(42741,6194,'_pingme','1'),
(42742,6194,'_encloseme','1'),
(42743,6194,'Index','3990'),
(42744,6194,'Minutage','47’50 \n'),
(42745,6194,'Images','Femme  effrayée  à  la  vue  d\'un  monstre ,  puis  s’évanuissant .  \n *La * *belle * *et * *la * *bête * ( 1946 *), * Jean  Cocteau .  *Histoire* *(* *s* *) * *du * *cinéma * *2b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42746,6194,'VoixOffIn','Où  allez - vous  ? \n'),
(42747,6194,'BandeSon','Bande  son  du  film  *La * *belle * *et * *la * *bête * ( 1946 *), * Jean  Cocteau . \n'),
(42748,6194,'Ecrits','\n'),
(42749,6194,'_product_image_gallery',''),
(42750,6195,'_pingme','1'),
(42751,6195,'_encloseme','1'),
(42752,6195,'Index','4000'),
(42753,6195,'Minutage','47’58 \n'),
(42754,6195,'Images','Femme  avec  bâton  à  la  main  et  policier  avec  un  chapeau  saluant  le  publique .  \n *Un * *drame * *chez * *les * *fantoches * ( 1908 ),  Emile  Cohl . \n'),
(42755,6195,'VoixOffIn','\n'),
(42756,6195,'BandeSon','Silence . \n'),
(42757,6195,'Ecrits','\n'),
(42758,6195,'_product_image_gallery',''),
(42759,6196,'_pingme','1'),
(42760,6196,'_encloseme','1'),
(42761,6196,'Index','4010'),
(42762,6196,'Minutage','48’00 \n'),
(42763,6196,'Images','Noir . \n'),
(42764,6196,'VoixOffIn','\n'),
(42765,6196,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n \n'),
(42766,6196,'Ecrits','\n'),
(42767,6196,'_product_image_gallery',''),
(42768,6197,'_pingme','1'),
(42769,6197,'_encloseme','1'),
(42770,6197,'Index','4020'),
(42771,6197,'Minutage','48’02 \n'),
(42772,6197,'Images','Noir . \n'),
(42773,6197,'VoixOffIn','\n'),
(42774,6197,'BandeSon','*Id* *.* \n'),
(42775,6197,'Ecrits','5 \n LA  RÉGION  CENTRALE  \n ( Michael  Snow ,  1971 ) \n'),
(42776,6197,'_product_image_gallery',''),
(42777,6198,'_pingme','1'),
(42778,6198,'_encloseme','1'),
(42779,6198,'Index','4030'),
(42780,6198,'Minutage','48’16 \r\n'),
(42781,6198,'Images','Saturé  et  au  ralenti :  chemin  avec  des  pierres .  \r\n *La * *Région * *Centrale * ( 1971 ),  Michael  Snow . \r\n'),
(42782,6198,'VoixOffIn','C’est  une  brève  histoire ,  que  celle  de  l’extinction  en  masse  des  espèces .  \r\n En  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 . \r\n *Une * *brève * *histoire * *de * *l\'extinction * *en * *masse * *des * *espèces * ( 2010 ),  Franz  J . \r\n Broswimmer . \r\n'),
(42783,6198,'BandeSon','Silence . \r\n'),
(42784,6198,'Ecrits',''),
(42785,6198,'_product_image_gallery',''),
(42786,6199,'_pingme','1'),
(42787,6199,'_encloseme','1'),
(42788,6199,'Index','4040'),
(42789,6199,'Minutage','48’58 \n'),
(42790,6199,'Images','Saturé  et  surexposé  en  tons  rouges  et  jaunes  :  homme  assis . \n'),
(42791,6199,'VoixOffIn','\n'),
(42792,6199,'BandeSon','*Id* *.* \n'),
(42793,6199,'Ecrits','\n'),
(42794,6199,'_product_image_gallery',''),
(42795,6200,'_pingme','1'),
(42796,6200,'_encloseme','1'),
(42797,6200,'Index','4050'),
(42798,6200,'Minutage','49’00 \n'),
(42799,6200,'Images','Saturé  et  surexposé  en  tons  bleus  :  presque  illisible . \n'),
(42800,6200,'VoixOffIn','\n'),
(42801,6200,'BandeSon','*Klavierquintett* *, * *Op* *. * *18* ,  *Moderato * *con * *moto * ( 1946 *), * Mieczysław  Weinberg . \n'),
(42802,6200,'Ecrits','\n'),
(42803,6200,'_product_image_gallery',''),
(42804,6201,'_pingme','1'),
(42805,6201,'_encloseme','1'),
(42806,6201,'Index','4060'),
(42807,6201,'Minutage','49’03 \n'),
(42808,6201,'Images','Homme  portant  un  chapeau  haut  de  forme  et  tenant  une  loupe  devant  son  œil .  \n *Dossier * *Secret * [ *Mr * *Arkadin* ]  ( 1955 *), * Orson  Welles . \n'),
(42809,6201,'VoixOffIn','\n'),
(42810,6201,'BandeSon','Bande  son  de  *Dossier * *Secret * [ *Mr * *Arkadin* ]  ( 1955 *), * Orson  Welles . \n'),
(42811,6201,'Ecrits','\n'),
(42812,6201,'_product_image_gallery',''),
(42813,6202,'_pingme','1'),
(42814,6202,'_encloseme','1'),
(42815,6202,'Index','4070'),
(42816,6202,'Minutage','49’15 \n'),
(42817,6202,'Images','Noir . \n'),
(42818,6202,'VoixOffIn','\n'),
(42819,6202,'BandeSon','*Klavierquintett* *, * *Op* *. * *18* ,  *Moderato * *con * *moto * ( 1946 *), * Mieczysław  Weinberg . \n'),
(42820,6202,'Ecrits','Hommage \n A  la  Catalogne \n'),
(42821,6202,'_product_image_gallery',''),
(42822,6203,'_pingme','1'),
(42823,6203,'_encloseme','1'),
(42824,6203,'Index','4080'),
(42825,6203,'Minutage','49’18 \n'),
(42826,6203,'Images','Noir . \n'),
(42827,6203,'VoixOffIn','\n'),
(42828,6203,'BandeSon','*Id* *.* \n'),
(42829,6203,'Ecrits','\n'),
(42830,6203,'_product_image_gallery',''),
(42831,6204,'_pingme','1'),
(42832,6204,'_encloseme','1'),
(42833,6204,'Index','4090'),
(42834,6204,'Minutage','49’24 \n'),
(42835,6204,'Images','Homme  tenant  d\'une  main  le  revers  de  sa  veste ,  remonté  jusqu\'au  cou .  \n *La * *terre * ( 1930 *), * Alexandre  Dovjenko . \n *Liberté * *et * *patrie * ( 2002 *), * Jean - Luc  Godard  et  Anne - Marie  Miéville . \n'),
(42836,6204,'VoixOffIn','Et  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'),
(42837,6204,'BandeSon','*Id* *.* \n'),
(42838,6204,'Ecrits','\n'),
(42839,6204,'_product_image_gallery',''),
(42840,6205,'_pingme','1'),
(42841,6205,'_encloseme','1'),
(42842,6205,'Index','4100'),
(42843,6205,'Minutage','50’03 \n'),
(42844,6205,'Images','Femme  se  tenant  la  main  devant  la  bouche ,  l\'air  perdu  et  pensif .  \n *La * *terre * ( 1930 *), * Alexandre  Dovjenko .  *Liberté * *et * *patrie * ( 2002 *), * Jean - Luc  Godard  et  Anne - Marie  Miéville . \n'),
(42845,6205,'VoixOffIn','Mais  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 ). \n *L’attente* *, * *l’oubli * ( 1962 ),  Maurice  Blanchot .  \n'),
(42846,6205,'BandeSon','Silence . \n'),
(42847,6205,'Ecrits','\n'),
(42848,6205,'_product_image_gallery',''),
(42849,6206,'_pingme','1'),
(42850,6206,'_encloseme','1'),
(42851,6206,'Index','4110'),
(42852,6206,'Minutage','50’58 \n'),
(42853,6206,'Images','Noir . \n'),
(42854,6206,'VoixOffIn','He  oui  Ninon ,  c’est  une  fille \n'),
(42855,6206,'BandeSon','*Id* *.* \n'),
(42856,6206,'Ecrits','\n'),
(42857,6206,'_product_image_gallery',''),
(42858,6207,'_pingme','1'),
(42859,6207,'_encloseme','1'),
(42860,6207,'Index','4120'),
(42861,6207,'Minutage','51’00 \n'),
(42862,6207,'Images','Mains  d\'un  vieil  homme  tournées  vers  le  haut . \n *Histoire* *(* *s* *) * *du * *cinéma * *1b* */* *4b * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42863,6207,'VoixOffIn','Il  y  a  les  cinq  doigts .  On  accomplirait  l’acte  rédempteur .  \n La  main .  ( Jean - Luc  Godard ). \n'),
(42864,6207,'BandeSon','*Id* *.* \n'),
(42865,6207,'Ecrits','\n'),
(42866,6207,'_product_image_gallery',''),
(42867,6208,'_pingme','1'),
(42868,6208,'_encloseme','1'),
(42869,6208,'Index','4130'),
(42870,6208,'Minutage','51’09 \n'),
(42871,6208,'Images','Dessin  de  main  tournée  vers  le  bas .  \n *Liberté * *et * *patrie* *, * Jean - Luc  Godard  et  Anne - Marie  Miéville  ( 2002 ). \n'),
(42872,6208,'VoixOffIn','\n'),
(42873,6208,'BandeSon','*Id* *.* \n'),
(42874,6208,'Ecrits','\n'),
(42875,6208,'_product_image_gallery',''),
(42876,6209,'_pingme','1'),
(42877,6209,'_encloseme','1'),
(42878,6209,'Index','4140'),
(42879,6209,'Minutage','51’12 \n'),
(42880,6209,'Images','Main  d\'homme  reposant  sur  une  main  de  femme .  La  main  de  femme  repose  sur  une  épaule . \n'),
(42881,6209,'VoixOffIn','\n'),
(42882,6209,'BandeSon','*Id* *.* \n'),
(42883,6209,'Ecrits','\n'),
(42884,6209,'_product_image_gallery',''),
(42885,6210,'_pingme','1'),
(42886,6210,'_encloseme','1'),
(42887,6210,'Index','4150'),
(42888,6210,'Minutage','51’16 \n'),
(42889,6210,'Images','Noir . \n'),
(42890,6210,'VoixOffIn','Et  un  long  moment  après \n'),
(42891,6210,'BandeSon','*Id* *.* \n'),
(42892,6210,'Ecrits','\n'),
(42893,6210,'_product_image_gallery',''),
(42894,6211,'_pingme','1'),
(42895,6211,'_encloseme','1'),
(42896,6211,'Index','4160'),
(42897,6211,'Minutage','51’20 \n'),
(42898,6211,'Images','Dessin  de  Bécassine .  Caumery  et  Pinchon . \n'),
(42899,6211,'VoixOffIn','Parce  que  les  histoires  que  l\'on  raconte  vont  moins  vite  que  les  actions  \n'),
(42900,6211,'BandeSon','*Id* *.* \n'),
(42901,6211,'Ecrits','\n'),
(42902,6211,'_product_image_gallery',''),
(42903,6212,'_pingme','1'),
(42904,6212,'_encloseme','1'),
(42905,6212,'Index','4170'),
(42906,6212,'Minutage','51’29 \n'),
(42907,6212,'Images','Noir . \n'),
(42908,6212,'VoixOffIn','ne  s\'accomplissent  ( Jean - Luc  Godard ). \n'),
(42909,6212,'BandeSon','*Id* *.* \n'),
(42910,6212,'Ecrits','\n'),
(42911,6212,'_product_image_gallery',''),
(42912,6213,'_pingme','1'),
(42913,6213,'_encloseme','1'),
(42914,6213,'Index','4180'),
(42915,6213,'Minutage','51’32 \n'),
(42916,6213,'Images','Noir . \n'),
(42917,6213,'VoixOffIn','\n'),
(42918,6213,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n \n'),
(42919,6213,'Ecrits','\n'),
(42920,6213,'_product_image_gallery',''),
(42921,6214,'_pingme','1'),
(42922,6214,'_encloseme','1'),
(42923,6214,'Index','4190'),
(42924,6214,'Minutage','51’35 \n'),
(42925,6214,'Images','Femme  tenant  un  trousseau  de  clés  à  la  main  et  touchant  une  clé  sur  laquelle  est  écrit  «  unica  ». \n *Les * *Enchaînés* *, * [ *Notorious* ]  ( 1946 ),  Alfred  Hitchcock .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42926,6214,'VoixOffIn','\n'),
(42927,6214,'BandeSon','*Id* *.* \n'),
(42928,6214,'Ecrits','\n'),
(42929,6214,'_product_image_gallery',''),
(42930,6215,'_pingme','1'),
(42931,6215,'_encloseme','1'),
(42932,6215,'Index','4200'),
(42933,6215,'Minutage','51’51 \n'),
(42934,6215,'Images','La  femme  serrant  dans  ses  bras  un  homme  et ,  derrière  sa  tête ,  dérobant  une  clé  d’un  trousseau . \n *Les * *Enchaînés* *, * [ *Notorious* ]  ( 1946 ),  Alfred  Hitchcock .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(42935,6215,'VoixOffIn','\n'),
(42936,6215,'BandeSon','*Id* *.* \n'),
(42937,6215,'Ecrits','\n'),
(42938,6215,'_product_image_gallery',''),
(42939,6216,'_pingme','1'),
(42940,6216,'_encloseme','1'),
(42941,6216,'Index','4210'),
(42942,6216,'Minutage','51’57 \r\n'),
(42943,6216,'Images','Noir . \r\n'),
(42944,6216,'VoixOffIn',''),
(42945,6216,'BandeSon','Silence . \r\n'),
(42946,6216,'Ecrits','SOUS  LES  YEUX \r\n DE  L’OCCIDENT \r\n'),
(42947,6216,'_product_image_gallery',''),
(42948,6217,'_pingme','1'),
(42949,6217,'_encloseme','1'),
(42950,6217,'Index','4220'),
(42951,6217,'Minutage','51’59 \n'),
(42952,6217,'Images','Homme  poussé  les  mains  derrière  le  dos  par  d\'autres  hommes .  Images  retransmises  dans  le  documentaire  \n *Shoah* *, * *les * *oubliés * *de * *l’histoire * ( 2014 *), * Véronique  Lagoarde - Ségot ,  par  la  chaîne  de  télévision  *Histoire* *.* \n'),
(42953,6217,'VoixOffIn','\n'),
(42954,6217,'BandeSon','Cris \n'),
(42955,6217,'Ecrits','\n'),
(42956,6217,'_product_image_gallery',''),
(42957,6218,'_pingme','1'),
(42958,6218,'_encloseme','1'),
(42959,6218,'Index','4230'),
(42960,6218,'Minutage','52’01 \n'),
(42961,6218,'Images','Petite  fille  portant  un  nourrisson  sur  l\'épaule  et ,  à  côté  d\'elle ,  trois  autres  enfants ,  habillés  de  haillons .  \n *De * *l’origine * *du * *XXI * *siècle * ( 2000 *), * Jean - Luc  Godard . \n'),
(42962,6218,'VoixOffIn','\n'),
(42963,6218,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n'),
(42964,6218,'Ecrits','\n'),
(42965,6218,'_product_image_gallery',''),
(42966,6219,'_pingme','1'),
(42967,6219,'_encloseme','1'),
(42968,6219,'Index','4240'),
(42969,6219,'Minutage','52’06 \n'),
(42970,6219,'Images','Noir . \n'),
(42971,6219,'VoixOffIn','\n'),
(42972,6219,'BandeSon','*Id* *.* \n'),
(42973,6219,'Ecrits','\n'),
(42974,6219,'_product_image_gallery',''),
(42975,6220,'_pingme','1'),
(42976,6220,'_encloseme','1'),
(42977,6220,'Index','4250'),
(42978,6220,'Minutage','52’08 \n'),
(42979,6220,'Images','Noir . \n'),
(42980,6220,'VoixOffIn','Dans  un  roman , \n'),
(42981,6220,'BandeSon','Arpèges  à  la  guitare .  *Raf * *Raf * ( 1991 *), * Anouar  Brahem  \n . \n'),
(42982,6220,'Ecrits','HEUREUSE  ARABIE \n *L\'Arabie * *heureuse * *: * *souvenirs * *de * *voyages * *en * *Afrique * *et * *en * *Asie * ( 1860 *), * Alexandre  Dumas . \n'),
(42983,6220,'_product_image_gallery',''),
(42984,6221,'_pingme','1'),
(42985,6221,'_encloseme','1'),
(42986,6221,'Index','4260'),
(42987,6221,'Minutage','52’10 \n'),
(42988,6221,'Images','Saturé  :  enfant  sur  le  toit  d\'une  maison ,  vu  de  dos ,  regardant  le  reste  de  la  ville . \n'),
(42989,6221,'VoixOffIn','Dans  un  roman  l\'intérêt ,  dans  le  pire  des  cas ,  vient  du  fait  que  \n'),
(42990,6221,'BandeSon','*Klavierquintett* *, * *Op* *. * *18* ,  *Moderato * *con * *moto * ( 1946 *), * Mieczysław  Weinberg . \n'),
(42991,6221,'Ecrits','\n'),
(42992,6221,'_product_image_gallery',''),
(42993,6222,'_pingme','1'),
(42994,6222,'_encloseme','1'),
(42995,6222,'Index','4270'),
(42996,6222,'Minutage','52’21 \n'),
(42997,6222,'Images','Noir . \n'),
(42998,6222,'VoixOffIn','très  souvent  les  situations  quelconques  \n'),
(42999,6222,'BandeSon','*Id* *.* \n'),
(43000,6222,'Ecrits','\n'),
(43001,6222,'_product_image_gallery',''),
(43002,6223,'_pingme','1'),
(43003,6223,'_encloseme','1'),
(43004,6223,'Index','4280'),
(43005,6223,'Minutage','52’23 \n'),
(43006,6223,'Images','Femme  tenant  à  la  main  une  clé .  \n *Meshes * *of * *afternoon * ( 1943 *), * Maya  Deren ,  Alexandr  Hackenschmied . \n \n'),
(43007,6223,'VoixOffIn','ont  un  comportement  assez  \n'),
(43008,6223,'BandeSon','*Id* *.* \n'),
(43009,6223,'Ecrits','\n'),
(43010,6223,'_product_image_gallery',''),
(43011,6224,'_pingme','1'),
(43012,6224,'_encloseme','1'),
(43013,6224,'Index','4290'),
(43014,6224,'Minutage','52’26 \n'),
(43015,6224,'Images','Noir . \n'),
(43016,6224,'VoixOffIn','proche  du  pire  des  cas . \n ( Jean - Luc  Godard ) \n'),
(43017,6224,'BandeSon','Silence . \n'),
(43018,6224,'Ecrits','LES  \n PARADIS \n PERDUS \n'),
(43019,6224,'_product_image_gallery',''),
(43020,6225,'_pingme','1'),
(43021,6225,'_encloseme','1'),
(43022,6225,'Index','4300'),
(43023,6225,'Minutage','52’33 \n'),
(43024,6225,'Images','Dessin  de  soldat  avec  une  épée  et  un  bouclier  orné  d\'un  croissant  et  d’une  étoile . \n'),
(43025,6225,'VoixOffIn','\n'),
(43026,6225,'BandeSon','Voix  féminine  chantant  en  arabe .  \n'),
(43027,6225,'Ecrits','\n'),
(43028,6225,'_product_image_gallery',''),
(43029,6226,'_pingme','1'),
(43030,6226,'_encloseme','1'),
(43031,6226,'Index','4310'),
(43032,6226,'Minutage','52’35 \n'),
(43033,6226,'Images','Armée  avec  des  lances ,  des  épées  et  des  boucliers  en  marche .  \n *Constantinople* *, * Faruk  Aksoy ,  ( 2012 ). \n'),
(43034,6226,'VoixOffIn','\n'),
(43035,6226,'BandeSon','*Taabani * *Nibniou* *, * Hedi  Jouini  ( 1993 ). \n'),
(43036,6226,'Ecrits','\n'),
(43037,6226,'_product_image_gallery',''),
(43038,6227,'_pingme','1'),
(43039,6227,'_encloseme','1'),
(43040,6227,'Index','4320'),
(43041,6227,'Minutage','52’41 \n'),
(43042,6227,'Images','Saturé  en  tons  rouge  :  homme  agenouillé  avec  un  drapeau  à  la  main . \n *Le * *visage * *de * *Dieu * ( 2014 *), * Bahram  Aloui . \n'),
(43043,6227,'VoixOffIn','\n'),
(43044,6227,'BandeSon','*Id* *.* \n'),
(43045,6227,'Ecrits','\n'),
(43046,6227,'_product_image_gallery',''),
(43047,6228,'_pingme','1'),
(43048,6228,'_encloseme','1'),
(43049,6228,'Index','4330'),
(43050,6228,'Minutage','52’45 \n'),
(43051,6228,'Images','Tourné  en  noir  et  blanc  et  surexposé  :  photographie  de  Hosni  Moubarak ,  ancien  Président  de  la  République  arabe  d\'Égypte . \n'),
(43052,6228,'VoixOffIn','Je  peux  mourir  tranquille \n ( Albert  Cossery ) \n'),
(43053,6228,'BandeSon','Silence . \n'),
(43054,6228,'Ecrits','\n'),
(43055,6228,'_product_image_gallery',''),
(43056,6229,'_pingme','1'),
(43057,6229,'_encloseme','1'),
(43058,6229,'Index','4340'),
(43059,6229,'Minutage','52’47 \n'),
(43060,6229,'Images','Homme  parlant  à  une  femme  vêtue  d\'une  tenue  traditionnelle  arabe .  \n *La * *bandera * ( 1935 *), * Julien  Duvivier . \n'),
(43061,6229,'VoixOffIn','Te  souviens - tu  encore  comment  nous  entraînions  autrefois  notre  pensée .  Le  plus  souvent  nous  partions  d\'un  rêve .  ( Jean - Luc  Godard ) \n'),
(43062,6229,'BandeSon','*Id* *.* \n'),
(43063,6229,'Ecrits','\n'),
(43064,6229,'_product_image_gallery',''),
(43065,6230,'_pingme','1'),
(43066,6230,'_encloseme','1'),
(43067,6230,'Index','4350'),
(43068,6230,'Minutage','52’54 \n'),
(43069,6230,'Images','Jeune  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'),
(43070,6230,'VoixOffIn','Je  me  sens  toujours  très  bien  les  mains  dans  les  poches  même  si  j’ai  pas  un  sou . \n'),
(43071,6230,'BandeSon','*Id* *.* \n'),
(43072,6230,'Ecrits','\n'),
(43073,6230,'_product_image_gallery',''),
(43074,6231,'_pingme','1'),
(43075,6231,'_encloseme','1'),
(43076,6231,'Index','4360'),
(43077,6231,'Minutage','52’58 \n'),
(43078,6231,'Images','Photographie  en  noir  et  blanc  d’un  homme  âgé  assis  avec  à  côté  de  lui  un  âne  portant  une  télévision  sur  son  dos . \n'),
(43079,6231,'VoixOffIn','Je  me  suis  toujours  senti  un  fils  de  roi . \n'),
(43080,6231,'BandeSon','*Id* *.* \n'),
(43081,6231,'Ecrits','\n'),
(43082,6231,'_product_image_gallery',''),
(43083,6232,'_pingme','1'),
(43084,6232,'_encloseme','1'),
(43085,6232,'Index','4370'),
(43086,6232,'Minutage','53’01 \n'),
(43087,6232,'Images','Homme  âgé  assis  avec  à  côté  de  lui  un  âne  portant  une  télévision  sur  son  dos . \n'),
(43088,6232,'VoixOffIn','Mais  tous  les  égyptiens  se  sentent  un  peu  fils  de  roi . \n'),
(43089,6232,'BandeSon','*Id* *.* \n'),
(43090,6232,'Ecrits','\n'),
(43091,6232,'_product_image_gallery',''),
(43092,6233,'_pingme','1'),
(43093,6233,'_encloseme','1'),
(43094,6233,'Index','4380'),
(43095,6233,'Minutage','53’04 \n'),
(43096,6233,'Images','Saturé  en  tous  rouge  :  désert .  \n *The * *Thief * *of * *Baghdad * ( 1978 ),  Cline  Donner . \n'),
(43097,6233,'VoixOffIn','\n'),
(43098,6233,'BandeSon','Au  violon  :  musique  traditionnelle  arabe .  Personnes  discutant . \n'),
(43099,6233,'Ecrits','\n'),
(43100,6233,'_product_image_gallery',''),
(43101,6234,'_pingme','1'),
(43102,6234,'_encloseme','1'),
(43103,6234,'Index','4390'),
(43104,6234,'Minutage','53’07 \n'),
(43105,6234,'Images','Saturé  en  tons  rouge  :  homme  portant  de  l’encens  fumant .  *\n* *Aladdin\'s * *magic * *lamp * ( 1967 *), * Boris  Rytsarev . \n'),
(43106,6234,'VoixOffIn','L’orient  est  plus  philosophe  que  l’occident ,  \n'),
(43107,6234,'BandeSon','*Id* *.* \n'),
(43108,6234,'Ecrits','\n'),
(43109,6234,'_product_image_gallery',''),
(43110,6235,'_pingme','1'),
(43111,6235,'_encloseme','1'),
(43112,6235,'Index','4400'),
(43113,6235,'Minutage','53’15 \n'),
(43114,6235,'Images','Jeune  homme  et  jeune  femme  ayant  des  rapports  sexuels  la  nuit  dans  une  chambre .  *\n* *Il * *fiore * *delle * *mille * *e * *una * *notte * ( 1974 *), * Pier  Paolo  Pasolini . \n'),
(43115,6235,'VoixOffIn','et  le  moindre  vanupieds  vous  dira  de  choses  extraordinaires \n'),
(43116,6235,'BandeSon','*Id* *.* \n'),
(43117,6235,'Ecrits','\n'),
(43118,6235,'_product_image_gallery',''),
(43119,6236,'_pingme','1'),
(43120,6236,'_encloseme','1'),
(43121,6236,'Index','4410'),
(43122,6236,'Minutage','53’18 \n'),
(43123,6236,'Images','Noir . \n'),
(43124,6236,'VoixOffIn','Sur  la  vie ,  sur  le  monde .  Et  vous  entendez  chacun  est  philosophe \n'),
(43125,6236,'BandeSon','*Id* *.* \n'),
(43126,6236,'Ecrits','\n'),
(43127,6236,'_product_image_gallery',''),
(43128,6237,'_pingme','1'),
(43129,6237,'_encloseme','1'),
(43130,6237,'Index','4420'),
(43131,6237,'Minutage','53’26 \n'),
(43132,6237,'Images','Trois  personnes  sur  un  tapis  volant .  \n *Le * *voleur * *de * *Bagdad * ( 1924 *), * Raoul  Walsh . \n'),
(43133,6237,'VoixOffIn','Parce  que  il  a  le  temps  de  réfléchir ,  de  penser ,  de  voir  le  monde  passer \n'),
(43134,6237,'BandeSon','*Id* *.* \n'),
(43135,6237,'Ecrits','\n'),
(43136,6237,'_product_image_gallery',''),
(43137,6238,'_pingme','1'),
(43138,6238,'_encloseme','1'),
(43139,6238,'Index','4430'),
(43140,6238,'Minutage','53’29 \n'),
(43141,6238,'Images','Armée  romaine  devant  les  murs  d\'une  ville  du  Moyen - Orient .  \n *Il * *Messia * ( 1975 *), * Roberto  Rossellini . \n'),
(43142,6238,'VoixOffIn','En  occident \n ( Albert  Cossery ) \n'),
(43143,6238,'BandeSon','*Id* *.* \n'),
(43144,6238,'Ecrits','\n'),
(43145,6238,'_product_image_gallery',''),
(43146,6239,'_pingme','1'),
(43147,6239,'_encloseme','1'),
(43148,6239,'Index','4440'),
(43149,6239,'Minutage','53’33 \n'),
(43150,6239,'Images','Croisés  à  cheval  avec  des  armures  et  des  drapeaux  passant  sous  les  acclamations  de  la  foule .  \n *The * *Crusades * ( 1935 ),  Cecil  B  DeMille . \n'),
(43151,6239,'VoixOffIn','\n'),
(43152,6239,'BandeSon','Silence ,  puis  cris  d’acclamation *.* \n'),
(43153,6239,'Ecrits','\n'),
(43154,6239,'_product_image_gallery',''),
(43155,6240,'_pingme','1'),
(43156,6240,'_encloseme','1'),
(43157,6240,'Index','4450'),
(43158,6240,'Minutage','53’38 \n'),
(43159,6240,'Images','Noir . \n'),
(43160,6240,'VoixOffIn','\n'),
(43161,6240,'BandeSon','*Id* *.* \n'),
(43162,6240,'Ecrits','\n'),
(43163,6240,'_product_image_gallery',''),
(43164,6241,'_pingme','1'),
(43165,6241,'_encloseme','1'),
(43166,6241,'Index','4460'),
(43167,6241,'Minutage','53’41 \n'),
(43168,6241,'Images','Saturé  :  soldats  en  guerre .  \n *Adieu * *Bonaparte * ( 1985 *), * Youssef  Chahine . \n'),
(43169,6241,'VoixOffIn','Arrêtez  !  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 .  \n *Détective * ( 1985 *), * Jean - Luc  Godard . \n'),
(43170,6241,'BandeSon','Tirs  au  pistolet ,  puis  klaxon . \n'),
(43171,6241,'Ecrits','\n'),
(43172,6241,'_product_image_gallery',''),
(43173,6242,'_pingme','1'),
(43174,6242,'_encloseme','1'),
(43175,6242,'Index','4470'),
(43176,6242,'Minutage','53’57 \n'),
(43177,6242,'Images','Inscriptions  en  arabe  sur  fond  noir  du  film  *Socialisme * ( 2010 ),  Jean - Luc  Godard . \n'),
(43178,6242,'VoixOffIn','Silence  je  vous  ai  dit . \n'),
(43179,6242,'BandeSon','Silence . \n'),
(43180,6242,'Ecrits','\n'),
(43181,6242,'_product_image_gallery',''),
(43182,6243,'_pingme','1'),
(43183,6243,'_encloseme','1'),
(43184,6243,'Index','4480'),
(43185,6243,'Minutage','54’03 \n'),
(43186,6243,'Images','Au  ralenti  :  femme  se  précipitant  pour  ramasser  un  tissu  et  s’en  couvrant  jusqu\'au  nez . \n'),
(43187,6243,'VoixOffIn','Tout  à  coup ,  il  aperçut  à  l’horizon  derrière  Tunis ,  comme  des  brouillards  légers ,  qui  se  traînaient  contre  le  sol  @  \n'),
(43188,6243,'BandeSon','*Id* *.* \n'),
(43189,6243,'Ecrits','\n'),
(43190,6243,'_product_image_gallery',''),
(43191,6244,'_pingme','1'),
(43192,6244,'_encloseme','1'),
(43193,6244,'Index','4490'),
(43194,6244,'Minutage','54’15 \n'),
(43195,6244,'Images','Saturé  et  surexposé  :  personnages  presque  invisibles . \n'),
(43196,6244,'VoixOffIn','puis  ce  fut  un  grand  rideau  de  poudre  grise  perpendiculairement  étalé ,  et ,  dans  les  tourbillons  \n'),
(43197,6244,'BandeSon','*Id* *.* \n'),
(43198,6244,'Ecrits','\n'),
(43199,6244,'_product_image_gallery',''),
(43200,6245,'_pingme','1'),
(43201,6245,'_encloseme','1'),
(43202,6245,'Index','4500'),
(43203,6245,'Minutage','54’24 \n'),
(43204,6245,'Images','Surexposé ,  et  saturé  en  tons  bleu  clair ,  rouges  et  verts  :  navire  voguant  dans  la  mer  et  drapeaux  qui  flottent  dans  le  vent . \n'),
(43205,6245,'VoixOffIn','de  cette  masse  nombreuse ,  \n des  têtes  de  dromadaires ,  des  lances ,  \n'),
(43206,6245,'BandeSon','*Id* *.* *\n*'),
(43207,6245,'Ecrits','\n'),
(43208,6245,'_product_image_gallery',''),
(43209,6246,'_pingme','1'),
(43210,6246,'_encloseme','1'),
(43211,6246,'Index','4510'),
(43212,6246,'Minutage','54’30 \n'),
(43213,6246,'Images','Surexposé ,  en  noir  et  blanc  :  mer  avec  de  la  vapeur  flottant  au  loin  dans  l’air . \n'),
(43214,6246,'VoixOffIn','des  boucliers  parurent .  C’était  l’armée  des  Barbares  qui  s’avançait  sur  Carthage .  \n'),
(43215,6246,'BandeSon','*Id* *.* \n'),
(43216,6246,'Ecrits','\n'),
(43217,6246,'_product_image_gallery',''),
(43218,6247,'_pingme','1'),
(43219,6247,'_encloseme','1'),
(43220,6247,'Index','4520'),
(43221,6247,'Minutage','54’37 \n'),
(43222,6247,'Images','Caravane  dans  le  désert .  \n *Il * *Messia * ( 1975 *), * Roberto  Rossellini . \n'),
(43223,6247,'VoixOffIn','Oh  Salammbô .( Jean - Luc  Godard ). \n *Salammbô * ( 1862 ),  Gustave  Flaubert . \n'),
(43224,6247,'BandeSon','*Aube * *rouge * *à * *Grozny * ( 2000 *), * Anouar  Trio  Brahem . \n'),
(43225,6247,'Ecrits','\n'),
(43226,6247,'_product_image_gallery',''),
(43227,6248,'_pingme','1'),
(43228,6248,'_encloseme','1'),
(43229,6248,'Index','4530'),
(43230,6248,'Minutage','55’07 \n'),
(43231,6248,'Images','Noir . \n'),
(43232,6248,'VoixOffIn','\n'),
(43233,6248,'BandeSon','*Id* *.* \n'),
(43234,6248,'Ecrits','\n'),
(43235,6248,'_product_image_gallery',''),
(43236,6249,'_pingme','1'),
(43237,6249,'_encloseme','1'),
(43238,6249,'Index','4540'),
(43239,6249,'Minutage','55’11 \n'),
(43240,6249,'Images','Saturé ,  au  ralenti  :  deux  mains  déboutonnant  une  robe  bleue .  \n *Méditerranée * ( 1963 ),  Jean  Daniel  Pollet . \n'),
(43241,6249,'VoixOffIn','\n'),
(43242,6249,'BandeSon','*Id* *.* \n'),
(43243,6249,'Ecrits','\n'),
(43244,6249,'_product_image_gallery',''),
(43245,6250,'_pingme','1'),
(43246,6250,'_encloseme','1'),
(43247,6250,'Index','4550'),
(43248,6250,'Minutage','55’33 \r\n'),
(43249,6250,'Images','Noir . \r\n'),
(43250,6250,'VoixOffIn','Dans  l’ombre  de  l’Occident . \r\n \r\n'),
(43251,6250,'BandeSon','*Id* *.* \r\n'),
(43252,6250,'Ecrits','CES  FLEURS \r\n                          PERDUES \r\n DANS  LE  VENT \r\n'),
(43253,6250,'_product_image_gallery',''),
(43254,6251,'_pingme','1'),
(43255,6251,'_encloseme','1'),
(43256,6251,'Index','4560'),
(43257,6251,'Minutage','55’35 \n'),
(43258,6251,'Images','Saturé  en  tons  jaunes  et  rouges  :  hommes  creusant  avec  des  pelles  dans  le  desert .  Groupe  d\'arabophones  essayant  d\'embarquer  sur  un  bateau  en  plein  désert .  \n *Les * *Baliseurs * *du * *désert * ( 1984 *), * Nacer  Khémir .  \n'),
(43259,6251,'VoixOffIn','Il  est  certain  que  la  représentation ,  plus  particulièrement  l’acte  de  représenter  ( et  donc  de  réduire )  implique  presque  toujours \n'),
(43260,6251,'BandeSon','*Id* *.* \n'),
(43261,6251,'Ecrits','\n'),
(43262,6251,'_product_image_gallery',''),
(43263,6252,'_pingme','1'),
(43264,6252,'_encloseme','1'),
(43265,6252,'Index','4570'),
(43266,6252,'Minutage','55’59 \n'),
(43267,6252,'Images','Femme  nue  dans  dans  une  réplique  miniature  de  ville  du  Moyen - Orient ,  puis  capturée  par  un  homme  à  cheval  déguisé  en  soldat  croisé .  \n *Passion * ( 1982 *), * Jean - Luc  Godard . \n'),
(43268,6252,'VoixOffIn','implique  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'),
(43269,6252,'BandeSon','*Id* *.* \n'),
(43270,6252,'Ecrits','\n'),
(43271,6252,'_product_image_gallery',''),
(43272,6253,'_pingme','1'),
(43273,6253,'_encloseme','1'),
(43274,6253,'Index','4580'),
(43275,6253,'Minutage','56’02 \n'),
(43276,6253,'Images','Au  ralenti ,  saturé  de  bleu  :  croisé  levant  l’épée  pour  frapper .  \n *Passion * ( 1982 *), * Jean - Luc  Godard . \n'),
(43277,6253,'VoixOffIn','Il  y  a  \n'),
(43278,6253,'BandeSon','*Id* *.* \n'),
(43279,6253,'Ecrits','\n'),
(43280,6253,'_product_image_gallery',''),
(43281,6254,'_pingme','1'),
(43282,6254,'_encloseme','1'),
(43283,6254,'Index','4590'),
(43284,6254,'Minutage','56’10 \n'),
(43285,6254,'Images','Noir . \n'),
(43286,6254,'VoixOffIn','un  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'),
(43287,6254,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n \n'),
(43288,6254,'Ecrits','\n'),
(43289,6254,'_product_image_gallery',''),
(43290,6255,'_pingme','1'),
(43291,6255,'_encloseme','1'),
(43292,6255,'Index','4600'),
(43293,6255,'Minutage','56’22 \n'),
(43294,6255,'Images','Saturé  :  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'),
(43295,6255,'VoixOffIn','\n'),
(43296,6255,'BandeSon','Silence ,  et  vagues . \n'),
(43297,6255,'Ecrits','\n'),
(43298,6255,'_product_image_gallery',''),
(43299,6256,'_pingme','1'),
(43300,6256,'_encloseme','1'),
(43301,6256,'Index','4610'),
(43302,6256,'Minutage','56’40 \n'),
(43303,6256,'Images','Foule  de  personnes  se  bousculant  dans  la  rue .  \n *De * *l’origine * *du * *XX * *siècle * ( 2000 *), * Jean . Luc  Godard . \n'),
(43304,6256,'VoixOffIn','Ils  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'),
(43305,6256,'BandeSon','Silence . \n'),
(43306,6256,'Ecrits','\n'),
(43307,6256,'_product_image_gallery',''),
(43308,6257,'_pingme','1'),
(43309,6257,'_encloseme','1'),
(43310,6257,'Index','4620'),
(43311,6257,'Minutage','57’09 \n'),
(43312,6257,'Images','Deux  soldats  intimant  à  une  personne  de  lever  les  mains  et  de  faire  face  au  mur . \n'),
(43313,6257,'VoixOffIn','Le  monde  arabe  s\'il  existe  en  tant  que  monde  n\'est  jamais  regardé  en  tant  que  tel .  \n'),
(43314,6257,'BandeSon','*Id* *.* \n'),
(43315,6257,'Ecrits','\n'),
(43316,6257,'_product_image_gallery',''),
(43317,6258,'_pingme','1'),
(43318,6258,'_encloseme','1'),
(43319,6258,'Index','4630'),
(43320,6258,'Minutage','57’17 \n'),
(43321,6258,'Images','De  nouveau ,  petite  fille  portant  un  bébé  sur  les  épaules ,  trois  autres  enfants  habillés  de  haillons  à  ses  côtés .  \n *De * *l’origine * *du * *XXI * *siècle * ( 2000 *), * Jean - Luc  Godard . \n'),
(43322,6258,'VoixOffIn','Il  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'),
(43323,6258,'BandeSon','*Id* *.* \n'),
(43324,6258,'Ecrits','\n'),
(43325,6258,'_product_image_gallery',''),
(43326,6259,'_pingme','1'),
(43327,6259,'_encloseme','1'),
(43328,6259,'Index','4640'),
(43329,6259,'Minutage','57’19 \n'),
(43330,6259,'Images','Noir . \n'),
(43331,6259,'VoixOffIn','\n'),
(43332,6259,'BandeSon','*Id* *.* \n'),
(43333,6259,'Ecrits','\n'),
(43334,6259,'_product_image_gallery',''),
(43335,6260,'_pingme','1'),
(43336,6260,'_encloseme','1'),
(43337,6260,'Index','4650'),
(43338,6260,'Minutage','57’23 \n'),
(43339,6260,'Images','Jeune  femme  ramant  sur  un  lac ,  aidée  par  un  jeune  homme  assis  derrière  elle .  \n *Les * *Dernières * *vacances* ,  ( 1947 ),  Roger  Leenhardt *. * *Histoire* *(* *s* *) * *du * *cinéma * *4b * ( 1988 - 98 ),  Jean - Luc  Godard . \n'),
(43340,6260,'VoixOffIn','Ces  citoyens ,  ces  amants  de  la  patrie ,  dans  l’excès  de  leur  passion ,  auraient  voulu  mourir  pour  elle \n'),
(43341,6260,'BandeSon','*Id* *.* \n'),
(43342,6260,'Ecrits','\n'),
(43343,6260,'_product_image_gallery',''),
(43344,6261,'_pingme','1'),
(43345,6261,'_encloseme','1'),
(43346,6261,'Index','4660'),
(43347,6261,'Minutage','57’33 \n'),
(43348,6261,'Images','Saturé  en  tons  bleus  :  homme  à  cheval  au  milieu  d\'un  paysage  vallonné .  \n *Paysage * *et * *cavalier* *, * aquarelle  réalisée  au  cours  du  trajet  Tanger - Meknès  ( 1832 *), * Eugène  Delacroix . \n'),
(43349,6261,'VoixOffIn','et  ils  allaient  la  tuer .  \n *Histoire * *de * *la * *Révolution * *française * ( 1847 - 1853 ),  Jules  Michelet . \n \n Les  défauts \n \n \n'),
(43350,6261,'BandeSon','*Id* *. * \n'),
(43351,6261,'Ecrits','\n'),
(43352,6261,'_product_image_gallery',''),
(43353,6262,'_pingme','1'),
(43354,6262,'_encloseme','1'),
(43355,6262,'Index','4670'),
(43356,6262,'Minutage','57’39 \n'),
(43357,6262,'Images','Surexposé  :  autre  aquarelle  d’homme  au  turban  à  cheval  de  Eugène  Delacroix . \n'),
(43358,6262,'VoixOffIn','Et  les  enjeux \n'),
(43359,6262,'BandeSon','*Id* *.* \n'),
(43360,6262,'Ecrits','\n'),
(43361,6262,'_product_image_gallery',''),
(43362,6263,'_pingme','1'),
(43363,6263,'_encloseme','1'),
(43364,6263,'Index','4680'),
(43365,6263,'Minutage','57’42 \n \n \n'),
(43366,6263,'Images','Femme  étendant  du  linge ,  autre  femme  se  lavant  au  bord  d\'un  ruisseau *. * *\n* *Femme * *qui * *se * *lave * *et * *sa * *servante * *Maures * ( 1854 ),  Eugene  Delacroix \n Peinture . \n'),
(43367,6263,'VoixOffIn','Les  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'),
(43368,6263,'BandeSon','*Id* *.* \n'),
(43369,6263,'Ecrits','\n'),
(43370,6263,'_product_image_gallery',''),
(43371,6264,'_pingme','1'),
(43372,6264,'_encloseme','1'),
(43373,6264,'Index','4690'),
(43374,6264,'Minutage','57’52 \n \n'),
(43375,6264,'Images','Femme  interpellée  bruyamment  alors  qu\'elle  traverse  une  rue  dans  une  ville  du  Moyen - Orient ,  puis  se  retournant .  \n *Djamila * ( 1958 ),  Youssef  Chahine . \n'),
(43376,6264,'VoixOffIn','Djamila ,  Djamila ! \n'),
(43377,6264,'BandeSon','*Id* *.* \n'),
(43378,6264,'Ecrits','\n'),
(43379,6264,'_product_image_gallery',''),
(43380,6265,'_pingme','1'),
(43381,6265,'_encloseme','1'),
(43382,6265,'Index','4700'),
(43383,6265,'Minutage','57’58 \n'),
(43384,6265,'Images','Jeune  homme  levant  les  mains  et  montrant  les  paumes ,  puis  plaçant  d’un  geste  lent  la  main  droite  sur  la  paume  gauche . \n *Les * *Baliseurs * *du * *désert* *, * Nacer  Khémir  ( 1984 ),  cité  dans  *Voyage * *à * *Tunis * ( 2007 *), * Bruno  Moll . \n \n'),
(43385,6265,'VoixOffIn','Les  arabes  peuvent - ils  parler .  ( Jean - Luc  Godard ).  \n *Dans * *l\'ombre * *de * *l\'Occident * *@ * *les * *Arabes * *peuvent* *-* *ils * *parler * *? * ( 2014 ),  Edward  W .  Saïd  et  Seloua  Luste  Boulbina . \n \n À  demi - voix ,  d’une  voix  douce  et  faible  disant  de  grandes  choses  :  d’importantes ,  d’étonnantes ,  de  profondes  et  justes  choses ,  \n'),
(43386,6265,'BandeSon','*Id* *.* \n'),
(43387,6265,'Ecrits','\n'),
(43388,6265,'_product_image_gallery',''),
(43389,6266,'_pingme','1'),
(43390,6266,'_encloseme','1'),
(43391,6266,'Index','4710'),
(43392,6266,'Minutage','58’16 \n'),
(43393,6266,'Images','Homme  attrapant  une  colombe  et  la  sortant  de  sa  petite  maison  accrochée  au  mur . \n *Le * *collier * *perdu * *de * *la * *colombe * ( 1991 ),  Nacer  Khémir . \n \n'),
(43394,6266,'VoixOffIn','d’une  voix  douce  et  faible .  La  menace  du  tonnerre ,  la  présence  d’absolus  dans  une  voix  de  rougegorge \n'),
(43395,6266,'BandeSon','*Id* *.* \n'),
(43396,6266,'Ecrits','\n'),
(43397,6266,'_product_image_gallery',''),
(43398,6267,'_pingme','1'),
(43399,6267,'_encloseme','1'),
(43400,6267,'Index','4720'),
(43401,6267,'Minutage','58’27 \n'),
(43402,6267,'Images','Saturé  :  homme  et  enfant  marchant  dans  le  désert .  \n *Bab\'Aziz* *, * *le * *prince * *qui * *contemplait * *son * *âme * ( 2005 *), * Nacer  Khémir ,  cité  dans  *Voyage * *à * *Tunis * ( 2007 *), * Bruno  Moll . \n'),
(43403,6267,'VoixOffIn','dans  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'),
(43404,6267,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n'),
(43405,6267,'Ecrits','\n'),
(43406,6267,'_product_image_gallery',''),
(43407,6268,'_pingme','1'),
(43408,6268,'_encloseme','1'),
(43409,6268,'Index','4730'),
(43410,6268,'Minutage','58’36 \n'),
(43411,6268,'Images','Homme  se  jetant  sur  une  robe  posée  sur  le  toit  d\'une  maison  de  terre  cuite  dans  une  ville  du  Moyen - Orient . \n *Il * *fiore * *delle * *mille * *e * *una * *notte * ( 1974 *), * Pier  Paolo  Pasolini . \n'),
(43412,6268,'VoixOffIn','\n'),
(43413,6268,'BandeSon','*Id* *.* \n'),
(43414,6268,'Ecrits','\n'),
(43415,6268,'_product_image_gallery',''),
(43416,6269,'_pingme','1'),
(43417,6269,'_encloseme','1'),
(43418,6269,'Index','4740'),
(43419,6269,'Minutage','58’44 \n'),
(43420,6269,'Images','Saturé  :  maisons  se  reflétant  dans  l\'eau . \n'),
(43421,6269,'VoixOffIn','Et  d’une  sorte  de  murmure  en  français  infiniment  pur . \n'),
(43422,6269,'BandeSon','*Id* *.* \n'),
(43423,6269,'Ecrits','\n'),
(43424,6269,'_product_image_gallery',''),
(43425,6270,'_pingme','1'),
(43426,6270,'_encloseme','1'),
(43427,6270,'Index','4750'),
(43428,6270,'Minutage','58’55 \n \n'),
(43429,6270,'Images','Au  ralenti  :  enfant  poussant  une  roue  de  voiture . \n'),
(43430,6270,'VoixOffIn','Qui  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 ).  \n *A * *propos * *de * *Stéphane * *Mallarmé* *. * *A * *demi* *-* *voix * ( 1939 *), * Paul  Valery . \n \n'),
(43431,6270,'BandeSon','*Id* *.* \n'),
(43432,6270,'Ecrits','\n'),
(43433,6270,'_product_image_gallery',''),
(43434,6271,'_pingme','1'),
(43435,6271,'_encloseme','1'),
(43436,6271,'Index','4760'),
(43437,6271,'Minutage','59’04 \n'),
(43438,6271,'Images','Tremblant  de  droite  à  gauche  :  ville  en  ruines  avec  des  soldats  cachés ,  armes  à  la  main . \n'),
(43439,6271,'VoixOffIn','\n'),
(43440,6271,'BandeSon','*Id* *.* *\n*'),
(43441,6271,'Ecrits','\n'),
(43442,6271,'_product_image_gallery',''),
(43443,6272,'_pingme','1'),
(43444,6272,'_encloseme','1'),
(43445,6272,'Index','4770'),
(43446,6272,'Minutage','59’10 \n'),
(43447,6272,'Images','Surexposé  :  pinceau  projetant  de  l\'aquarelle  sur  une  feuille  de  papier . \n'),
(43448,6272,'VoixOffIn','Mais  ce  contraste  et  cette  musique  cette  voix  ridant  l’air  à  peine  cette  puissance  chuchotée  ces  perspectives , \n'),
(43449,6272,'BandeSon','*Id* *.* \n'),
(43450,6272,'Ecrits','\n'),
(43451,6272,'_product_image_gallery',''),
(43452,6273,'_pingme','1'),
(43453,6273,'_encloseme','1'),
(43454,6273,'Index','4780'),
(43455,6273,'Minutage','59’22 \n'),
(43456,6273,'Images','Enfants  jouant  dans  la  rue ,  autres  enfants  avec  un  scooter  et  un  chat . \n'),
(43457,6273,'VoixOffIn','ces  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'),
(43458,6273,'BandeSon','Voix  d’enfants . \n'),
(43459,6273,'Ecrits','\n'),
(43460,6273,'_product_image_gallery',''),
(43461,6274,'_pingme','1'),
(43462,6274,'_encloseme','1'),
(43463,6274,'Index','4790'),
(43464,6274,'Minutage','59’36 \n'),
(43465,6274,'Images','Jeune  femme  parlant  au  téléphone  en  arabe ,  observée  par  un  homme  au  chapeau  de  prière  musulman  situé  derrière  la  vitre  d’une  cabine  téléphonique . \n *Gare * *Centrale * ( 1958 *), * Youssef  Chahine . \n'),
(43466,6274,'VoixOffIn','Jeune  femme  [ traduction  du  dialecte  égyptien ]: \n Il  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'),
(43467,6274,'BandeSon','Silence . \n'),
(43468,6274,'Ecrits','\n'),
(43469,6274,'_product_image_gallery',''),
(43470,6275,'_pingme','1'),
(43471,6275,'_encloseme','1'),
(43472,6275,'Index','4800'),
(43473,6275,'Minutage','59’57 \n'),
(43474,6275,'Images','Noir . \n'),
(43475,6275,'VoixOffIn','Voix  d\'un  enfant  criant  [ traduction  du  dialecte  palestinien ]:  \n Monsieur  le  juge ,  la  guerre  a  brûlé  mes  livres  ! \n *Histoires * *du * *cinéma * *4b * ( 1989 - 99 *), * Jean - Luc  Godard . \n \n Voix  d’homme  recitant  un  poème  du  poète  palestinien  Mahmoud  Darwich  en  arabe  [ traduction  de  l’arabe  classique ]:  \n Je  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'),
(43476,6275,'BandeSon','*Id* *.* \n'),
(43477,6275,'Ecrits','\n'),
(43478,6275,'_product_image_gallery',''),
(43479,6276,'_pingme','1'),
(43480,6276,'_encloseme','1'),
(43481,6276,'Index','4810'),
(43482,6276,'Minutage','1h00’03 \n'),
(43483,6276,'Images','Noir . \n'),
(43484,6276,'VoixOffIn','\n'),
(43485,6276,'BandeSon','*Id* *.* \n'),
(43486,6276,'Ecrits','Peut - être \n Que  \n Dans \n Mille  et  un \n Jours \n \n Racontera  \n cela \n'),
(43487,6276,'_product_image_gallery',''),
(43488,6277,'_pingme','1'),
(43489,6277,'_encloseme','1'),
(43490,6277,'Index','4820'),
(43491,6277,'Minutage','1h00’04 \n'),
(43492,6277,'Images','Clignotant  :  deux  nouveaux  mots  s’ajoutent  au  texte  précédemment  affiché . \n *Ici * *et * *ailleurs * ( 1976 *), * Jean - Luc  Godard / Groupe  Dziga  Vertov . \n'),
(43493,6277,'VoixOffIn','\n'),
(43494,6277,'BandeSon','*Id* *.* \n'),
(43495,6277,'Ecrits','Peut - être \n Que  \n Dans \n Mille  et  un \n Jours \n Scheherazade \n Racontera  \n Cela \n autrement \n'),
(43496,6277,'_product_image_gallery',''),
(43497,6278,'_pingme','1'),
(43498,6278,'_encloseme','1'),
(43499,6278,'Index','4830'),
(43500,6278,'Minutage','1h00’09 \n'),
(43501,6278,'Images','Photographie  d\'une  personne  morte  et  défigurée ,  au  crâne  fendu .  \n *Ici * *et * *ailleurs * ( 1976 *), * Jean - Luc  Godard / Groupe  Dziga  Vertov . \n'),
(43502,6278,'VoixOffIn','\n'),
(43503,6278,'BandeSon','*Id* *.* \n'),
(43504,6278,'Ecrits','\n'),
(43505,6278,'_product_image_gallery',''),
(43506,6279,'_pingme','1'),
(43507,6279,'_encloseme','1'),
(43508,6279,'Index','4840'),
(43509,6279,'Minutage','1h00’13 \n'),
(43510,6279,'Images','Femme  parlant  devant  un  brasier .  Main  d\'une  autre  personne  s\'approchant  et  posant  l\'index  sur  sa  lèvre  inférieure .  \n *Les * *silences * *du * *passé * ( 1994 *), * Moufida  Tlatli . \n'),
(43511,6279,'VoixOffIn','Voix  d\'un  homme  parlant  en  arabe .  *Ici * *et * *ailleurs * ( 1976 *), * Jean - Luc  Godard / Groupe  Dziga  Vertov . \n'),
(43512,6279,'BandeSon','Coups  de  mitraillette .  *Ici * *et * *ailleurs * ( 1976 *), * Jean - Luc  Godard / Groupe  Dziga  Vertov . \n'),
(43513,6279,'Ecrits','\n'),
(43514,6279,'_product_image_gallery',''),
(43515,6280,'_pingme','1'),
(43516,6280,'_encloseme','1'),
(43517,6280,'Index','4850'),
(43518,6280,'Minutage','1h00’22 \n'),
(43519,6280,'Images','De  nouveau ,  personne  morte  et  défigurée  au  crâne  fendu .  \n *Ici * *et * *ailleurs * ( 1976 *), * Jean - Luc  Godard / Groupe  Dziga  Vertov . \n'),
(43520,6280,'VoixOffIn','*Id* *.* \n'),
(43521,6280,'BandeSon','*Id* *.* \n'),
(43522,6280,'Ecrits','\n'),
(43523,6280,'_product_image_gallery',''),
(43524,6281,'_pingme','1'),
(43525,6281,'_encloseme','1'),
(43526,6281,'Index','4860'),
(43527,6281,'Minutage','1h00’31 \n'),
(43528,6281,'Images','Saturé  :  cadavres  dans  un  paysage  désertique . \n'),
(43529,6281,'VoixOffIn','*Id* *.* \n'),
(43530,6281,'BandeSon','*Id* *.* \n'),
(43531,6281,'Ecrits','\n'),
(43532,6281,'_product_image_gallery',''),
(43533,6282,'_pingme','1'),
(43534,6282,'_encloseme','1'),
(43535,6282,'Index','4870'),
(43536,6282,'Minutage','1h00’41 \n'),
(43537,6282,'Images','Saturé  en  tons  bleus  :  personne  nageant  dans  l\'eau . \n'),
(43538,6282,'VoixOffIn','*Id* *.* \n'),
(43539,6282,'BandeSon','*Id* *.* \n'),
(43540,6282,'Ecrits','\n'),
(43541,6282,'_product_image_gallery',''),
(43542,6283,'_pingme','1'),
(43543,6283,'_encloseme','1'),
(43544,6283,'Index','4880'),
(43545,6283,'Minutage','1h00’47 \n'),
(43546,6283,'Images','Saturée  en  tons  verts  et  rouges  :  femmes  habillées  plongeant  dans  un  fleuve .  \n *La * *saison * *des * *hommes * ( 2002 ),  Moufida  Tlatli . \n'),
(43547,6283,'VoixOffIn','*Id* *.* \n'),
(43548,6283,'BandeSon','*Id* *.* \n'),
(43549,6283,'Ecrits','\n'),
(43550,6283,'_product_image_gallery',''),
(43551,6284,'_pingme','1'),
(43552,6284,'_encloseme','1'),
(43553,6284,'Index','4890'),
(43554,6284,'Minutage','1h00’54 \n'),
(43555,6284,'Images','Livre  feuilleté  \n *L\'Arabie * *heureuse* *. * *Souvenirs * *de * *voyages * *en * *Afrique * *et * *en * *Asie * ( 1860 *), * Hadji - Abd - El - Hamid  Bey ,  publié  par  Alexandre  Dumas . \n'),
(43556,6284,'VoixOffIn','Que  n’a - t - on  pas  écrit  la  nuit  ?  pourtant  de  ce  qui  fut  écrit  à  partir  de  ces  visions  par  Holderlin ,  Rimbaud .  \n \n \n'),
(43557,6284,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n \n'),
(43558,6284,'Ecrits','\n'),
(43559,6284,'_product_image_gallery',''),
(43560,6285,'_pingme','1'),
(43561,6285,'_encloseme','1'),
(43562,6285,'Index','4900'),
(43563,6285,'Minutage','1h01’06 \n'),
(43564,6285,'Images','Noir . \n'),
(43565,6285,'VoixOffIn','Nous  parlions  de  ce  qu’on  voit  dans  un  rêve \n Nous  nous  demandions  comment ,  dans  l’obscurité  totale  peuvent  surgir  parmi  nous  \n'),
(43566,6285,'BandeSon','Voix  masculine  d’un  muezzin ,  en  arabe .  \n Puis ,  après  à  la  guitare .  *Thimar* *, * *6* *. * *Uns * ( 1998 ),  Anouar  Brahem ,  John  Surman ,  Dave  Holland .  \n'),
(43567,6285,'Ecrits','\n'),
(43568,6285,'_product_image_gallery',''),
(43569,6286,'_pingme','1'),
(43570,6286,'_encloseme','1'),
(43571,6286,'Index','4910'),
(43572,6286,'Minutage','1h01’18  \n'),
(43573,6286,'Images','Saturé  :  aquarelle  représentant  un  homme  marchant  entre  des  maisons .  \n *Vue * *dans * *une * *ruelle * ( 1914 ),  August  Macke . \n'),
(43574,6286,'VoixOffIn','de  couleurs  de  telle  intensité \n'),
(43575,6286,'BandeSon','*Id* *.* \n'),
(43576,6286,'Ecrits','\n'),
(43577,6286,'_product_image_gallery',''),
(43578,6287,'_pingme','1'),
(43579,6287,'_encloseme','1'),
(43580,6287,'Index','4920'),
(43581,6287,'Minutage','1h01’20 \n'),
(43582,6287,'Images','Mains  de  Godard  feuilletant  des  images ,  dont  un  dessin  stylisé  d’une  femme  en  robe  bleue .  \n *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 ),  Jean - Luc  Godard . \n'),
(43583,6287,'VoixOffIn','Elles  sont  le  produit  de  notre  savoir  \n'),
(43584,6287,'BandeSon','*Id* *.* \n'),
(43585,6287,'Ecrits','\n'),
(43586,6287,'_product_image_gallery',''),
(43587,6288,'_pingme','1'),
(43588,6288,'_encloseme','1'),
(43589,6288,'Index','4930'),
(43590,6288,'Minutage','1h01’23 \n'),
(43591,6288,'Images','Aquarelle  de  femme  en  robe .  \n *Histoire* *(* *s* *) * *du * *cinéma * *1b * ( 1988 - 98 ),  Jean - Luc  Godard . \n'),
(43592,6288,'VoixOffIn','concernant  la  lumière \n'),
(43593,6288,'BandeSon','*Id* *.* \n'),
(43594,6288,'Ecrits','\n'),
(43595,6288,'_product_image_gallery',''),
(43596,6289,'_pingme','1'),
(43597,6289,'_encloseme','1'),
(43598,6289,'Index','4940'),
(43599,6289,'Minutage','1h01’25 \n'),
(43600,6289,'Images','Homme  allongé  sur  un  lit  regardant  au  plafond  où  des  images  semblent  être  projetées . \n'),
(43601,6289,'VoixOffIn','Le  savoir  voit  !  \n \n Le  contrepoint  est  une  discipline  de  la  superposition  des  lignes  mélodiques . \n'),
(43602,6289,'BandeSon','*Concerto * *pour * *violon * *no * *2 * *en * *mi * *mineur* ,  *Op* *. * *64 * *(* *MWV * *O * *14* *) * ( 1844 ),  Félix  Mendelssohn . \n'),
(43603,6289,'Ecrits','PASSEPORT \n VERS \n      LE  RÉEL \n'),
(43604,6289,'_product_image_gallery',''),
(43605,6290,'_pingme','1'),
(43606,6290,'_encloseme','1'),
(43607,6290,'Index','4950'),
(43608,6290,'Minutage','1h01’35 \n'),
(43609,6290,'Images','Noir . \n'),
(43610,6290,'VoixOffIn','Les  mélodies  n’ont  pas  besoin  d’être  identiques \n'),
(43611,6290,'BandeSon','*Id* *.* \n'),
(43612,6290,'Ecrits','\n'),
(43613,6290,'_product_image_gallery',''),
(43614,6291,'_pingme','1'),
(43615,6291,'_encloseme','1'),
(43616,6291,'Index','4960'),
(43617,6291,'Minutage','1h01’44 \n'),
(43618,6291,'Images','Aquarelle  d\'un  âne  au  milieu  des  maisons .  \n *Vue * *sur * *une * *mosquée * ( 1914 ),  August  Macke . \n'),
(43619,6291,'VoixOffIn','non  plus  que  parentes ,  étrangères  l\'une  à  l\'autre .  Elles  ne  font  pas  obstacle  à  la  composition  \n'),
(43620,6291,'BandeSon','*Id* *.* \n'),
(43621,6291,'Ecrits','\n'),
(43622,6291,'_product_image_gallery',''),
(43623,6292,'_pingme','1'),
(43624,6292,'_encloseme','1'),
(43625,6292,'Index','4970'),
(43626,6292,'Minutage','1h01’49 \n'),
(43627,6292,'Images','Noir . \n'),
(43628,6292,'VoixOffIn','mais  il  faut  les  tenir  \n'),
(43629,6292,'BandeSon','*Id* *.* \n'),
(43630,6292,'Ecrits','\n'),
(43631,6292,'_product_image_gallery',''),
(43632,6293,'_pingme','1'),
(43633,6293,'_encloseme','1'),
(43634,6293,'Index','4980'),
(43635,6293,'Minutage','1h01’53 \n'),
(43636,6293,'Images','Photographie  d\'un  pinceau  posé  sur  une  feuille  peinte . \n'),
(43637,6293,'VoixOffIn','toutes  les  deux  ensemble  et  en  même  temps .  Dans  l\'harmonie  les  accords  produisent  les  mélodies .  \n'),
(43638,6293,'BandeSon','*Id* *. * et  silence . \n'),
(43639,6293,'Ecrits','\n'),
(43640,6293,'_product_image_gallery',''),
(43641,6294,'_pingme','1'),
(43642,6294,'_encloseme','1'),
(43643,6294,'Index','4990'),
(43644,6294,'Minutage','1h02’07 \n'),
(43645,6294,'Images','Surexposé  et  en  tons  jaunes  :  trois  femmes  faisant  la  vaisselle  dans  des  bacs  de  fer  posés  à  même  le  sol .  \n *Tamaout * ( 1970 *), * Marc’o . \n'),
(43646,6294,'VoixOffIn','Dans  le  contrepoint  ce  sont  des  mélodies  elles - mêmes  dont  dont  à  l\'inverse  résultent  les  accords .  ( Jean -  Luc  Godard ). \n'),
(43647,6294,'BandeSon','*Id* *.* \n'),
(43648,6294,'Ecrits','\n'),
(43649,6294,'_product_image_gallery',''),
(43650,6295,'_pingme','1'),
(43651,6295,'_encloseme','1'),
(43652,6295,'Index','5000'),
(43653,6295,'Minutage','1h02’16 \n'),
(43654,6295,'Images','Noir . \n'),
(43655,6295,'VoixOffIn','\n'),
(43656,6295,'BandeSon','*Klavierquintett* *, * *Op* *. * *18* ,  *Moderato * *con * *moto * ( 1946 ),  Mieczysław  Weinberg . \n'),
(43657,6295,'Ecrits','\n'),
(43658,6295,'_product_image_gallery',''),
(43659,6296,'_pingme','1'),
(43660,6296,'_encloseme','1'),
(43661,6296,'Index','5010'),
(43662,6296,'Minutage','1h02’21 \n'),
(43663,6296,'Images','Trois  filles  et  un  garçon  jouant  dans  une  piscine .  *\n* *Il * *fiore * *delle * *mille * *e * *una * *notte * ( 1974 *), * Pier  Paolo  Pasolini . \n'),
(43664,6296,'VoixOffIn','\n'),
(43665,6296,'BandeSon','*Id* *.* \n'),
(43666,6296,'Ecrits','\n'),
(43667,6296,'_product_image_gallery',''),
(43668,6297,'_pingme','1'),
(43669,6297,'_encloseme','1'),
(43670,6297,'Index','5020'),
(43671,6297,'Minutage','1h02’39 \n'),
(43672,6297,'Images','Saturé  :  soleil  couchant  sur  la  mer . \n'),
(43673,6297,'VoixOffIn','\n'),
(43674,6297,'BandeSon','*Id* *.* \n'),
(43675,6297,'Ecrits','\n'),
(43676,6297,'_product_image_gallery',''),
(43677,6298,'_pingme','1'),
(43678,6298,'_encloseme','1'),
(43679,6298,'Index','5030'),
(43680,6298,'Minutage','1h02’48 \n'),
(43681,6298,'Images','Noir . \n'),
(43682,6298,'VoixOffIn','\n'),
(43683,6298,'BandeSon','*Piano * *Quintet* *, * *Op* *. * *18 * *- * *4* *. * *Largo * ( 1944 *), * Mieczysław  Weinberg . \n \n'),
(43684,6298,'Ecrits','HEUREUSE \n ARABIE \n \n *Hasards * *de * *l\'Arabie * *heureuse * ( 2005 ),  Frederic  Prokosch . \n'),
(43685,6298,'_product_image_gallery',''),
(43686,6299,'_pingme','1'),
(43687,6299,'_encloseme','1'),
(43688,6299,'Index','5040'),
(43689,6299,'Minutage','1h02’55 \n'),
(43690,6299,'Images','Saturé  et  surexposé  :  bateau  au  milieu  de  la  mer  et  pêcheurs . \n'),
(43691,6299,'VoixOffIn','\n'),
(43692,6299,'BandeSon','*Id* *.* \n'),
(43693,6299,'Ecrits','\n'),
(43694,6299,'_product_image_gallery',''),
(43695,6300,'_pingme','1'),
(43696,6300,'_encloseme','1'),
(43697,6300,'Index','5050'),
(43698,6300,'Minutage','1h03’08 \n'),
(43699,6300,'Images','Femme  se  peingnant  les  mains  de  symboles  géométriques . \n'),
(43700,6300,'VoixOffIn','\n'),
(43701,6300,'BandeSon','*Id* *.* \n'),
(43702,6300,'Ecrits','\n'),
(43703,6300,'_product_image_gallery',''),
(43704,6301,'_pingme','1'),
(43705,6301,'_encloseme','1'),
(43706,6301,'Index','5060'),
(43707,6301,'Minutage','1h03’09 \n'),
(43708,6301,'Images','Saturé  :  mer  ondulante  vue  d\'un  golfe . \n'),
(43709,6301,'VoixOffIn','\n'),
(43710,6301,'BandeSon','Silence ,  puis  vagues . \n'),
(43711,6301,'Ecrits','\n'),
(43712,6301,'_product_image_gallery',''),
(43713,6302,'_pingme','1'),
(43714,6302,'_encloseme','1'),
(43715,6302,'Index','5070'),
(43716,6302,'Minutage','1h03’41 \n'),
(43717,6302,'Images','Noir . \n'),
(43718,6302,'VoixOffIn','\n'),
(43719,6302,'BandeSon','*Id* *. * et  silence . \n'),
(43720,6302,'Ecrits','\n'),
(43721,6302,'_product_image_gallery',''),
(43722,6303,'_pingme','1'),
(43723,6303,'_encloseme','1'),
(43724,6303,'Index','5080'),
(43725,6303,'Minutage','1h03’47 \n'),
(43726,6303,'Images','Jeune  femme  pleurant  sur  une  plage ,  hommes  chantant  en  arabe  en  arrière - plan .  *La * *fièvre * ( 2014 ),  Safia  Benhaïm . \n'),
(43727,6303,'VoixOffIn','\n'),
(43728,6303,'BandeSon','Voix  masculines  accompagnées  d’instruments  à  percussions . \n'),
(43729,6303,'Ecrits','\n'),
(43730,6303,'_product_image_gallery',''),
(43731,6304,'_pingme','1'),
(43732,6304,'_encloseme','1'),
(43733,6304,'Index','5090'),
(43734,6304,'Minutage','1h03’57 \n'),
(43735,6304,'Images','Noir . \n'),
(43736,6304,'VoixOffIn','\n'),
(43737,6304,'BandeSon','*Id* *.* \n'),
(43738,6304,'Ecrits','\n'),
(43739,6304,'_product_image_gallery',''),
(43740,6305,'_pingme','1'),
(43741,6305,'_encloseme','1'),
(43742,6305,'Index','5100'),
(43743,6305,'Minutage','1h03’58 \n'),
(43744,6305,'Images','En  noir  et  blanc  :  bris  de  vitres  de  voitures .  \n *Djamila * ( 1958 ),  Youssef  Chahine . \n'),
(43745,6305,'VoixOffIn','\n'),
(43746,6305,'BandeSon','Explosion  et  vitres  cassées . \n'),
(43747,6305,'Ecrits','\n'),
(43748,6305,'_product_image_gallery',''),
(43749,6306,'_pingme','1'),
(43750,6306,'_encloseme','1'),
(43751,6306,'Index','5110'),
(43752,6306,'Minutage','1h04’00 \n'),
(43753,6306,'Images','Femme  nue  s’alongeant  sur  un  homme  nu  sur  un  lit .  *\n* *Il * *fiore * *delle * *mille * *e * *una * *notte * ( 1974 *), * Pier  Paolo  Pasolini . \n'),
(43754,6306,'VoixOffIn','\n'),
(43755,6306,'BandeSon','Silence . \n'),
(43756,6306,'Ecrits','\n'),
(43757,6306,'_product_image_gallery',''),
(43758,6307,'_pingme','1'),
(43759,6307,'_encloseme','1'),
(43760,6307,'Index','5120'),
(43761,6307,'Minutage','1h04’05 \n'),
(43762,6307,'Images','Femme  embrassant  les  pieds  d\'un  homme . \n'),
(43763,6307,'VoixOffIn','\n'),
(43764,6307,'BandeSon','*Id* *.* \n'),
(43765,6307,'Ecrits','\n'),
(43766,6307,'_product_image_gallery',''),
(43767,6308,'_pingme','1'),
(43768,6308,'_encloseme','1'),
(43769,6308,'Index','5130'),
(43770,6308,'Minutage','1h04’07 \n'),
(43771,6308,'Images','Homme  marchant  sur  des  toits  de  maisons  au  moyen - orient .  \n *Il * *fiore * *delle * *mille * *e * *una * *notte * ( 1974 *), * Pier  Paolo  Pasolini . \n'),
(43772,6308,'VoixOffIn','Très  loin ,  très  bas ,  l’océan  …  cent  millions  de  vagues . \n Elles  rampaient  vers  les  côtes  invisibles  de  Dofa , \n'),
(43773,6308,'BandeSon','*Id* *. * puis  coups  de  mitraillette . \n'),
(43774,6308,'Ecrits','\n'),
(43775,6308,'_product_image_gallery',''),
(43776,6309,'_pingme','1'),
(43777,6309,'_encloseme','1'),
(43778,6309,'Index','5140'),
(43779,6309,'Minutage','1h04’24 \n'),
(43780,6309,'Images','Lac  et  ciel  entourés  de  montagnes . \n'),
(43781,6309,'VoixOffIn','si  lentes  que ,  vues  d’en  haut ,  d’en  plein  ciel  en  ciel ,  elles  ne  donnaient  qu’à  peine  l’impression  de  bouger \n'),
(43782,6309,'BandeSon','Silence . \n'),
(43783,6309,'Ecrits','\n'),
(43784,6309,'_product_image_gallery',''),
(43785,6310,'_pingme','1'),
(43786,6310,'_encloseme','1'),
(43787,6310,'Index','5150'),
(43788,6310,'Minutage','1h04’35 \n'),
(43789,6310,'Images','Saturé  :  hommes  et  femmes  sur  une  plage ,  bateau . \n'),
(43790,6310,'VoixOffIn','Elles  glissaient  sur  la  mer  avec  l’indolente  précision  d\'un  dessin  de  Damas  \n'),
(43791,6310,'BandeSon','*Id* *.* \n'),
(43792,6310,'Ecrits','\n'),
(43793,6310,'_product_image_gallery',''),
(43794,6311,'_pingme','1'),
(43795,6311,'_encloseme','1'),
(43796,6311,'Index','5160'),
(43797,6311,'Minutage','1h04’42 \r\n'),
(43798,6311,'Images','Noir . \r\n'),
(43799,6311,'VoixOffIn','qui  semble  comme  un  grand  réseau  blanc  sur  une  feuille  \r\n'),
(43800,6311,'BandeSon','Arpèges  à  la  guitare .  *Raf * *Raf * ( 1991 *), * Anouar  Brahem .  \r\n'),
(43801,6311,'Ecrits','ARCHÉOLOGIE \r\n ET        PIRATES \r\n'),
(43802,6311,'_product_image_gallery',''),
(43803,6312,'_pingme','1'),
(43804,6312,'_encloseme','1'),
(43805,6312,'Index','5170'),
(43806,6312,'Minutage','1h04’45 \n'),
(43807,6312,'Images','Surexposé  et  saturé  :  quatre  enfants  au  milieu  de  la  mer . \n'),
(43808,6312,'VoixOffIn','de  verre  bleu .  De  place  en  place , \n'),
(43809,6312,'BandeSon','*Id* *.* \n'),
(43810,6312,'Ecrits','\n'),
(43811,6312,'_product_image_gallery',''),
(43812,6313,'_pingme','1'),
(43813,6313,'_encloseme','1'),
(43814,6313,'Index','5180'),
(43815,6313,'Minutage','1h04’52 \n'),
(43816,6313,'Images','Photo  d\'un  coucher  de  soleil  sur  la  mer . \n'),
(43817,6313,'VoixOffIn','dans  cette  transparence ,  la  forme  d\'un  poisson  frémissait  puis  s\'éclipsait ,  raie  géant  peut - être , \n'),
(43818,6313,'BandeSon','*Id* *.* \n'),
(43819,6313,'Ecrits','\n'),
(43820,6313,'_product_image_gallery',''),
(43821,6314,'_pingme','1'),
(43822,6314,'_encloseme','1'),
(43823,6314,'Index','5190'),
(43824,6314,'Minutage','1h05’00 \n'),
(43825,6314,'Images','Coucher  de  soleil  sur  la  mer . \n'),
(43826,6314,'VoixOffIn','où  requin  sur  la  voie  d\'eau  plus  froide .  Vers  le  nord .  S’aplatissait  un  archipel  \n'),
(43827,6314,'BandeSon','*Id* *.* \n'),
(43828,6314,'Ecrits','\n'),
(43829,6314,'_product_image_gallery',''),
(43830,6315,'_pingme','1'),
(43831,6315,'_encloseme','1'),
(43832,6315,'Index','5200'),
(43833,6315,'Minutage','1h05’09 \n'),
(43834,6315,'Images','Zoomé  :  coucher  de  soleil  sur  la  mer . \n'),
(43835,6315,'VoixOffIn','cortège  de  crocodiles ,  \n'),
(43836,6315,'BandeSon','Silence . \n'),
(43837,6315,'Ecrits','\n'),
(43838,6315,'_product_image_gallery',''),
(43839,6316,'_pingme','1'),
(43840,6316,'_encloseme','1'),
(43841,6316,'Index','5210'),
(43842,6316,'Minutage','1h05’16 \n'),
(43843,6316,'Images','Surexposé  :  hommes  dans  un  bateau . \n'),
(43844,6316,'VoixOffIn','vers  les  jardins  du  sud ,  vers  le  nord .  Les  pirogues  s\'aplatissaient .  Un  archipel  posé  sur  la  plaque  de  verre  comme  \n'),
(43845,6316,'BandeSon','*Id* *.* \n'),
(43846,6316,'Ecrits','\n'),
(43847,6316,'_product_image_gallery',''),
(43848,6317,'_pingme','1'),
(43849,6317,'_encloseme','1'),
(43850,6317,'Index','5220'),
(43851,6317,'Minutage','1h05’26 \n'),
(43852,6317,'Images','Noir . \n'),
(43853,6317,'VoixOffIn','des  moustiques .  \n *Une * *ambition * *dans * *le * *désert * ( 1984 ),  Albert  Cossery . \n'),
(43854,6317,'BandeSon','*Id* *.* \n'),
(43855,6317,'Ecrits','\n'),
(43856,6317,'_product_image_gallery',''),
(43857,6318,'_pingme','1'),
(43858,6318,'_encloseme','1'),
(43859,6318,'Index','5230'),
(43860,6318,'Minutage','1h05’27 \n'),
(43861,6318,'Images','Saturé  en  tons  rouge  :  désert ,  dunes . \n'),
(43862,6318,'VoixOffIn','\n'),
(43863,6318,'BandeSon','*Id* *.* \n'),
(43864,6318,'Ecrits','\n'),
(43865,6318,'_product_image_gallery',''),
(43866,6319,'_pingme','1'),
(43867,6319,'_encloseme','1'),
(43868,6319,'Index','5240'),
(43869,6319,'Minutage','1h05’30 \n'),
(43870,6319,'Images','Vieil  homme  soufflant  sur  des  braises  placées  sur  une  brique ,  et  posant  une  cafetière  dessus . \n'),
(43871,6319,'VoixOffIn','\n'),
(43872,6319,'BandeSon','*Id* *.* \n'),
(43873,6319,'Ecrits','\n'),
(43874,6319,'_product_image_gallery',''),
(43875,6320,'_pingme','1'),
(43876,6320,'_encloseme','1'),
(43877,6320,'Index','5250'),
(43878,6320,'Minutage','1h05’36 \n'),
(43879,6320,'Images','Palmiers  secoués  par  un  vent  fort . \n'),
(43880,6320,'VoixOffIn','\n'),
(43881,6320,'BandeSon','Vent \n'),
(43882,6320,'Ecrits','\n'),
(43883,6320,'_product_image_gallery',''),
(43884,6321,'_pingme','1'),
(43885,6321,'_encloseme','1'),
(43886,6321,'Index','5260'),
(43887,6321,'Minutage','1h05’41 \n'),
(43888,6321,'Images','Rue  bruyante  d\'une  ville  du  Moyen  Orient  vue  d’un  balcon .  \n'),
(43889,6321,'VoixOffIn','\n'),
(43890,6321,'BandeSon','Chanson  en  arabe  provenant  d’une  radio  résonnant  dans  la  ville .  \n'),
(43891,6321,'Ecrits','\n'),
(43892,6321,'_product_image_gallery',''),
(43893,6322,'_pingme','1'),
(43894,6322,'_encloseme','1'),
(43895,6322,'Index','5270'),
(43896,6322,'Minutage','1h05’45 \n'),
(43897,6322,'Images','Surexposé  et  déformé  :  masque  d’aigle  sur  un  homme  dont  on  voit  les  mains  au  bas  du  cadre . \n *Judex * ( 1964 ),  Georges  Franju . \n'),
(43898,6322,'VoixOffIn','\n'),
(43899,6322,'BandeSon','Silence . \n'),
(43900,6322,'Ecrits','\n'),
(43901,6322,'_product_image_gallery',''),
(43902,6323,'_pingme','1'),
(43903,6323,'_encloseme','1'),
(43904,6323,'Index','5280'),
(43905,6323,'Minutage','1h05’52 \n'),
(43906,6323,'Images','Au  ralenti  :  femme  au  balcon  vue  de  dos ,  se  retournant .  \n *La * *mome * *vert * *de * *gris * ( 1953 *), * Bernard  borderie . \n'),
(43907,6323,'VoixOffIn','\n'),
(43908,6323,'BandeSon','*Id* *.* \n'),
(43909,6323,'Ecrits','\n'),
(43910,6323,'_product_image_gallery',''),
(43911,6324,'_pingme','1'),
(43912,6324,'_encloseme','1'),
(43913,6324,'Index','5290'),
(43914,6324,'Minutage','1h05’55 \n'),
(43915,6324,'Images','Femme  dansant  en  regardant  la  caméra .  \n *La * *bandera * ( 1935 *), * Julien  Duvivier . \n'),
(43916,6324,'VoixOffIn','\n'),
(43917,6324,'BandeSon','*Id* *.* \n'),
(43918,6324,'Ecrits','\n'),
(43919,6324,'_product_image_gallery',''),
(43920,6325,'_pingme','1'),
(43921,6325,'_encloseme','1'),
(43922,6325,'Index','5300'),
(43923,6325,'Minutage','1h06’00 \n'),
(43924,6325,'Images','Photo  d\'une  rue  d’une  ville  prise  avec  un  téléphone  portable  depuis  un  balcon . \n'),
(43925,6325,'VoixOffIn','\n'),
(43926,6325,'BandeSon','Explosions  et  cris . \n'),
(43927,6325,'Ecrits','\n'),
(43928,6325,'_product_image_gallery',''),
(43929,6326,'_pingme','1'),
(43930,6326,'_encloseme','1'),
(43931,6326,'Index','5310'),
(43932,6326,'Minutage','1h06’06 \n'),
(43933,6326,'Images','Au  ralenti  :  homme  enflammé  courant . \n'),
(43934,6326,'VoixOffIn','\n'),
(43935,6326,'BandeSon','*Id* *.* \n'),
(43936,6326,'Ecrits','\n'),
(43937,6326,'_product_image_gallery',''),
(43938,6327,'_pingme','1'),
(43939,6327,'_encloseme','1'),
(43940,6327,'Index','5320'),
(43941,6327,'Minutage','1h06’12 \n'),
(43942,6327,'Images','Deux  hommes  lisant  le  Coran  et  priant . \n'),
(43943,6327,'VoixOffIn','Le  livre .  Les  religions  du  livre  ont  forgé  nos  sociétés \n'),
(43944,6327,'BandeSon','Silence . \n'),
(43945,6327,'Ecrits','\n'),
(43946,6327,'_product_image_gallery',''),
(43947,6328,'_pingme','1'),
(43948,6328,'_encloseme','1'),
(43949,6328,'Index','5330'),
(43950,6328,'Minutage','1h06’19 \n'),
(43951,6328,'Images','Homme  sortant  d\'une  maison  en  pierre  et  en  saluant  d’autres  en  leur  tendant  la  main .  \n *Il * *fiore * *delle * *mille * *e * *una * *notte * ( 1974 *), * Pier  Paolo  Pasolini . \n'),
(43952,6328,'VoixOffIn','et  nous  avons  sacralisé  les  textes . \n Tables  de  la  lois ,  dix  commencements ,  rouleaux  de  la   Torah ,  Bible ,  Coran  etc .  \n'),
(43953,6328,'BandeSon','*Id* *.* \n'),
(43954,6328,'Ecrits','\n'),
(43955,6328,'_product_image_gallery',''),
(43956,6329,'_pingme','1'),
(43957,6329,'_encloseme','1'),
(43958,6329,'Index','5340'),
(43959,6329,'Minutage','1h06’36 \n'),
(43960,6329,'Images','Noir . \n'),
(43961,6329,'VoixOffIn','Il  fallait  ( Jean - Luc  Godard ) \n'),
(43962,6329,'BandeSon','*Id* *.* \n'),
(43963,6329,'Ecrits','\n'),
(43964,6329,'_product_image_gallery',''),
(43965,6330,'_pingme','1'),
(43966,6330,'_encloseme','1'),
(43967,6330,'Index','5350'),
(43968,6330,'Minutage','1h06’38 \n'),
(43969,6330,'Images','Peinte  à  la  main  sur  un  fond  noir  :  «  Le  Livre  d’\'  »  écrit  en  rouge  et  «  Image  »  écrit  en  blanc . \n'),
(43970,6330,'VoixOffIn','\n'),
(43971,6330,'BandeSon','*Id* *.* \n'),
(43972,6330,'Ecrits','\n'),
(43973,6330,'_product_image_gallery',''),
(43974,6331,'_pingme','1'),
(43975,6331,'_encloseme','1'),
(43976,6331,'Index','5360'),
(43977,6331,'Minutage','1h06’41 \n'),
(43978,6331,'Images','Saturé  :  vidéo  prise  du  sommet  d\'une  montagne ,  montrant  la  mer .  Le  bruit  du  vent  perturbe  le  microphone . \n'),
(43979,6331,'VoixOffIn','\n'),
(43980,6331,'BandeSon','Vent . \n'),
(43981,6331,'Ecrits','\n'),
(43982,6331,'_product_image_gallery',''),
(43983,6332,'_pingme','1'),
(43984,6332,'_encloseme','1'),
(43985,6332,'Index','5370'),
(43986,6332,'Minutage','1h06’50 \n'),
(43987,6332,'Images','En  noir  et  blanc  :  femme  dansant  tandis  que  des  hommes  et  des  femmes  assis  à  table  la  regardent .  \n *La * *mome * *vert * *de * *gris * ( 1953 *), * Bernard  borderie . \n'),
(43988,6332,'VoixOffIn','Ici ,  à  Dofa ,  la  capitale  de  l\'Émirat ,  il  était  inconcevable  qu’un  mouvement  subversif  se  soit  constitué \n'),
(43989,6332,'BandeSon','Silence . \n'),
(43990,6332,'Ecrits','\n'),
(43991,6332,'_product_image_gallery',''),
(43992,6333,'_pingme','1'),
(43993,6333,'_encloseme','1'),
(43994,6333,'Index','5380'),
(43995,6333,'Minutage','1h06’55 \n'),
(43996,6333,'Images','Homme  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'),
(43997,6333,'VoixOffIn','Vous  êtes  conscients  je  suppose  que  toutes  les  histoires  racontées  se  montrent  parties .  \n \n quelque  rumeur  autre  que  les  explosions \n'),
(43998,6333,'BandeSon','*Id* *. * puis  voix  humaines . \n'),
(43999,6333,'Ecrits','\n'),
(44000,6333,'_product_image_gallery',''),
(44001,6334,'_pingme','1'),
(44002,6334,'_encloseme','1'),
(44003,6334,'Index','5390'),
(44004,6334,'Minutage','1h07’28 \n'),
(44005,6334,'Images','Saturé  en  tons  jaunes  et  rouges ,  et  sous - exposé  :  puit  de  pétrole  en  flammes . \n'),
(44006,6334,'VoixOffIn','En  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'),
(44007,6334,'BandeSon','Silence . \n'),
(44008,6334,'Ecrits','\n'),
(44009,6334,'_product_image_gallery',''),
(44010,6335,'_pingme','1'),
(44011,6335,'_encloseme','1'),
(44012,6335,'Index','5400'),
(44013,6335,'Minutage','1h07’50 \n'),
(44014,6335,'Images','Homme  tirant  de  nuit  sur  des  fêtards  réunis  autour  d\'un  feu .  Fêtards  s\'enfuyant  à  la  vue  de  l\'homme . \n'),
(44015,6335,'VoixOffIn','assez  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'),
(44016,6335,'BandeSon','*Id* *. * puis  chants ,  coups  de  fusil  et  cris . \n'),
(44017,6335,'Ecrits','\n'),
(44018,6335,'_product_image_gallery',''),
(44019,6336,'_pingme','1'),
(44020,6336,'_encloseme','1'),
(44021,6336,'Index','5410'),
(44022,6336,'Minutage','1h08’13 \n'),
(44023,6336,'Images','Sous - exposé ,  en  noir  et  blanc  :  personnes  autour  d\'un  feu . \n'),
(44024,6336,'VoixOffIn','la  considérant  comme  inadéquate  dans  cet  oasis  misérable  \n'),
(44025,6336,'BandeSon','Silence . \n'),
(44026,6336,'Ecrits','\n'),
(44027,6336,'_product_image_gallery',''),
(44028,6337,'_pingme','1'),
(44029,6337,'_encloseme','1'),
(44030,6337,'Index','5420'),
(44031,6337,'Minutage','1h08’21 \n'),
(44032,6337,'Images','Noir . \n'),
(44033,6337,'VoixOffIn','mais  où  régnait  une  paix  souveraine  \n'),
(44034,6337,'BandeSon','*Id* *.* \n'),
(44035,6337,'Ecrits','\n'),
(44036,6337,'_product_image_gallery',''),
(44037,6338,'_pingme','1'),
(44038,6338,'_encloseme','1'),
(44039,6338,'Index','5430'),
(44040,6338,'Minutage','1h08’24 \n'),
(44041,6338,'Images','Paysage  semi  désert ,  vu  d\'une  route . \n'),
(44042,6338,'VoixOffIn','car ,  là  où  il  n\'y  a  rien ,  même  les  scélérats  se  résignent  à  l\'indigence .  ( Jean - Luc  Godard ).  \n *Une * *ambition * *dans * *le * *désert * ( 1984 ),  Albert  Cossery . \n'),
(44043,6338,'BandeSon','*Id* *.* \n'),
(44044,6338,'Ecrits','\n'),
(44045,6338,'_product_image_gallery',''),
(44046,6339,'_pingme','1'),
(44047,6339,'_encloseme','1'),
(44048,6339,'Index','5440'),
(44049,6339,'Minutage','1h08’32 \n'),
(44050,6339,'Images','Noir . \n'),
(44051,6339,'VoixOffIn','\n'),
(44052,6339,'BandeSon','*Id* *.* \n'),
(44053,6339,'Ecrits','\n'),
(44054,6339,'_product_image_gallery',''),
(44055,6340,'_pingme','1'),
(44056,6340,'_encloseme','1'),
(44057,6340,'Index','5450'),
(44058,6340,'Minutage','1h08’36 \n'),
(44059,6340,'Images','Haut  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'),
(44060,6340,'VoixOffIn','\n'),
(44061,6340,'BandeSon','A  la  guitare  :  arpèges . \n'),
(44062,6340,'Ecrits','\n'),
(44063,6340,'_product_image_gallery',''),
(44064,6341,'_pingme','1'),
(44065,6341,'_encloseme','1'),
(44066,6341,'Index','5460'),
(44067,6341,'Minutage','1h08’52 \n'),
(44068,6341,'Images','Noir . \n'),
(44069,6341,'VoixOffIn','\n'),
(44070,6341,'BandeSon','*Id* *.* \n'),
(44071,6341,'Ecrits','\n'),
(44072,6341,'_product_image_gallery',''),
(44073,6342,'_pingme','1'),
(44074,6342,'_encloseme','1'),
(44075,6342,'Index','5470'),
(44076,6342,'Minutage','1h08’55 \n'),
(44077,6342,'Images','Visage  d\'une  femme  chantant  en  arabe . \n'),
(44078,6342,'VoixOffIn','\n'),
(44079,6342,'BandeSon','Voix  féminine ,  en  arabe . \n'),
(44080,6342,'Ecrits','\n'),
(44081,6342,'_product_image_gallery',''),
(44082,6343,'_pingme','1'),
(44083,6343,'_encloseme','1'),
(44084,6343,'Index','5480'),
(44085,6343,'Minutage','1h08’59 \n'),
(44086,6343,'Images','Saturé  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'),
(44087,6343,'VoixOffIn','\n'),
(44088,6343,'BandeSon','*Id* *.* \n'),
(44089,6343,'Ecrits','\n'),
(44090,6343,'_product_image_gallery',''),
(44091,6344,'_pingme','1'),
(44092,6344,'_encloseme','1'),
(44093,6344,'Index','5490'),
(44094,6344,'Minutage','1h09’11 \n'),
(44095,6344,'Images','Noir . \n'),
(44096,6344,'VoixOffIn','\n'),
(44097,6344,'BandeSon','*Id* *.* \n'),
(44098,6344,'Ecrits','\n'),
(44099,6344,'_product_image_gallery',''),
(44100,6345,'_pingme','1'),
(44101,6345,'_encloseme','1'),
(44102,6345,'Index','5500'),
(44103,6345,'Minutage','1h09’12 \n'),
(44104,6345,'Images','Homme  et  femme  regardant  la  télévision . \n'),
(44105,6345,'VoixOffIn','On  ne  pouvait  cependant  oublier  leur  aptitude  à  se  surpasser  dans  l\'abjection  \n'),
(44106,6345,'BandeSon','Silence . \n'),
(44107,6345,'Ecrits','\n'),
(44108,6345,'_product_image_gallery',''),
(44109,6346,'_pingme','1'),
(44110,6346,'_encloseme','1'),
(44111,6346,'Index','5510'),
(44112,6346,'Minutage','1h09’23 \n'),
(44113,6346,'Images','Mains  d\'un  homme  enchaîné .  \n *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . \n'),
(44114,6346,'VoixOffIn','lorsqu\'ils  sont  soutenus  \n'),
(44115,6346,'BandeSon','*Id* *.* \n'),
(44116,6346,'Ecrits','\n'),
(44117,6346,'_product_image_gallery',''),
(44118,6347,'_pingme','1'),
(44119,6347,'_encloseme','1'),
(44120,6347,'Index','5520'),
(44121,6347,'Minutage','1h09’26 \n'),
(44122,6347,'Images','Petit  enfant  marchant  dans  une  rue  à  la  lumière  du  soleil  sur  laquelle  se  découpent  les  ombres  des  pales  d\'un  moulin . \n A  côté  de  lui ,  homme  enchaîné  et  gardé  par  trois  autres  hommes .  \n *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . \n'),
(44123,6347,'VoixOffIn','et  conseillés  par  des  criminels  d\'une  plus  grande  envergure  venus  de  l\'extérieur . \n'),
(44124,6347,'BandeSon','*Id* *.* \n'),
(44125,6347,'Ecrits','\n'),
(44126,6347,'_product_image_gallery',''),
(44127,6348,'_pingme','1'),
(44128,6348,'_encloseme','1'),
(44129,6348,'Index','5530'),
(44130,6348,'Minutage','1h09’38 \n'),
(44131,6348,'Images','Noir . \n'),
(44132,6348,'VoixOffIn','Samantar \n'),
(44133,6348,'BandeSon','*Id* *.* \n'),
(44134,6348,'Ecrits','\n'),
(44135,6348,'_product_image_gallery',''),
(44136,6349,'_pingme','1'),
(44137,6349,'_encloseme','1'),
(44138,6349,'Index','5540'),
(44139,6349,'Minutage','1h09’44 \n'),
(44140,6349,'Images','Visage  d\'un  jeune  homme  appuyant  sur  une  vitre  reflétant  son  image . \n'),
(44141,6349,'VoixOffIn','était  convaincu  que  la  pauvreté  d’un  pays  était  sa  seule  sauvegarde  contre  les  rapaces  armés  ou  non . \n'),
(44142,6349,'BandeSon','*Id* *.* \n'),
(44143,6349,'Ecrits','\n'),
(44144,6349,'_product_image_gallery',''),
(44145,6350,'_pingme','1'),
(44146,6350,'_encloseme','1'),
(44147,6350,'Index','5550'),
(44148,6350,'Minutage','1h09’58 \n'),
(44149,6350,'Images','Deux  petites  filles  au  foulard  sur  la  tête .  Mains  de  personnes  applaudissant . \n'),
(44150,6350,'VoixOffIn','qui  n\'attendaient  qu\'une  promesse  de  profit  pour  venir  le  conquérir ,  \n'),
(44151,6350,'BandeSon','*Id* *.* \n'),
(44152,6350,'Ecrits','\n'),
(44153,6350,'_product_image_gallery',''),
(44154,6351,'_pingme','1'),
(44155,6351,'_encloseme','1'),
(44156,6351,'Index','5560'),
(44157,6351,'Minutage','1h10’01 \n'),
(44158,6351,'Images','Surexposé  et  saturé  :  chameaux  et  hommes  marchant  en  file  dans  le  désert . \n'),
(44159,6351,'VoixOffIn','le  détruire  et  le  pourrir \n'),
(44160,6351,'BandeSon','*Id* *.* \n'),
(44161,6351,'Ecrits','\n'),
(44162,6351,'_product_image_gallery',''),
(44163,6352,'_pingme','1'),
(44164,6352,'_encloseme','1'),
(44165,6352,'Index','5570'),
(44166,6352,'Minutage','1h10’05 \n'),
(44167,6352,'Images','Femme  vue  de  dos ,  regardant  un  âne . \n'),
(44168,6352,'VoixOffIn','Et  Samantar  remerciait  le  ciel  d\'être  né  sur  cette  \n'),
(44169,6352,'BandeSon','*Id* *.* \n'),
(44170,6352,'Ecrits','\n'),
(44171,6352,'_product_image_gallery',''),
(44172,6353,'_pingme','1'),
(44173,6353,'_encloseme','1'),
(44174,6353,'Index','5580'),
(44175,6353,'Minutage','1h10’14 \n'),
(44176,6353,'Images','Au  ralenti ,  en  noir  et  blanc  :  homme  marchant  dans  une  rue ,  une  arme  à  la  main . \n'),
(44177,6353,'VoixOffIn','terre  désertique  démunie  de  toute  matière  première  et  assez  ingrate  pour  décourager  les  marchés .  \n'),
(44178,6353,'BandeSon','*Id* *.* \n'),
(44179,6353,'Ecrits','\n'),
(44180,6353,'_product_image_gallery',''),
(44181,6354,'_pingme','1'),
(44182,6354,'_encloseme','1'),
(44183,6354,'Index','5590'),
(44184,6354,'Minutage','1h10’26 \n'),
(44185,6354,'Images','Noir . \n'),
(44186,6354,'VoixOffIn','Le  plus  stupéfiant  dans  cette  affaire  \n'),
(44187,6354,'BandeSon','*Id* *.* \n'),
(44188,6354,'Ecrits','\n'),
(44189,6354,'_product_image_gallery',''),
(44190,6355,'_pingme','1'),
(44191,6355,'_encloseme','1'),
(44192,6355,'Index','5600'),
(44193,6355,'Minutage','1h10’31 \n'),
(44194,6355,'Images','Rue  et  marché  en  plein  air  dans  une  ville  du  Moyen - Orient .  \n *La * *fièvre * ( 2014 ),  Safia  Benhaïm . \n'),
(44195,6355,'VoixOffIn','était  que  les  attentats  étaient  revendiqués  par  une  soi - disant \n'),
(44196,6355,'BandeSon','*Id* *.* \n'),
(44197,6355,'Ecrits','\n'),
(44198,6355,'_product_image_gallery',''),
(44199,6356,'_pingme','1'),
(44200,6356,'_encloseme','1'),
(44201,6356,'Index','5610'),
(44202,6356,'Minutage','1h10’38 \n'),
(44203,6356,'Images','Saturé  :  trois  personnes  sur  une  plage  rocheuse  au  bord  d\'une  mer . \n'),
(44204,6356,'VoixOffIn','force  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'),
(44205,6356,'BandeSon','*Id* *. * puis  vent . \n'),
(44206,6356,'Ecrits','\n'),
(44207,6356,'_product_image_gallery',''),
(44208,6357,'_pingme','1'),
(44209,6357,'_encloseme','1'),
(44210,6357,'Index','5620'),
(44211,6357,'Minutage','1h11’30 \n'),
(44212,6357,'Images','Noir . \n'),
(44213,6357,'VoixOffIn','\n'),
(44214,6357,'BandeSon','*Id* *.* \n'),
(44215,6357,'Ecrits','\n'),
(44216,6357,'_product_image_gallery',''),
(44217,6358,'_pingme','1'),
(44218,6358,'_encloseme','1'),
(44219,6358,'Index','5630'),
(44220,6358,'Minutage','1h11’32 \n'),
(44221,6358,'Images','Surexposé  et  saturé  :  deux  hommes  debout  dans  une  voiture  au  toit  ouvert ,  et  criant  des  phrases  en  arabe .  \n *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . \n'),
(44222,6358,'VoixOffIn','[ traduction  de  l’arabe ]  :  Le  volontariat  dans  la  brigade  de ...  La  vie  est  une  posture ... \n'),
(44223,6358,'BandeSon','*Id* *.* \n'),
(44224,6358,'Ecrits','\n'),
(44225,6358,'_product_image_gallery',''),
(44226,6359,'_pingme','1'),
(44227,6359,'_encloseme','1'),
(44228,6359,'Index','5640'),
(44229,6359,'Minutage','1h11’35 \n'),
(44230,6359,'Images','Noir . \n'),
(44231,6359,'VoixOffIn','Ni  l\'importance  du  territoire  de  Dofa … \n'),
(44232,6359,'BandeSon','*Id* *.* \n'),
(44233,6359,'Ecrits','\n'),
(44234,6359,'_product_image_gallery',''),
(44235,6360,'_pingme','1'),
(44236,6360,'_encloseme','1'),
(44237,6360,'Index','5650'),
(44238,6360,'Minutage','1h11’40 \n'),
(44239,6360,'Images','Sous - exposée  :  homme  se  déplaçant  dans  l\'ombre .  \n *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . \n'),
(44240,6360,'VoixOffIn','\n'),
(44241,6360,'BandeSon','*Id* *.* \n'),
(44242,6360,'Ecrits','\n'),
(44243,6360,'_product_image_gallery',''),
(44244,6361,'_pingme','1'),
(44245,6361,'_encloseme','1'),
(44246,6361,'Index','5660'),
(44247,6361,'Minutage','1h11’46 \n'),
(44248,6361,'Images','Ralenti  et  sous  exposé  :  main  glissant  trois  doigts  dans  l’ouverture  d\'une  porte ,  pour  l\'ouvrir .  *\n* *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . *\n*'),
(44249,6361,'VoixOffIn','Journal  télévisé  [ traduction  de  l’arabe  standard ]  :  \n Nous  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 \n Voix  d’homme  :  \n ni  la  conjoncture  politique  dans  la  région  n\'avaient \n \n resté  jusqu\'ici  en  dehors  de  l\'éclatante  prospérité  \n'),
(44250,6361,'BandeSon','*Id* *.* \n'),
(44251,6361,'Ecrits','\n'),
(44252,6361,'_product_image_gallery',''),
(44253,6362,'_pingme','1'),
(44254,6362,'_encloseme','1'),
(44255,6362,'Index','5670'),
(44256,6362,'Minutage','1h12’00 \n'),
(44257,6362,'Images','Surexposé  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'),
(44258,6362,'VoixOffIn','des  émirats  voisins  pouvait  d\'un  jour  à  l\'autre  devenir  un  enfer . \n'),
(44259,6362,'BandeSon','Voix  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'),
(44260,6362,'Ecrits','\n'),
(44261,6362,'_product_image_gallery',''),
(44262,6363,'_pingme','1'),
(44263,6363,'_encloseme','1'),
(44264,6363,'Index','5680'),
(44265,6363,'Minutage','1h12’24 \n'),
(44266,6363,'Images','Noir . \n'),
(44267,6363,'VoixOffIn','\n'),
(44268,6363,'BandeSon','*Id* *.* \n'),
(44269,6363,'Ecrits','\n'),
(44270,6363,'_product_image_gallery',''),
(44271,6364,'_pingme','1'),
(44272,6364,'_encloseme','1'),
(44273,6364,'Index','5690'),
(44274,6364,'Minutage','1h12’28 \n'),
(44275,6364,'Images','De  nouveau ,  groupe  d\'hommes  courant  dans  la  rue  et  se  pressant  contre  la  porte  d\'un  appartement . \n'),
(44276,6364,'VoixOffIn','\n'),
(44277,6364,'BandeSon','*Id* *.* \n'),
(44278,6364,'Ecrits','\n'),
(44279,6364,'_product_image_gallery',''),
(44280,6365,'_pingme','1'),
(44281,6365,'_encloseme','1'),
(44282,6365,'Index','5700'),
(44283,6365,'Minutage','1h12’34 \n'),
(44284,6365,'Images','Saturé  :  hommes  en  tenue  militaire  officielle ,  et  commandants .  \n *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . \n'),
(44285,6365,'VoixOffIn','Ce  qui  tourmentait  le  Cheick  El  Kadem ,  le  premier  ministre  du  royaume ,  c\'était  une  vue  de  l\'esprit  \n'),
(44286,6365,'BandeSon','Trompettes  de  fanfare  militaire . \n'),
(44287,6365,'Ecrits','\n'),
(44288,6365,'_product_image_gallery',''),
(44289,6366,'_pingme','1'),
(44290,6366,'_encloseme','1'),
(44291,6366,'Index','5710'),
(44292,6366,'Minutage','1h12’47 \n'),
(44293,6366,'Images','Saturé ,  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'),
(44294,6366,'VoixOffIn','car  il  rêvait  de  soumettre  à  sa  domination ,  l\'ensemble  des  pays  du  golfe .  \n'),
(44295,6366,'BandeSon','*Id* *. * et  puis  silence . \n'),
(44296,6366,'Ecrits','\n'),
(44297,6366,'_product_image_gallery',''),
(44298,6367,'_pingme','1'),
(44299,6367,'_encloseme','1'),
(44300,6367,'Index','5720'),
(44301,6367,'Minutage','1h12’57 \n'),
(44302,6367,'Images','Saturé  :  maison  en  ruine  sur  une  plage  de  roche  en  bord  de  mer .  \n'),
(44303,6367,'VoixOffIn','Il  était  vrai  que  sur  cette  bande  de  terre  aride ,  \n'),
(44304,6367,'BandeSon','Silence . \n'),
(44305,6367,'Ecrits','\n'),
(44306,6367,'_product_image_gallery',''),
(44307,6368,'_pingme','1'),
(44308,6368,'_encloseme','1'),
(44309,6368,'Index','5730'),
(44310,6368,'Minutage','1h13’08 \n'),
(44311,6368,'Images','Manifestation  avec  de  nombreuses  personnes  dans  la  rue  portant  des  pancartes  écrites  en  arabe .  \n *Shoah* *, * *les * *oubliés * *de * *l’histoire * ( 2014 *), * Véronique  Lagoarde - Ségot ,  par  la  chaîne  de  télévision  *Histoire* . \n'),
(44312,6368,'VoixOffIn','Il  était  le  maître  incontesté  \n'),
(44313,6368,'BandeSon','A  la  guitare  :  arpèges . \n'),
(44314,6368,'Ecrits','\n'),
(44315,6368,'_product_image_gallery',''),
(44316,6369,'_pingme','1'),
(44317,6369,'_encloseme','1'),
(44318,6369,'Index','5740'),
(44319,6369,'Minutage','1h13’15 \n'),
(44320,6369,'Images','Surexposé  :  sultan  avec  une  femme  à  ses  côtés .  \n *The * *Thief * *of * *Baghdad * ( 1978 ),  Cline  Donner . *\n*'),
(44321,6369,'VoixOffIn','puisque  le  vieil  émir  régnant ,  croupissant  dans  son  harem ,  ne  prenait  plus  la  peine  de  lui  donner  des  ordres . \n'),
(44322,6369,'BandeSon','*Id* *.* \n'),
(44323,6369,'Ecrits','\n'),
(44324,6369,'_product_image_gallery',''),
(44325,6370,'_pingme','1'),
(44326,6370,'_encloseme','1'),
(44327,6370,'Index','5750'),
(44328,6370,'Minutage','1h13’21 \n'),
(44329,6370,'Images','Noir . \n'),
(44330,6370,'VoixOffIn','Et  la  passion  \n'),
(44331,6370,'BandeSon','Silence . \n'),
(44332,6370,'Ecrits','\n'),
(44333,6370,'_product_image_gallery',''),
(44334,6371,'_pingme','1'),
(44335,6371,'_encloseme','1'),
(44336,6371,'Index','5760'),
(44337,6371,'Minutage','1h13’24 \n'),
(44338,6371,'Images','Homme  au  fez  rouge  sortant  d\'une  voiture  dont  le  conducteur  ouvre  la  porte . \n *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . \n'),
(44339,6371,'VoixOffIn','pour  le  pouvoir ,  Ben  Kadem  l\'avait  ressentie  depuis  son  enfance  et  maintenant  à  42  ans  elle  le  dévorait  avec  encore  plus  de  densité .  \n'),
(44340,6371,'BandeSon','*Id* *.* \n'),
(44341,6371,'Ecrits','\n'),
(44342,6371,'_product_image_gallery',''),
(44343,6372,'_pingme','1'),
(44344,6372,'_encloseme','1'),
(44345,6372,'Index','5770'),
(44346,6372,'Minutage','1h13’37 \n'),
(44347,6372,'Images','Groupe  de  personnes  marchant  de  nuit  dans  les  dunes  d\'un  désert . \n *Bab\'Aziz* *, * *le * *prince * *qui * *contemplait * *son * *âme * ( 2005 *), * Nacer  Khémir . \n'),
(44348,6372,'VoixOffIn','Mais  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'),
(44349,6372,'BandeSon','*Id* *.* \n'),
(44350,6372,'Ecrits','\n'),
(44351,6372,'_product_image_gallery',''),
(44352,6373,'_pingme','1'),
(44353,6373,'_encloseme','1'),
(44354,6373,'Index','5780'),
(44355,6373,'Minutage','1h14’00 \n'),
(44356,6373,'Images','Palmier  enflammé  dans  le  désert  de  nuit . \n *Bab\'Aziz* *, * *le * *prince * *qui * *contemplait * *son * *âme * ( 2005 *), * Nacer  Khémir . \n'),
(44357,6373,'VoixOffIn','\n'),
(44358,6373,'BandeSon','A  la  guitare  :  arpèges . \n'),
(44359,6373,'Ecrits','\n'),
(44360,6373,'_product_image_gallery',''),
(44361,6374,'_pingme','1'),
(44362,6374,'_encloseme','1'),
(44363,6374,'Index','5790'),
(44364,6374,'Minutage','1h14’11 \n'),
(44365,6374,'Images','Femmes  riant  dans  un  harem .  \n *Arabian * *nights * ( 1942 *), * John  Rawlins . \n'),
(44366,6374,'VoixOffIn','Chose  étrange , \n'),
(44367,6374,'BandeSon','Silence . \n'),
(44368,6374,'Ecrits','\n'),
(44369,6374,'_product_image_gallery',''),
(44370,6375,'_pingme','1'),
(44371,6375,'_encloseme','1'),
(44372,6375,'Index','5800'),
(44373,6375,'Minutage','1h14’16 \n'),
(44374,6375,'Images','Noir . \n'),
(44375,6375,'VoixOffIn','le  seul  homme  avec  lequel  Ben  Kadem  pouvait  parler  franchement  de  son  ambition  \n'),
(44376,6375,'BandeSon','*Id* *.* \n'),
(44377,6375,'Ecrits','\n'),
(44378,6375,'_product_image_gallery',''),
(44379,6376,'_pingme','1'),
(44380,6376,'_encloseme','1'),
(44381,6376,'Index','5810'),
(44382,6376,'Minutage','1h14’24 \n'),
(44383,6376,'Images','Palmiers  secoués  par  un  vent  fort . \n'),
(44384,6376,'VoixOffIn','c’était  celui  là  même  qui  trouvait  cette  ambition  dérisoire  :  son  jeune  cousin  Samantar . \n'),
(44385,6376,'BandeSon','Vent . \n'),
(44386,6376,'Ecrits','\n'),
(44387,6376,'_product_image_gallery',''),
(44388,6377,'_pingme','1'),
(44389,6377,'_encloseme','1'),
(44390,6377,'Index','5820'),
(44391,6377,'Minutage','1h14’33 \n'),
(44392,6377,'Images','Noir . \n'),
(44393,6377,'VoixOffIn','\n'),
(44394,6377,'BandeSon','Silence . \n'),
(44395,6377,'Ecrits','\n'),
(44396,6377,'_product_image_gallery',''),
(44397,6378,'_pingme','1'),
(44398,6378,'_encloseme','1'),
(44399,6378,'Index','5830'),
(44400,6378,'Minutage','1h14’36 \n'),
(44401,6378,'Images','Déplacement  de  gauche  à  droite  :  photo  d\'un  restaurant  appelé  «  Les  coquillages  »  et  d’une  rue  d’une  ville  de  bord  de  mer . \n'),
(44402,6378,'VoixOffIn','n’avait  pas  uniquement  pour  objet  d’approfondir  sa  vision  sur  le  jeu  sanglant  des  grandes  puissances .  ( Jean - Luc  Godard ).  \n *Une * *ambition * *dans * *le * *désert * ( 1984 ),  Albert  Cossery . \n'),
(44403,6378,'BandeSon','Explosions . \n \n'),
(44404,6378,'Ecrits','\n'),
(44405,6378,'_product_image_gallery',''),
(44406,6379,'_pingme','1'),
(44407,6379,'_encloseme','1'),
(44408,6379,'Index','5840'),
(44409,6379,'Minutage','1h14’53 \n'),
(44410,6379,'Images','Photo  de  Barack  Obama  aux  côtés  de  l\'émir  du  Koweït   Cheikh  Sabah  al - Ahmad  al - Jaber  al - Sabah . \n'),
(44411,6379,'VoixOffIn','\n'),
(44412,6379,'BandeSon','Silence . \n'),
(44413,6379,'Ecrits','\n'),
(44414,6379,'_product_image_gallery',''),
(44415,6380,'_pingme','1'),
(44416,6380,'_encloseme','1'),
(44417,6380,'Index','5850'),
(44418,6380,'Minutage','1h14’57 \n'),
(44419,6380,'Images','Homme  au  fez  s\'approchant  d\'une  grille  d\'entrée  et  frappant  avec  son  bâton  contre  la  grille .  \n *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . \n'),
(44420,6380,'VoixOffIn','Il  était  d\'une  importance  capitale  de  savoir  l\'opinion  de  Samantar  sur  les  derniers  événements  survenus .  \n'),
(44421,6380,'BandeSon','*Id* *.* \n'),
(44422,6380,'Ecrits','\n'),
(44423,6380,'_product_image_gallery',''),
(44424,6381,'_pingme','1'),
(44425,6381,'_encloseme','1'),
(44426,6381,'Index','5860'),
(44427,6381,'Minutage','1h15’07 \n'),
(44428,6381,'Images','Noir .  \n'),
(44429,6381,'VoixOffIn','Le  début  d’une  ère  révolutionnaire  à  Dofa \n'),
(44430,6381,'BandeSon','*Id* *.* \n'),
(44431,6381,'Ecrits','\n'),
(44432,6381,'_product_image_gallery',''),
(44433,6382,'_pingme','1'),
(44434,6382,'_encloseme','1'),
(44435,6382,'Index','5870'),
(44436,6382,'Minutage','1h15’12 \n'),
(44437,6382,'Images','Visage  d\'un  homme  plongé  dans  l\'obscurité ,  puis  émergeant  à  la  lumière  éclairant  ses  lèvres  et  son  nez . \n'),
(44438,6382,'VoixOffIn','était  une  négation  totale  de  la  possible  d’une  action  armée  dans  la  péninsule .  ( Jean - Luc  Godard ).  \n *Une * *ambition * *dans * *le * *désert * ( 1984 ),  Albert  Cossery . \n \n \n'),
(44439,6382,'BandeSon','*Id* *.* \n'),
(44440,6382,'Ecrits','\n'),
(44441,6382,'_product_image_gallery',''),
(44442,6383,'_pingme','1'),
(44443,6383,'_encloseme','1'),
(44444,6383,'Index','5880'),
(44445,6383,'Minutage','1h15’24 \n'),
(44446,6383,'Images','Saturé  en  tons  bleus  et  rouges  :  personnes  ballottées  par  une  mer  agitée . \n'),
(44447,6383,'VoixOffIn','\n'),
(44448,6383,'BandeSon','Vagues . \n'),
(44449,6383,'Ecrits','\n'),
(44450,6383,'_product_image_gallery',''),
(44451,6384,'_pingme','1'),
(44452,6384,'_encloseme','1'),
(44453,6384,'Index','5890'),
(44454,6384,'Minutage','1h15’28 \n'),
(44455,6384,'Images','Personne  au  foulard  palestinien  nué  autour  de  la  tête ,  se  traînant  avec  un  bras  sur  le  sable ,  tenant  de  l’autre  un  fusil .  \n *Ici * *et * *ailleurs * ( 1975 ),  Jean - Luc  Godard . \n'),
(44456,6384,'VoixOffIn','- Tu  es  seul  ?  \n - Oui  je  suis  seul .  \n - Je  ne  te  dérange  pas  ? \n'),
(44457,6384,'BandeSon','Silence . \n'),
(44458,6384,'Ecrits','\n'),
(44459,6384,'_product_image_gallery',''),
(44460,6385,'_pingme','1'),
(44461,6385,'_encloseme','1'),
(44462,6385,'Index','5900'),
(44463,6385,'Minutage','1h15’36 \n'),
(44464,6385,'Images','Au  ralenti ,  saturé  en  tons  bleus  :  foule  de  personnes  manifestant .  \n *Sexe* *, * *salafistes* *, * *prientemps * *arabe * ( 2012 *), * Paul  Moreira . \n'),
(44465,6385,'VoixOffIn','- Je  suis  toujours  ravi  de  te  voir .  \n'),
(44466,6385,'BandeSon','*Id* *.* \n'),
(44467,6385,'Ecrits','\n'),
(44468,6385,'_product_image_gallery',''),
(44469,6386,'_pingme','1'),
(44470,6386,'_encloseme','1'),
(44471,6386,'Index','5910'),
(44472,6386,'Minutage','1h15’43 \n'),
(44473,6386,'Images','Sous - exposé  et  tourné  en  noir  et  blanc  :  personnes  dansant  au  milieu  de  la  fumée .  \n *Silence* *! * *On * *tourne * ( 2001 *), * Youssef  Chahine . \n'),
(44474,6386,'VoixOffIn','- Un  tel  bonheur  m\'est  rarement  accordé ,  excellence .  - Tu  te  détaches  de  moi . \n'),
(44475,6386,'BandeSon','*Id* *.* \n'),
(44476,6386,'Ecrits','\n'),
(44477,6386,'_product_image_gallery',''),
(44478,6387,'_pingme','1'),
(44479,6387,'_encloseme','1'),
(44480,6387,'Index','5920'),
(44481,6387,'Minutage','1h15’51 \n'),
(44482,6387,'Images','Femme  portant  une  écharpe  à  pois  rouges  et  blancs  et  courant  les  mains  en  l\'air .  \n *À * *propos * *d\'Elly * ( 2009 *), * Asghar  Farhadi . \n \n'),
(44483,6387,'VoixOffIn','- Je  vois  que  tu  n\'es  toujours  pas  prêt  à  ce  sacrifice . \n'),
(44484,6387,'BandeSon','A  la  guitare  :  arpèges . \n'),
(44485,6387,'Ecrits','\n'),
(44486,6387,'_product_image_gallery',''),
(44487,6388,'_pingme','1'),
(44488,6388,'_encloseme','1'),
(44489,6388,'Index','5930'),
(44490,6388,'Minutage','1h15’57 \n'),
(44491,6388,'Images','Saturé  :  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 .  \n *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . \n'),
(44492,6388,'VoixOffIn','- 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'),
(44493,6388,'BandeSon','*Id * et  silence . \n'),
(44494,6388,'Ecrits','\n'),
(44495,6388,'_product_image_gallery',''),
(44496,6389,'_pingme','1'),
(44497,6389,'_encloseme','1'),
(44498,6389,'Index','5940'),
(44499,6389,'Minutage','1h16’15 \n'),
(44500,6389,'Images','En  noir  et  blanc ,  basculé  de  180 °  :  visage  d\'un  homme  la  tête  en  bas ,  plongé  dans  l\'obscurité . \n'),
(44501,6389,'VoixOffIn','- Pendant  que  nous  vivons  en  paix ,  le  monde  bouge .  ( Avec  écho ) \n'),
(44502,6389,'BandeSon','Silence . \n'),
(44503,6389,'Ecrits','\n'),
(44504,6389,'_product_image_gallery',''),
(44505,6390,'_pingme','1'),
(44506,6390,'_encloseme','1'),
(44507,6390,'Index','5950'),
(44508,6390,'Minutage','1h16’23 \n'),
(44509,6390,'Images','Tremblements ,  et  déplacement  de  droite  à  gauche  :  enfant  écrivant  sur  une  feuille  de  papier ,  observée  de  dos  par  un  autre  enfant . \n'),
(44510,6390,'VoixOffIn','- Que  nous  importe  ce  monde  qui  bouge .  ( Avec  écho ) \n'),
(44511,6390,'BandeSon','*Id* *.* \n'),
(44512,6390,'Ecrits','\n'),
(44513,6390,'_product_image_gallery',''),
(44514,6391,'_pingme','1'),
(44515,6391,'_encloseme','1'),
(44516,6391,'Index','5960'),
(44517,6391,'Minutage','1h16’25 \n'),
(44518,6391,'Images','Saturé  en  tons  rouges  :  visage  de  femme  aux  mains  jointes  en  prière .  Détail  de  la  fresque  de  la  coupole . \n   *San * *Antonio * *de * *la * *Florida * ( 1798 ),  Francisco  Goya .  *Histoire* *(* *s* *) * *du * *cinéma * *3a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(44519,6391,'VoixOffIn','Ce  sont  tous  des  canailles ,  tous  complices  de  l’imposture  universelle .  \n'),
(44520,6391,'BandeSon','*Id* *.* \n'),
(44521,6391,'Ecrits','\n'),
(44522,6391,'_product_image_gallery',''),
(44523,6392,'_pingme','1'),
(44524,6392,'_encloseme','1'),
(44525,6392,'Index','5970'),
(44526,6392,'Minutage','1h16’33 \n'),
(44527,6392,'Images','Noir . \n'),
(44528,6392,'VoixOffIn','- La  révolution  a  commencé  dans  le  royaume  mais  tu  le  sais  déjà  sans  doute .  \n'),
(44529,6392,'BandeSon','*Id* *.* \n'),
(44530,6392,'Ecrits','\n'),
(44531,6392,'_product_image_gallery',''),
(44532,6393,'_pingme','1'),
(44533,6393,'_encloseme','1'),
(44534,6393,'Index','5980'),
(44535,6393,'Minutage','1h16’40 \n'),
(44536,6393,'Images','En  noir  et  blanc ,  basculé  de  180 °  :  visage  courroucé  d\'un  homme  plongé  dans  l\'obscurité . \n'),
(44537,6393,'VoixOffIn','-  Je  le  reconnaîtrais  volontiers  s’il  s’agissait  d’une  vraie  révolution ,  mais  j’en  doute .  \n \n \n \n'),
(44538,6393,'BandeSon','*Id* *.* \n'),
(44539,6393,'Ecrits','\n'),
(44540,6393,'_product_image_gallery',''),
(44541,6394,'_pingme','1'),
(44542,6394,'_encloseme','1'),
(44543,6394,'Index','5990'),
(44544,6394,'Minutage','1h16’49 \n'),
(44545,6394,'Images','Saturé  :  tissu  rouge  traîné  sur  la  plage  par  le  vent .  \n *Fissures * ( 2009 *), * Hicham  Ayouch . \n'),
(44546,6394,'VoixOffIn','On  a  arrêté  quelque  type  \n \n \n'),
(44547,6394,'BandeSon','*Id* *.* \n'),
(44548,6394,'Ecrits','\n'),
(44549,6394,'_product_image_gallery',''),
(44550,6395,'_pingme','1'),
(44551,6395,'_encloseme','1'),
(44552,6395,'Index','6000'),
(44553,6395,'Minutage','1h16’51 \n'),
(44554,6395,'Images','Noir . \n'),
(44555,6395,'VoixOffIn','connu  de  nos  services  \n'),
(44556,6395,'BandeSon','*Id* *.* \n'),
(44557,6395,'Ecrits','\n'),
(44558,6395,'_product_image_gallery',''),
(44559,6396,'_pingme','1'),
(44560,6396,'_encloseme','1'),
(44561,6396,'Index','6010'),
(44562,6396,'Minutage','1h16’54 \n'),
(44563,6396,'Images','Saturé  :  enfants  jouant  avec  une  femme  portant  une  burka . \n'),
(44564,6396,'VoixOffIn','mais  ils  prétendent  ne  rien  savoir . \n'),
(44565,6396,'BandeSon','*Id* *.* \n'),
(44566,6396,'Ecrits','\n'),
(44567,6396,'_product_image_gallery',''),
(44568,6397,'_pingme','1'),
(44569,6397,'_encloseme','1'),
(44570,6397,'Index','6020'),
(44571,6397,'Minutage','1h16’55 \n \n \n'),
(44572,6397,'Images','Noir . \n'),
(44573,6397,'VoixOffIn','Ils  demandent  même  de  quelle  bombe  il  s’agit  car  \n'),
(44574,6397,'BandeSon','*Id* *.* \n'),
(44575,6397,'Ecrits','\n'),
(44576,6397,'_product_image_gallery',''),
(44577,6398,'_pingme','1'),
(44578,6398,'_encloseme','1'),
(44579,6398,'Index','6030'),
(44580,6398,'Minutage','1h16’56 \n \n \n'),
(44581,6398,'Images','Femme  et  homme  vus  à  contre  jour ,  se  faisant  face  dans  un  couloir .  \n'),
(44582,6398,'VoixOffIn','ils  n’ont  rien  entendu .  ( Jean - Luc  Godard ). \n *Une * *ambition * *dans * *le * *désert * ( 1984 ),  Albert  Cossery . \n'),
(44583,6398,'BandeSon','De  nouveau ,  à  la  guitare  :  arpèges . \n'),
(44584,6398,'Ecrits','\n'),
(44585,6398,'_product_image_gallery',''),
(44586,6399,'_pingme','1'),
(44587,6399,'_encloseme','1'),
(44588,6399,'Index','6040'),
(44589,6399,'Minutage','1h17’02 \n'),
(44590,6399,'Images','Saturé  :  homme  portant  un  voile  et  homme  marchant  dans  une  rue . \n'),
(44591,6399,'VoixOffIn','\n'),
(44592,6399,'BandeSon','Voitures ,  et  personnes  marchant  et  parlant . \n'),
(44593,6399,'Ecrits','\n'),
(44594,6399,'_product_image_gallery',''),
(44595,6400,'_pingme','1'),
(44596,6400,'_encloseme','1'),
(44597,6400,'Index','6050'),
(44598,6400,'Minutage','1h17’07 \n'),
(44599,6400,'Images','Rue  de  nuit ,  éclairée  par  des  lampadaires ,  avec  des  gens  parlant  et  faisant  du  bruit . \n'),
(44600,6400,'VoixOffIn','\n'),
(44601,6400,'BandeSon','*Id* *.* \n'),
(44602,6400,'Ecrits','\n'),
(44603,6400,'_product_image_gallery',''),
(44604,6401,'_pingme','1'),
(44605,6401,'_encloseme','1'),
(44606,6401,'Index','6060'),
(44607,6401,'Minutage','1h17’25 \n'),
(44608,6401,'Images','Femmes  voilées  et  hommes  marchant  dans  la  rue . \n'),
(44609,6401,'VoixOffIn','\n'),
(44610,6401,'BandeSon','*Id* *. * et  en  arrière - plan ,  annonces  de  service  d\'une  gare . \n'),
(44611,6401,'Ecrits','\n'),
(44612,6401,'_product_image_gallery',''),
(44613,6402,'_pingme','1'),
(44614,6402,'_encloseme','1'),
(44615,6402,'Index','6070'),
(44616,6402,'Minutage','1h17’31 \n'),
(44617,6402,'Images','Côte  montagneuse  surplombant  la  mer .  Groupe  de  personnes  marchant  sur  la  plage .  \n'),
(44618,6402,'VoixOffIn','Ici ,  à  Dofa ,  que  des  gens  \n'),
(44619,6402,'BandeSon','Silence . \n'),
(44620,6402,'Ecrits','\n'),
(44621,6402,'_product_image_gallery',''),
(44622,6403,'_pingme','1'),
(44623,6403,'_encloseme','1'),
(44624,6403,'Index','6080'),
(44625,6403,'Minutage','1h17’40 \r\n'),
(44626,6403,'Images','Noir . \r\n'),
(44627,6403,'VoixOffIn','lancent  des  bombes  un  peu  partout  cela  me  parait  normal  \r\n'),
(44628,6403,'BandeSon','*Id* *.* \r\n'),
(44629,6403,'Ecrits','HICHAM \r\n People  throwing  bombs \r\n'),
(44630,6403,'_product_image_gallery',''),
(44631,6404,'_pingme','1'),
(44632,6404,'_encloseme','1'),
(44633,6404,'Index','6090'),
(44634,6404,'Minutage','1h17’44 \n'),
(44635,6404,'Images','Homme  touareg  vêtu  de  blanc ,  assis  au  pied  d\'un  palmier  dans  le  désert ,  caressant  une  antilope .  \n *Bab\'Aziz* *, * *le * *prince * *qui * *contemplait * *son * *âme* *, * Nacer  Khémir  ( 2005 ). \n'),
(44636,6404,'VoixOffIn','que  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'),
(44637,6404,'BandeSon','De  nouveau ,  à  la  guitare  :  arpèges .  Silence . \n'),
(44638,6404,'Ecrits','\n'),
(44639,6404,'_product_image_gallery',''),
(44640,6405,'_pingme','1'),
(44641,6405,'_encloseme','1'),
(44642,6405,'Index','6100'),
(44643,6405,'Minutage','1h18’13 \r\n'),
(44644,6405,'Images','Noir . \r\n'),
(44645,6405,'VoixOffIn','La  révolution , \r\n'),
(44646,6405,'BandeSon','Silence . \r\n'),
(44647,6405,'Ecrits','TAREK \r\n'),
(44648,6405,'_product_image_gallery',''),
(44649,6406,'_pingme','1'),
(44650,6406,'_encloseme','1'),
(44651,6406,'Index','6110'),
(44652,6406,'Minutage','1h18’18 \n'),
(44653,6406,'Images','Surexposé ,  en  noir  et  blanc  :  hommes  touareg  sous  des  palmiers  avec  des  ânes  à  leurs  côtés . \n'),
(44654,6406,'VoixOffIn','\n'),
(44655,6406,'BandeSon','*Id* *.* \n'),
(44656,6406,'Ecrits','\n'),
(44657,6406,'_product_image_gallery',''),
(44658,6407,'_pingme','1'),
(44659,6407,'_encloseme','1'),
(44660,6407,'Index','6120'),
(44661,6407,'Minutage','1h18’21 \n'),
(44662,6407,'Images','Saturé  en  tons  rouges  :  explosion  et  flammes . \n'),
(44663,6407,'VoixOffIn','cela  ne  me  paraît  pas  vital  dans  cette  région . \n'),
(44664,6407,'BandeSon','*Id* *.* \n'),
(44665,6407,'Ecrits','\n'),
(44666,6407,'_product_image_gallery',''),
(44667,6408,'_pingme','1'),
(44668,6408,'_encloseme','1'),
(44669,6408,'Index','6130'),
(44670,6408,'Minutage','1h18’26 \n'),
(44671,6408,'Images','Homme  courant . \n'),
(44672,6408,'VoixOffIn','Il  est  vrai  qu\'à  notre  époque \n'),
(44673,6408,'BandeSon','*Id* *.* \n'),
(44674,6408,'Ecrits','\n'),
(44675,6408,'_product_image_gallery',''),
(44676,6409,'_pingme','1'),
(44677,6409,'_encloseme','1'),
(44678,6409,'Index','6140'),
(44679,6409,'Minutage','1h18’32 \n'),
(44680,6409,'Images','Saturé  :  enfants  et  personnes  courant  en  tous  sens  et  semblant  regarder  quelque  chose  hors  champ .  \n *Les * *Baliseurs * *du * *désert* *, * Nacer  Khémir  ( 1984 ),  cité  dans  *Voyage * *à * *Tunis * ( 2007 *), * Bruno  Moll . \n'),
(44681,6409,'VoixOffIn','tout  est  possible \n'),
(44682,6409,'BandeSon','*Id* *.* \n'),
(44683,6409,'Ecrits','\n'),
(44684,6409,'_product_image_gallery',''),
(44685,6410,'_pingme','1'),
(44686,6410,'_encloseme','1'),
(44687,6410,'Index','6150'),
(44688,6410,'Minutage','1h18’37 \n'),
(44689,6410,'Images','Saturé  :  missile  tiré  sur  une  voiture  explosant . \n *13 * *hours* *. * *The * *Secret * *Soldiers * *of * *Benghazi* *, * ( 2016 *), * Michael  Bay . \n'),
(44690,6410,'VoixOffIn','crois - tu  que  les  hommes  \n'),
(44691,6410,'BandeSon','Explosions  et  cris . \n'),
(44692,6410,'Ecrits','\n'),
(44693,6410,'_product_image_gallery',''),
(44694,6411,'_pingme','1'),
(44695,6411,'_encloseme','1'),
(44696,6411,'Index','6160'),
(44697,6411,'Minutage','1h18’40 \n'),
(44698,6411,'Images','Noir . \n'),
(44699,6411,'VoixOffIn','\n'),
(44700,6411,'BandeSon','*Id* *.* \n'),
(44701,6411,'Ecrits','\n'),
(44702,6411,'_product_image_gallery',''),
(44703,6412,'_pingme','1'),
(44704,6412,'_encloseme','1'),
(44705,6412,'Index','6170'),
(44706,6412,'Minutage','1h18’41 \n'),
(44707,6412,'Images','Saturé  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 .  \n *13 * *hours* *. * *The * *Secret * *Soldiers * *of * *Benghazi* *, * ( 2016 *), * Michael  Bay . *\n*'),
(44708,6412,'VoixOffIn','\n'),
(44709,6412,'BandeSon','*Id* *.* \n'),
(44710,6412,'Ecrits','\n'),
(44711,6412,'_product_image_gallery',''),
(44712,6413,'_pingme','1'),
(44713,6413,'_encloseme','1'),
(44714,6413,'Index','6180'),
(44715,6413,'Minutage','1h18’43 \n'),
(44716,6413,'Images','Noir . \n'),
(44717,6413,'VoixOffIn','crois - tu  que  les  hommes  au  pouvoir  aujourd\'hui \n'),
(44718,6413,'BandeSon','Silence . \n'),
(44719,6413,'Ecrits','\n'),
(44720,6413,'_product_image_gallery',''),
(44721,6414,'_pingme','1'),
(44722,6414,'_encloseme','1'),
(44723,6414,'Index','6190'),
(44724,6414,'Minutage','1h18’47 \n'),
(44725,6414,'Images','Hommes  vêtus  de  manière  formelle ,  avec  un  fez  sur  la  tête ,  parlant  entre  eux .  \n *Al* *-* *lail * ( 1992 *), * Mohamed  Malas . \n'),
(44726,6414,'VoixOffIn','dans  le  monde  soient  autre  chose  \n'),
(44727,6414,'BandeSon','*Id* *.* \n'),
(44728,6414,'Ecrits','\n'),
(44729,6414,'_product_image_gallery',''),
(44730,6415,'_pingme','1'),
(44731,6415,'_encloseme','1'),
(44732,6415,'Index','6200'),
(44733,6415,'Minutage','1h18’53 \n'),
(44734,6415,'Images','Saturé  et  au  ralenti  :  homme  courant  dans  une  rue ,  avec  à  ses  côtés  une  explosion .  \n *Karbala* *, * *4 * *jour * *en * *enfer * ( 2015 ),  Krzysztof  Łukaszewicz . \n'),
(44735,6415,'VoixOffIn','que  des  débiles  sanguinaires  ? \n ( Jean - Luc  Godard ).  \n *Une * *ambition * *dans * *le * *désert * ( 1984 ),  Albert  Cossery . \n'),
(44736,6415,'BandeSon','*Id* *.* \n'),
(44737,6415,'Ecrits','\n'),
(44738,6415,'_product_image_gallery',''),
(44739,6416,'_pingme','1'),
(44740,6416,'_encloseme','1'),
(44741,6416,'Index','6210'),
(44742,6416,'Minutage','1h18’55 \n'),
(44743,6416,'Images','Noir . \n'),
(44744,6416,'VoixOffIn','C’était  peu  de  rêver  d’être  roi \n'),
(44745,6416,'BandeSon','*Id* *.* \n'),
(44746,6416,'Ecrits','\n'),
(44747,6416,'_product_image_gallery',''),
(44748,6417,'_pingme','1'),
(44749,6417,'_encloseme','1'),
(44750,6417,'Index','6220'),
(44751,6417,'Minutage','1h18’57 \n'),
(44752,6417,'Images','Sous - exposé  et  saturé  et  puis  surexposé  :  Homme  visant  avec  un  bazooka  à  l’épaule .  \n *Karbala* *, * *4 * *jour * *en * *enfer * ( 2015 *), * Krzysztof  Łukaszewicz . \n'),
(44753,6417,'VoixOffIn','quand  on  pouvait  rêver  d\'être  Faust . \n'),
(44754,6417,'BandeSon','*Id* *.* \n'),
(44755,6417,'Ecrits','\n'),
(44756,6417,'_product_image_gallery',''),
(44757,6418,'_pingme','1'),
(44758,6418,'_encloseme','1'),
(44759,6418,'Index','6230'),
(44760,6418,'Minutage','1h19’00 \n'),
(44761,6418,'Images','Noir . \n'),
(44762,6418,'VoixOffIn','Mais  nul ,  mais  nul ,  \n'),
(44763,6418,'BandeSon','*Id* *.* \n'),
(44764,6418,'Ecrits','\n'),
(44765,6418,'_product_image_gallery',''),
(44766,6419,'_pingme','1'),
(44767,6419,'_encloseme','1'),
(44768,6419,'Index','6240'),
(44769,6419,'Minutage','1h19’03 \n'),
(44770,6419,'Images','Personne  morte  gisant  sur  le  sol . \n *Karbala* *, * *4 * *jour * *en * *enfer * ( 2015 *), * Krzysztof  Łukaszewicz . \n'),
(44771,6419,'VoixOffIn','ne  rêvait  plus  d\'être  Faust  \n'),
(44772,6419,'BandeSon','*Id* *.* \n'),
(44773,6419,'Ecrits','\n'),
(44774,6419,'_product_image_gallery',''),
(44775,6420,'_pingme','1'),
(44776,6420,'_encloseme','1'),
(44777,6420,'Index','6250'),
(44778,6420,'Minutage','1h19’05 \n'),
(44779,6420,'Images','Noir . \n'),
(44780,6420,'VoixOffIn','et  chacun  rêvait  d\'être  roi .  ( Jean - Luc  Godard ).  \n *Air * *de * *Méphistophélès* *, * *Damnation * *de * *Faust * ( 1846 *), * Hector  Berlioz . \n'),
(44781,6420,'BandeSon','*Id* *.* \n'),
(44782,6420,'Ecrits','\n'),
(44783,6420,'_product_image_gallery',''),
(44784,6421,'_pingme','1'),
(44785,6421,'_encloseme','1'),
(44786,6421,'Index','6260'),
(44787,6421,'Minutage','1h19’10 \n'),
(44788,6421,'Images','Enfant  jetant  des  pierres  sur  un  chien  dans  une  rue . \n'),
(44789,6421,'VoixOffIn','\n'),
(44790,6421,'BandeSon','*Id* *.* \n'),
(44791,6421,'Ecrits','\n'),
(44792,6421,'_product_image_gallery',''),
(44793,6422,'_pingme','1'),
(44794,6422,'_encloseme','1'),
(44795,6422,'Index','6270'),
(44796,6422,'Minutage','1h19’16 \n'),
(44797,6422,'Images','Personne  écrivant  en  arabe  sur  une  feuille  de  papier . \n'),
(44798,6422,'VoixOffIn','\n'),
(44799,6422,'BandeSon','*Cloud * ( 2017 *), * Tomasz  Stanko  New  York  Quartet .  \n'),
(44800,6422,'Ecrits','\n'),
(44801,6422,'_product_image_gallery',''),
(44802,6423,'_pingme','1'),
(44803,6423,'_encloseme','1'),
(44804,6423,'Index','6280'),
(44805,6423,'Minutage','1h19’20 \n'),
(44806,6423,'Images','Aquarelle  d\'un  homme  vêtu  de  blanc  assis  sur  le  sol . \n'),
(44807,6423,'VoixOffIn','\n'),
(44808,6423,'BandeSon','*Id* *.* \n'),
(44809,6423,'Ecrits','\n'),
(44810,6423,'_product_image_gallery',''),
(44811,6424,'_pingme','1'),
(44812,6424,'_encloseme','1'),
(44813,6424,'Index','6290'),
(44814,6424,'Minutage','1h19’28 \n'),
(44815,6424,'Images','Saturé  en  tons  bleus  :  lac  entouré  d\'arbres . \n'),
(44816,6424,'VoixOffIn','A  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'),
(44817,6424,'BandeSon','Silence . \n'),
(44818,6424,'Ecrits','\n'),
(44819,6424,'_product_image_gallery',''),
(44820,6425,'_pingme','1'),
(44821,6425,'_encloseme','1'),
(44822,6425,'Index','6300'),
(44823,6425,'Minutage','1h19’43 \n'),
(44824,6425,'Images','Voiture  longeant  une  route  suivie  de  personnes  marchant  derrière  elle .  \n *Les * *terrasses * ( 2013 *), * Merzak  Allouache . \n'),
(44825,6425,'VoixOffIn','des  pays  du  golfe .  Ben  Kadem  s\'en  vint  alors  confesser  ses  erreurs  politiques \n'),
(44826,6425,'BandeSon','*Id* *.* \n'),
(44827,6425,'Ecrits','\n'),
(44828,6425,'_product_image_gallery',''),
(44829,6426,'_pingme','1'),
(44830,6426,'_encloseme','1'),
(44831,6426,'Index','6310'),
(44832,6426,'Minutage','1h19’51 \n'),
(44833,6426,'Images','De  nouveau ,  photo  en  noir  et  blanc  d\'un  homme  au  visage  courroucé . \n'),
(44834,6426,'VoixOffIn','à  Samantar  et  puis  il  s\'enfuit  et  se  refugia . \n'),
(44835,6426,'BandeSon','*Id* *.* \n'),
(44836,6426,'Ecrits','\n'),
(44837,6426,'_product_image_gallery',''),
(44838,6427,'_pingme','1'),
(44839,6427,'_encloseme','1'),
(44840,6427,'Index','6320'),
(44841,6427,'Minutage','1h19’58 \n'),
(44842,6427,'Images','Noir . \n'),
(44843,6427,'VoixOffIn','Samantar  heureux  et  tranquillisé \n'),
(44844,6427,'BandeSon','*Id* *.* \n'),
(44845,6427,'Ecrits','\n'),
(44846,6427,'_product_image_gallery',''),
(44847,6428,'_pingme','1'),
(44848,6428,'_encloseme','1'),
(44849,6428,'Index','6330'),
(44850,6428,'Minutage','1h20’01 \n'),
(44851,6428,'Images','Saturé  :  maison  en  ruine  entourée  d\'antennes  de  télévision  et  d\'internet . \n'),
(44852,6428,'VoixOffIn','par  ce  dénouement ,  sortit  de  sa  misérable  cahute .  \n \n'),
(44853,6428,'BandeSon','De  nouveau ,  à  la  guitare  :  arpèges . \n'),
(44854,6428,'Ecrits','\n'),
(44855,6428,'_product_image_gallery',''),
(44856,6429,'_pingme','1'),
(44857,6429,'_encloseme','1'),
(44858,6429,'Index','6340'),
(44859,6429,'Minutage','1h20’07 \n'),
(44860,6429,'Images','Homme  souriant .  \n *Les * *terrasses * ( 2013 *), * Merzak  Allouache . \n'),
(44861,6429,'VoixOffIn','\n'),
(44862,6429,'BandeSon','*Id* *.* \n'),
(44863,6429,'Ecrits','\n'),
(44864,6429,'_product_image_gallery',''),
(44865,6430,'_pingme','1'),
(44866,6430,'_encloseme','1'),
(44867,6430,'Index','6350'),
(44868,6430,'Minutage','1h20’11 \n'),
(44869,6430,'Images','Surexposé  :  Photographie  d\'une  file  d\'hommes  vêtus  de  jeans  et  de  lunettes  de  soleil  marchant . \n'),
(44870,6430,'VoixOffIn','\n'),
(44871,6430,'BandeSon','*Id* *.* \n'),
(44872,6430,'Ecrits','\n'),
(44873,6430,'_product_image_gallery',''),
(44874,6431,'_pingme','1'),
(44875,6431,'_encloseme','1'),
(44876,6431,'Index','6360'),
(44877,6431,'Minutage','1h20’18 \n'),
(44878,6431,'Images','Noir . \n'),
(44879,6431,'VoixOffIn','\n'),
(44880,6431,'BandeSon','*Id* *.* \n'),
(44881,6431,'Ecrits','\n'),
(44882,6431,'_product_image_gallery',''),
(44883,6432,'_pingme','1'),
(44884,6432,'_encloseme','1'),
(44885,6432,'Index','6370'),
(44886,6432,'Minutage','1h20’20 \n'),
(44887,6432,'Images','Saturé  :  cheval  tirant  une  calèche  passant  dans  une  rue . \n'),
(44888,6432,'VoixOffIn','Ce  n\'est  que  quelques  mois  plus  tard  que  Samantar  rencontra  Tarek  le  long  de  la  mer \n'),
(44889,6432,'BandeSon','Silence . \n'),
(44890,6432,'Ecrits','\n'),
(44891,6432,'_product_image_gallery',''),
(44892,6433,'_pingme','1'),
(44893,6433,'_encloseme','1'),
(44894,6433,'Index','6380'),
(44895,6433,'Minutage','1h20’27 \n'),
(44896,6433,'Images','Jeune  homme  au  turban  accompagnant  un  homme  âgé  dans  une  prairie  près  d\'un  ruisseau  et  s’asseyant  sur  un  rocher . \n'),
(44897,6433,'VoixOffIn','et  apprit  la  vérité  de  la  fausse  révolution  fomentée  par  l\'ancien  premier  ministre .  ( Jean -  Luc  Godard ). \n *Une * *ambition * *dans * *le * *désert * ( 1984 ),  Albert  Cossery . \n \n Ce  que  je  fais  avec  les  enfants  dit  le  fou  c\'est  une  sorte  de  contre - révolution . \n'),
(44898,6433,'BandeSon','*Id* *.* \n'),
(44899,6433,'Ecrits','\n'),
(44900,6433,'_product_image_gallery',''),
(44901,6434,'_pingme','1'),
(44902,6434,'_encloseme','1'),
(44903,6434,'Index','6390'),
(44904,6434,'Minutage','1h20’43 \n'),
(44905,6434,'Images','Surexposé  :  groupe  d\'enfants  jouant  et  courant . \n *Les * *mille * *mois * ( 2003 *), * Faouzi  Bensaïdi . \n'),
(44906,6434,'VoixOffIn','Un  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'),
(44907,6434,'BandeSon','*Id* *.* \n'),
(44908,6434,'Ecrits','\n'),
(44909,6434,'_product_image_gallery',''),
(44910,6435,'_pingme','1'),
(44911,6435,'_encloseme','1'),
(44912,6435,'Index','6400'),
(44913,6435,'Minutage','1h21’01 \n'),
(44914,6435,'Images','Homme  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'),
(44915,6435,'VoixOffIn','les  deux  signes  de  l\'ignominie  capitaliste . \n'),
(44916,6435,'BandeSon','*Id* *.* \n'),
(44917,6435,'Ecrits','\n'),
(44918,6435,'_product_image_gallery',''),
(44919,6436,'_pingme','1'),
(44920,6436,'_encloseme','1'),
(44921,6436,'Index','6410'),
(44922,6436,'Minutage','1h21’02 \n'),
(44923,6436,'Images','Saturé  en  tons  rouges  et  bleus ,  et  basculé  de  90  degrés  :  coucher  du  soleil  et  puits  de  pétrole . \n'),
(44924,6436,'VoixOffIn','Mais  comment  as - tu  pu  te  procurer  les  explosifs  ?  Ils  ont  été  repérés \n'),
(44925,6436,'BandeSon','*Id* *.* \n'),
(44926,6436,'Ecrits','\n'),
(44927,6436,'_product_image_gallery',''),
(44928,6437,'_pingme','1'),
(44929,6437,'_encloseme','1'),
(44930,6437,'Index','6420'),
(44931,6437,'Minutage','1h21’09 \n'),
(44932,6437,'Images','Enfants  courant  derrière  la  caméra .  Enfant  portant  une  chemise  blanche  trop  longue  et  marchant  en  trébuchant  sur  le  tissu . \n'),
(44933,6437,'VoixOffIn','par  les  enfants  dans  un  vieux  derrick  abandonné  par  les  étrangers  quand  ils  cherchaient  en  vain  du  pétrole . \n'),
(44934,6437,'BandeSon','*Id* *.* \n'),
(44935,6437,'Ecrits','\n'),
(44936,6437,'_product_image_gallery',''),
(44937,6438,'_pingme','1'),
(44938,6438,'_encloseme','1'),
(44939,6438,'Index','6430'),
(44940,6438,'Minutage','1h21’18 \n'),
(44941,6438,'Images','Enfant  sur  une  route  faisant  tourner  de  la  main  une  bobine  rouge  en  s’aidant  d’une  pellicule .  *Reel* *-* *Unreel * ( 2011 ),  Francis  Alÿs . \n'),
(44942,6438,'VoixOffIn','Je  te  remercie .  Discuter  avec  un  fou  est  un  privilège \n'),
(44943,6438,'BandeSon','*Id* *.* \n'),
(44944,6438,'Ecrits','\n'),
(44945,6438,'_product_image_gallery',''),
(44946,6439,'_pingme','1'),
(44947,6439,'_encloseme','1'),
(44948,6439,'Index','6440'),
(44949,6439,'Minutage','1h21’25 \n'),
(44950,6439,'Images','Couverture  d’un  exemplaire  *d’Images * *en * *parole * ( 2003 ),  Anne - Marie  Miéville .  L’exemplaire  est  feuilleté . \n'),
(44951,6439,'VoixOffIn','inestimable ,  crois  moi .  ( Jean - Luc  Godard ). \n'),
(44952,6439,'BandeSon','*Id* *.* \n'),
(44953,6439,'Ecrits','\n'),
(44954,6439,'_product_image_gallery',''),
(44955,6440,'_pingme','1'),
(44956,6440,'_encloseme','1'),
(44957,6440,'Index','6450'),
(44958,6440,'Minutage','1h21’32 \n'),
(44959,6440,'Images','Gros  plan  de  la  face  de  Bécassine . \n Derrière  :  id .  en  dimensions  réduites . \n'),
(44960,6440,'VoixOffIn','Crois - moi .  On  n\'est  jamais  suffisamment  triste .  ( Anne - Marie  Miéville ). \n *Le * *territoire * *de * *l’homme * ( 1978 *), * Elias  Canetti .  \n'),
(44961,6440,'BandeSon','*Id* *.* \n'),
(44962,6440,'Ecrits','\n'),
(44963,6440,'_product_image_gallery',''),
(44964,6441,'_pingme','1'),
(44965,6441,'_encloseme','1'),
(44966,6441,'Index','6460'),
(44967,6441,'Minutage','1h21’32 \n'),
(44968,6441,'Images','Derrière  le  visage  de  Bécassine  en  gros  plan ,  saturé  :  pinceau  et  livre  ouvert . \n'),
(44969,6441,'VoixOffIn','Crois  moi \n'),
(44970,6441,'BandeSon','*Id* *.* \n'),
(44971,6441,'Ecrits','\n'),
(44972,6441,'_product_image_gallery',''),
(44973,6442,'_pingme','1'),
(44974,6442,'_encloseme','1'),
(44975,6442,'Index','6470'),
(44976,6442,'Minutage','1h21’38 \n'),
(44977,6442,'Images','Saturé  :  pinceau  et  livre  ouvert . \n'),
(44978,6442,'VoixOffIn','\n'),
(44979,6442,'BandeSon','*Id* *.* \n'),
(44980,6442,'Ecrits','\n'),
(44981,6442,'_product_image_gallery',''),
(44982,6443,'_pingme','1'),
(44983,6443,'_encloseme','1'),
(44984,6443,'Index','6480'),
(44985,6443,'Minutage','1h21’41 \n'),
(44986,6443,'Images','Saturé  :  photographie  d\'un  grand  pinceau  et  d\'un  crayon . \n'),
(44987,6443,'VoixOffIn','On  n\'est  jamais  suffisamment  triste  pour  que  le  monde  soit  meilleur .  \n'),
(44988,6443,'BandeSon','*Id* *.* \n'),
(44989,6443,'Ecrits','\n'),
(44990,6443,'_product_image_gallery',''),
(44991,6444,'_pingme','1'),
(44992,6444,'_encloseme','1'),
(44993,6444,'Index','6490'),
(44994,6444,'Minutage','1h21’53 \n'),
(44995,6444,'Images','Saturé  :  de  nouveau ,  plage  de  roche  en  bord  de  mer ,  enfants  y  jouant  au  football . \n'),
(44996,6444,'VoixOffIn','la  terre  abandonnée ,  la  terre  abandonnée ,  surchargée  de  lettres  de  l\'alphabet ,  étouffée  sous  les  connaissances  et  \n'),
(44997,6444,'BandeSon','*Id* *.* \n'),
(44998,6444,'Ecrits','\n'),
(44999,6444,'_product_image_gallery',''),
(45000,6445,'_pingme','1'),
(45001,6445,'_encloseme','1'),
(45002,6445,'Index','6500'),
(45003,6445,'Minutage','1h22’10 \n'),
(45004,6445,'Images','Noir . \n'),
(45005,6445,'VoixOffIn','plus  guère  d\'oreilles  qui  soient  à  l\'écoute .  ( Anne - Marie  Miéville ).  \n *Le * *territoire * *de * *l’homme * ( 1978 *), * Elias  Canetti .  \n'),
(45006,6445,'BandeSon','*Id* *.* \n'),
(45007,6445,'Ecrits','\n'),
(45008,6445,'_product_image_gallery',''),
(45009,6446,'_pingme','1'),
(45010,6446,'_encloseme','1'),
(45011,6446,'Index','6510'),
(45012,6446,'Minutage','1h22’14 \n'),
(45013,6446,'Images','Surexposé  et  en  négatif  :  de  nouveau ,  petite  fille  aux  yeux  fermés ,  le  visage  levé  vers  le  ciel  et  les  mains  tendues  devant  elle .  \n *Miracle * *en * *Alabama * ( 1962 ),  Arthur  Penn .  *Histoire* *(* *s* *) * *du * *cinéma * *4a* *, * ( 1988 - 98 )  Jean - Luc  Godard . \n \n'),
(45014,6446,'VoixOffIn','\n'),
(45015,6446,'BandeSon','*Klavierquintett* *, * *Op* *. * *18* ,  *Moderato * *con * *moto * ( 1946 )  Mieczysław  Weinberg . \n'),
(45016,6446,'Ecrits','\n'),
(45017,6446,'_product_image_gallery',''),
(45018,6447,'_pingme','1'),
(45019,6447,'_encloseme','1'),
(45020,6447,'Index','6520'),
(45021,6447,'Minutage','1h22’20 \n'),
(45022,6447,'Images','Détail  de  son  visage  et  de  sa  main  gauche . \n'),
(45023,6447,'VoixOffIn','\n'),
(45024,6447,'BandeSon','Silence . \n'),
(45025,6447,'Ecrits','\n'),
(45026,6447,'_product_image_gallery',''),
(45027,6448,'_pingme','1'),
(45028,6448,'_encloseme','1'),
(45029,6448,'Index','6530'),
(45030,6448,'Minutage','1h22’26 \n'),
(45031,6448,'Images','En  tons  bleus  :  détail  de  son  visage . \n'),
(45032,6448,'VoixOffIn','\n'),
(45033,6448,'BandeSon','*Id* *.* \n'),
(45034,6448,'Ecrits','\n'),
(45035,6448,'_product_image_gallery',''),
(45036,6449,'_pingme','1'),
(45037,6449,'_encloseme','1'),
(45038,6449,'Index','6540'),
(45039,6449,'Minutage','1h22’32 \n'),
(45040,6449,'Images','Détail  de  sa  main . \n'),
(45041,6449,'VoixOffIn','Voici  les  roses  de  cette  nuit  écloses .  \n *La * *Damnation * *de * *Faust * ( 1946 *),  * Berlioz  Hector . \n'),
(45042,6449,'BandeSon','*La * *Damnation * *de * *Faust * ( 1946 *),  * Berlioz  Hector . \n'),
(45043,6449,'Ecrits','\n'),
(45044,6449,'_product_image_gallery',''),
(45045,6450,'_pingme','1'),
(45046,6450,'_encloseme','1'),
(45047,6450,'Index','6550'),
(45048,6450,'Minutage','1h22’43 \r\n'),
(45049,6450,'Images','En  blanc  sur  fond  noir  :  inscription  manuscrites .  \r\n'),
(45050,6450,'VoixOffIn',''),
(45051,6450,'BandeSon','*Id* *.* \r\n'),
(45052,6450,'Ecrits','Godard \r\n Battaggia \r\n Aragno \r\n Brenez \r\n'),
(45053,6450,'_product_image_gallery',''),
(45054,6451,'_pingme','1'),
(45055,6451,'_encloseme','1'),
(45056,6451,'Index','6560'),
(45057,6451,'Minutage','1h22’49 \n'),
(45058,6451,'Images','Noir . \n'),
(45059,6451,'VoixOffIn','\n'),
(45060,6451,'BandeSon','*Id* *.* \n'),
(45061,6451,'Ecrits','\n'),
(45062,6451,'_product_image_gallery',''),
(45063,6452,'_pingme','1'),
(45064,6452,'_encloseme','1'),
(45065,6452,'Index','6570'),
(45066,6452,'Minutage','1h22’54 \n'),
(45067,6452,'Images','Noir . \n'),
(45068,6452,'VoixOffIn','Silenzio ,  si  gira .  \n'),
(45069,6452,'BandeSon','*Id* *.* \n'),
(45070,6452,'Ecrits','De  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'),
(45071,6452,'_product_image_gallery',''),
(45072,6453,'_pingme','1'),
(45073,6453,'_encloseme','1'),
(45074,6453,'Index','6580'),
(45075,6453,'Minutage','1h22’58 \n'),
(45076,6453,'Images','Noir . \n'),
(45077,6453,'VoixOffIn','Silenzio .  Camera ,  moteur ,  motore \n'),
(45078,6453,'BandeSon','*Id* *.* \n'),
(45079,6453,'Ecrits','D .  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'),
(45080,6453,'_product_image_gallery',''),
(45081,6454,'_pingme','1'),
(45082,6454,'_encloseme','1'),
(45083,6454,'Index','6590'),
(45084,6454,'Minutage','1h23’03  \n'),
(45085,6454,'Images','Noir . \n'),
(45086,6454,'VoixOffIn','partito ,  ciak ,  Odissea  14702  prima .  \n *Le * *Mépris * ( 1963 *), * Jean - Luc  Godard . \n'),
(45087,6454,'BandeSon','*Id* *.* \n'),
(45088,6454,'Ecrits','Vertigo ,  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'),
(45089,6454,'_product_image_gallery',''),
(45090,6455,'_pingme','1'),
(45091,6455,'_encloseme','1'),
(45092,6455,'Index','6600'),
(45093,6455,'Minutage','1h23’08 \n'),
(45094,6455,'Images','Noir . \n'),
(45095,6455,'VoixOffIn','\n'),
(45096,6455,'BandeSon','Gong  profond  et  inquiétant . \n'),
(45097,6455,'Ecrits','\n'),
(45098,6455,'_product_image_gallery',''),
(45099,6456,'_pingme','1'),
(45100,6456,'_encloseme','1'),
(45101,6456,'Index','6610'),
(45102,6456,'Minutage','1h23’08 \n'),
(45103,6456,'Images','Noir . \n'),
(45104,6456,'VoixOffIn','\n'),
(45105,6456,'BandeSon','*Id* *.* \n'),
(45106,6456,'Ecrits','Rome  ville  ouverte ,  reporters  sans  frontière ,  Silence  on  tourne ,  Siegfried ,  le  testament  d\'Orphée ,  J  de  Maistre ,  Paumés  de  la  mendicité ,  Dobrinka  Tabakova ,  les  oubliés  de  l\'histoire ,  Shakespeare ,  Beethoven ,  la  chute  de  Berlin ,  Delivrance ,  B .  Barnett ,  Notre  musique ,  Napoléon ,  Masaccio ,  DR  Mabuse ,  La  règle  du  jeu ,  Allo  Berlin  ici  Paris \n'),
(45107,6456,'_product_image_gallery',''),
(45108,6457,'_pingme','1'),
(45109,6457,'_encloseme','1'),
(45110,6457,'Index','6620'),
(45111,6457,'Minutage','1h23’10 \n'),
(45112,6457,'Images','En  gras ,  s’ajoutant  à  la  liste  précédente  :  «  TEXTES  ». \n La  liste  disparaît . \n'),
(45113,6457,'VoixOffIn','\n'),
(45114,6457,'BandeSon','*Id* *.* \n'),
(45115,6457,'Ecrits','\n TEXTES \n'),
(45116,6457,'_product_image_gallery',''),
(45117,6458,'_pingme','1'),
(45118,6458,'_encloseme','1'),
(45119,6458,'Index','6630'),
(45120,6458,'Minutage','1h23’14 \n'),
(45121,6458,'Images','Noir . \n'),
(45122,6458,'VoixOffIn','\n'),
(45123,6458,'BandeSon','*Id* *.* \n'),
(45124,6458,'Ecrits','Google ,  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'),
(45125,6458,'_product_image_gallery',''),
(45126,6459,'_pingme','1'),
(45127,6459,'_encloseme','1'),
(45128,6459,'Index','6640'),
(45129,6459,'Minutage','1h23’19 \n'),
(45130,6459,'Images','Noir . \n'),
(45131,6459,'VoixOffIn','\n'),
(45132,6459,'BandeSon','*Id* *.* \n'),
(45133,6459,'Ecrits','Shanghai  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'),
(45134,6459,'_product_image_gallery',''),
(45135,6460,'_pingme','1'),
(45136,6460,'_encloseme','1'),
(45137,6460,'Index','6650'),
(45138,6460,'Minutage','1h23’20 \n'),
(45139,6460,'Images','En  gras ,  s’ajoutant  à  la  liste  précédente  :  «  FILMS  ». \n La  liste  disparaît . \n'),
(45140,6460,'VoixOffIn','Mais  la  langue  ne  sera  jamais \n'),
(45141,6460,'BandeSon','Silence . \n'),
(45142,6460,'Ecrits','FILMS \n'),
(45143,6460,'_product_image_gallery',''),
(45144,6461,'_pingme','1'),
(45145,6461,'_encloseme','1'),
(45146,6461,'Index','6660'),
(45147,6461,'Minutage','1h23’25 \n'),
(45148,6461,'Images','Noir . \n'),
(45149,6461,'VoixOffIn','le  langage \n'),
(45150,6461,'BandeSon','*Id* *.* \n'),
(45151,6461,'Ecrits','A .  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'),
(45152,6461,'_product_image_gallery',''),
(45153,6462,'_pingme','1'),
(45154,6462,'_encloseme','1'),
(45155,6462,'Index','6670'),
(45156,6462,'Minutage','1h23’30 \n'),
(45157,6462,'Images','Noir . \n'),
(45158,6462,'VoixOffIn','\n'),
(45159,6462,'BandeSon','*Id* *.* \n'),
(45160,6462,'Ecrits','Caillebotte ,  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'),
(45161,6462,'_product_image_gallery',''),
(45162,6463,'_pingme','1'),
(45163,6463,'_encloseme','1'),
(45164,6463,'Index','6680'),
(45165,6463,'Minutage','1h23’31 \n'),
(45166,6463,'Images','En  gras ,  s’ajoutant  à  la  liste  précédente  :  «  TABLEAUX  ». \n La  liste  disparaît . \n'),
(45167,6463,'VoixOffIn','\n'),
(45168,6463,'BandeSon','Coq  chantant . \n'),
(45169,6463,'Ecrits','TABLEAUX \n'),
(45170,6463,'_product_image_gallery',''),
(45171,6464,'_pingme','1'),
(45172,6464,'_encloseme','1'),
(45173,6464,'Index','6690'),
(45174,6464,'Minutage','1h23’35 \n'),
(45175,6464,'Images','Noir . \n'),
(45176,6464,'VoixOffIn','\n'),
(45177,6464,'BandeSon','*Vom * *Winde * *Beweint * *- * *1 * *Largo * *Molto * ( 1990 *), * Giya  Kancheli .  \n'),
(45178,6464,'Ecrits','las  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'),
(45179,6464,'_product_image_gallery',''),
(45180,6465,'_pingme','1'),
(45181,6465,'_encloseme','1'),
(45182,6465,'Index','6700'),
(45183,6465,'Minutage','1h23’40 \n'),
(45184,6465,'Images','Noir . \n'),
(45185,6465,'VoixOffIn','\n'),
(45186,6465,'BandeSon','*Id* *.* \n'),
(45187,6465,'Ecrits','Aladin  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'),
(45188,6465,'_product_image_gallery',''),
(45189,6466,'_pingme','1'),
(45190,6466,'_encloseme','1'),
(45191,6466,'Index','6710'),
(45192,6466,'Minutage','1h23’41 \n'),
(45193,6466,'Images','En  gras ,  s’ajoutant  à  la  liste  précédente  :  «  MUSIQUE  » \n La  liste  disparaît . \n'),
(45194,6466,'VoixOffIn','\n'),
(45195,6466,'BandeSon','*Id* *.* \n'),
(45196,6466,'Ecrits','MUSIQUE \n'),
(45197,6466,'_product_image_gallery',''),
(45198,6467,'_pingme','1'),
(45199,6467,'_encloseme','1'),
(45200,6467,'Index','6720'),
(45201,6467,'Minutage','1h23’45 \n'),
(45202,6467,'Images','Noir . \n'),
(45203,6467,'VoixOffIn','\n'),
(45204,6467,'BandeSon','*Id* *.* \n'),
(45205,6467,'Ecrits','  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'),
(45206,6467,'_product_image_gallery',''),
(45207,6468,'_pingme','1'),
(45208,6468,'_encloseme','1'),
(45209,6468,'Index','6730'),
(45210,6468,'Minutage','1h23’49 \n'),
(45211,6468,'Images','Noir . \n'),
(45212,6468,'VoixOffIn','\n'),
(45213,6468,'BandeSon','*Id* *.* \n'),
(45214,6468,'Ecrits','EUX  TOUS \n'),
(45215,6468,'_product_image_gallery',''),
(45216,6469,'_pingme','1'),
(45217,6469,'_encloseme','1'),
(45218,6469,'Index','6740'),
(45219,6469,'Minutage','1h23’51 \n'),
(45220,6469,'Images','Surexposé ,  en  noir  et  blanc  :  photo  d\'un  enfant  mangeant  assis . \n'),
(45221,6469,'VoixOffIn','\n'),
(45222,6469,'BandeSon','*Id* *.* \n'),
(45223,6469,'Ecrits','\n'),
(45224,6469,'_product_image_gallery',''),
(45225,6470,'_pingme','1'),
(45226,6470,'_encloseme','1'),
(45227,6470,'Index','6750'),
(45228,6470,'Minutage','1h23’54 \n'),
(45229,6470,'Images','Noir .  Lettres  latines  rouges  s’y  superposant  à  des  lettres  arabes  blanches . \n'),
(45230,6470,'VoixOffIn','\n'),
(45231,6470,'BandeSon','*Id* *.* \n'),
(45232,6470,'Ecrits','HAMIDREZA \n PEJMAN \n'),
(45233,6470,'_product_image_gallery',''),
(45234,6471,'_pingme','1'),
(45235,6471,'_encloseme','1'),
(45236,6471,'Index','6760'),
(45237,6471,'Minutage','1h23’56 \n'),
(45238,6471,'Images','Noir .  Lettres  latines  rouges  s’y  superposant  à  des  lettres  arabes  blanches . \n'),
(45239,6471,'VoixOffIn','\n'),
(45240,6471,'BandeSon','*Id* *.* \n'),
(45241,6471,'Ecrits','GEORGES \n SCHOUCAIR \n'),
(45242,6471,'_product_image_gallery',''),
(45243,6472,'_pingme','1'),
(45244,6472,'_encloseme','1'),
(45245,6472,'Index','6770'),
(45246,6472,'Minutage','1h23’59 \n'),
(45247,6472,'Images','Noir . \n'),
(45248,6472,'VoixOffIn','\n'),
(45249,6472,'BandeSon','Silence . \n'),
(45250,6472,'Ecrits','NADER \n MOBARGHA \n'),
(45251,6472,'_product_image_gallery',''),
(45252,6473,'_pingme','1'),
(45253,6473,'_encloseme','1'),
(45254,6473,'Index','6780'),
(45255,6473,'Minutage','1h24’00 \r\n'),
(45256,6473,'Images','En  noir  et  blanc  :  grillage  avec  une  pancarte  indiquant  :  «  NO  TRESPASSING  ». \r\n'),
(45257,6473,'VoixOffIn',''),
(45258,6473,'BandeSon','*Id* *.* \r\n'),
(45259,6473,'Ecrits',''),
(45260,6473,'_product_image_gallery',''),
(45261,6474,'_pingme','1'),
(45262,6474,'_encloseme','1'),
(45263,6474,'Index','6790'),
(45264,6474,'Minutage','1h24’04 \n'),
(45265,6474,'Images','En  couleur  :  photo  d’un  grillage  avec  une  pancarte  indiquant  :  «  DÉFENSE  D’ENTRER \n PROPRIÉTÉ  DE  L’ETAT  ». \n'),
(45266,6474,'VoixOffIn','En  réalité ,  disait  Brecht ,  \n'),
(45267,6474,'BandeSon','*Id* *.* \n'),
(45268,6474,'Ecrits','\n'),
(45269,6474,'_product_image_gallery',''),
(45270,6475,'_pingme','1'),
(45271,6475,'_encloseme','1'),
(45272,6475,'Index','6800'),
(45273,6475,'Minutage','1h24’09 \n'),
(45274,6475,'Images','Inscription  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'),
(45275,6475,'VoixOffIn','seul  le  fragment  \n'),
(45276,6475,'BandeSon','*Id* *.* \n'),
(45277,6475,'Ecrits','\n'),
(45278,6475,'_product_image_gallery',''),
(45279,6476,'_pingme','1'),
(45280,6476,'_encloseme','1'),
(45281,6476,'Index','6810'),
(45282,6476,'Minutage','1h24’14 \n'),
(45283,6476,'Images','Au  ralenti  et  en  noir  et  blanc  :  jeunes  esclaves  vénérant  un  roi  sur  un  trône . \n'),
(45284,6476,'VoixOffIn','porte  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'),
(45285,6476,'BandeSon','*Id* *.* \n'),
(45286,6476,'Ecrits','\n'),
(45287,6476,'_product_image_gallery',''),
(45288,6477,'_pingme','1'),
(45289,6477,'_encloseme','1'),
(45290,6477,'Index','6820'),
(45291,6477,'Minutage','1h24’41 \n'),
(45292,6477,'Images','En  noir  et  blanc  :  détail  de  la  main  du  *San * *Giovanni * *Battista * ( 1508 - 1513 *), * Leonardo  da  Vinci . \n'),
(45293,6477,'VoixOffIn','Mais \n'),
(45294,6477,'BandeSon','*Id* *.* \n'),
(45295,6477,'Ecrits','\n'),
(45296,6477,'_product_image_gallery',''),
(45297,6478,'_pingme','1'),
(45298,6478,'_encloseme','1'),
(45299,6478,'Index','6830'),
(45300,6478,'Minutage','1h24’44 \n'),
(45301,6478,'Images','Surexposé  et  saturé  :  pellicule  tirée  d\'une  bobine  en  rotation . \n'),
(45302,6478,'VoixOffIn','au  contraire  de  Balzac ,  \n'),
(45303,6478,'BandeSon','*Id* *.* \n'),
(45304,6478,'Ecrits','\n'),
(45305,6478,'_product_image_gallery',''),
(45306,6479,'_pingme','1'),
(45307,6479,'_encloseme','1'),
(45308,6479,'Index','6840'),
(45309,6479,'Minutage','1h24’45 \n'),
(45310,6479,'Images','Surexposé ,  en  noir  et  blanc  :  de  nouveau ,  photographie  d\'un  enfant  mangeant  assis . \n'),
(45311,6479,'VoixOffIn','il  ne  faisait  que  satisfaire  son  penchant  effréné  pour  l’homme  \n \n \n \n'),
(45312,6479,'BandeSon','*Id* *.* \n'),
(45313,6479,'Ecrits','\n'),
(45314,6479,'_product_image_gallery',''),
(45315,6480,'_pingme','1'),
(45316,6480,'_encloseme','1'),
(45317,6480,'Index','6850'),
(45318,6480,'Minutage','1h24’48 \n'),
(45319,6480,'Images','Soldats  courants  à  travers  des  explosions . \n'),
(45320,6480,'VoixOffIn','s’humiliant  lui - même . \n'),
(45321,6480,'BandeSon','*Id* *.* \n'),
(45322,6480,'Ecrits','\n'),
(45323,6480,'_product_image_gallery',''),
(45324,6481,'_pingme','1'),
(45325,6481,'_encloseme','1'),
(45326,6481,'Index','6860'),
(45327,6481,'Minutage','1h24’50 \n'),
(45328,6481,'Images','Photographie  de  Louis - Ferdinand  Céline . \n'),
(45329,6481,'VoixOffIn','\n'),
(45330,6481,'BandeSon','*Id* *.* \n'),
(45331,6481,'Ecrits','\n'),
(45332,6481,'_product_image_gallery',''),
(45333,6482,'_pingme','1'),
(45334,6482,'_encloseme','1'),
(45335,6482,'Index','6870'),
(45336,6482,'Minutage','1h24’51 \n'),
(45337,6482,'Images','De  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'),
(45338,6482,'VoixOffIn','Qu’il  n’utilisait  le  remords  et  l’expiation  \n'),
(45339,6482,'BandeSon','*Id* *.* \n'),
(45340,6482,'Ecrits','\n'),
(45341,6482,'_product_image_gallery',''),
(45342,6483,'_pingme','1'),
(45343,6483,'_encloseme','1'),
(45344,6483,'Index','6880'),
(45345,6483,'Minutage','1h24’53 \n'),
(45346,6483,'Images','De  nouveau ,  femme  au  micro  parlant  lors  d\'une  manifestation . \n'),
(45347,6483,'VoixOffIn','d’actes  d’une  brutalité  inouïe \n'),
(45348,6483,'BandeSon','*Id* *.* \n'),
(45349,6483,'Ecrits','\n'),
(45350,6483,'_product_image_gallery',''),
(45351,6484,'_pingme','1'),
(45352,6484,'_encloseme','1'),
(45353,6484,'Index','6890'),
(45354,6484,'Minutage','1h24’54 \n'),
(45355,6484,'Images','En  négatif  :  de  nouveau ,  homme  caché  dans  l\'ombre ,  le  menton  posé  sur  la  main  gauche .  \n *Fantômas * ( 1913 ),  Louis  Feuillade .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(45356,6484,'VoixOffIn','\n'),
(45357,6484,'BandeSon','*Id* *.* \n'),
(45358,6484,'Ecrits','\n'),
(45359,6484,'_product_image_gallery',''),
(45360,6485,'_pingme','1'),
(45361,6485,'_encloseme','1'),
(45362,6485,'Index','6900'),
(45363,6485,'Minutage','1h24’56 \n'),
(45364,6485,'Images','De  nouveau ,  photographie  de   Marilyne  Monroe .  Iris  et  clignotement  :  corbeaux  s’envolant .  \n *Les * *Oiseaux * ( 1963 ),  Alfred  Hitchcock .  *Histoire* *(* *s* *) * *du * *cinéma * *4a * ( 1988 - 98 *), * Jean - Luc  Godard . \n'),
(45365,6485,'VoixOffIn','\n'),
(45366,6485,'BandeSon','*Id* *.* \n'),
(45367,6485,'Ecrits','\n'),
(45368,6485,'_product_image_gallery',''),
(45369,6486,'_pingme','1'),
(45370,6486,'_encloseme','1'),
(45371,6486,'Index','6910'),
(45372,6486,'Minutage','1h25’00 \n'),
(45373,6486,'Images','De  nouveau ,  Bécassine  avec  l\'index  de  la  main  gauche  levé . \n'),
(45374,6486,'VoixOffIn','que  pour  faire  miroiter  le  lieu  \n'),
(45375,6486,'BandeSon','*Id* *.* \n'),
(45376,6486,'Ecrits','\n'),
(45377,6486,'_product_image_gallery',''),
(45378,6487,'_pingme','1'),
(45379,6487,'_encloseme','1'),
(45380,6487,'Index','6920'),
(45381,6487,'Minutage','1h25’01 \n'),
(45382,6487,'Images','Surexposé ,  saturé  en  tons  bleus  :  presque  indistinguable . \n'),
(45383,6487,'VoixOffIn','d’une  transformation  de  \n'),
(45384,6487,'BandeSon','*Id* *.* \n'),
(45385,6487,'Ecrits','\n'),
(45386,6487,'_product_image_gallery',''),
(45387,6488,'_pingme','1'),
(45388,6488,'_encloseme','1'),
(45389,6488,'Index','6930'),
(45390,6488,'Minutage','1h25’04 \n'),
(45391,6488,'Images','De  nouveau ,  personne  portant  un  turban ,  montrant  les  paumes  et  plaçant  une  main  sur  la  paume  de  l\'autre  d’un  mouvement  lent .  \n *Bab\'Aziz* *, * *le * *prince * *qui * *contemplait * *son * *âme * ( 2005 *), * Nacer  Khémir . \n'),
(45392,6488,'VoixOffIn','la  réalité .  ( Jean - Luc  Godard ) \n'),
(45393,6488,'BandeSon','*Id* *.* \n'),
(45394,6488,'Ecrits','\n'),
(45395,6488,'_product_image_gallery',''),
(45396,6489,'_pingme','1'),
(45397,6489,'_encloseme','1'),
(45398,6489,'Index','6940'),
(45399,6489,'Minutage','1h25’10 \n'),
(45400,6489,'Images','De  nouveau ,  visage  d\'un  homme  appuyé  contre  une  vitre  reflétant  son  image . \n'),
(45401,6489,'VoixOffIn','\n'),
(45402,6489,'BandeSon','*Id* *.* \n'),
(45403,6489,'Ecrits','\n'),
(45404,6489,'_product_image_gallery',''),
(45405,6490,'_pingme','1'),
(45406,6490,'_encloseme','1'),
(45407,6490,'Index','6950'),
(45408,6490,'Minutage','1h25’13 \n'),
(45409,6490,'Images','De  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'),
(45410,6490,'VoixOffIn','\n'),
(45411,6490,'BandeSon','*Id* *.* \n'),
(45412,6490,'Ecrits','\n'),
(45413,6490,'_product_image_gallery',''),
(45414,6491,'_pingme','1'),
(45415,6491,'_encloseme','1'),
(45416,6491,'Index','6960'),
(45417,6491,'Minutage','1h25’17 \n'),
(45418,6491,'Images','De  nouveau ,  groupe  d\'hommes  courant  dans  la  rue ,  puis  faisant  irruption  à  travers  la  porte  d\'une  maison  située  dans  une  ruelle . \n'),
(45419,6491,'VoixOffIn','\n'),
(45420,6491,'BandeSon','*Id* *.* \n'),
(45421,6491,'Ecrits','\n'),
(45422,6491,'_product_image_gallery',''),
(45423,6492,'_pingme','1'),
(45424,6492,'_encloseme','1'),
(45425,6492,'Index','6970'),
(45426,6492,'Minutage','1h25’22 \n'),
(45427,6492,'Images','De  nouveau ,  enfant  sur  une  route  poussant  d\'une  main  une  bobine  rouge  avec  une  pellicule .  \n *Reel* *-* *Unreel * ( 2011 ),  Francis  Alÿs . \n'),
(45428,6492,'VoixOffIn','Il  doit  y  avoir  une  révolution .  ( Jean - Luc  Godard ) \n'),
(45429,6492,'BandeSon','*Id* *.* \n'),
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(45435,6493,'Minutage','1h25’29 \n'),
(45436,6493,'Images','Noir ,  avec  l\'inscription  «  Parole  et  Image  » \n apparaissant .  En  traces  de  détrempe  bleue  et  bleu  clair ,  «  Parole  »  et  «  Image  »,  en  rouge  «  et  ». \n'),
(45437,6493,'VoixOffIn','\n'),
(45438,6493,'BandeSon','*The * *River * *I * ( 1997 *), * Ketil  Bjornstad  &  David  Darling . \n'),
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(45444,6494,'Minutage','1h25’32 \n'),
(45445,6494,'Images','Homme  en  pleurs  soulevant  un  cadavre  du  sol . \n'),
(45446,6494,'VoixOffIn','\n'),
(45447,6494,'BandeSon','*Id* *.* \n'),
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(45453,6495,'Minutage','1h25’36 \n'),
(45454,6495,'Images','Photographie  d\'une  statue  représentant  probablement  le  Christ . \n'),
(45455,6495,'VoixOffIn','\n'),
(45456,6495,'BandeSon','*Id* *.* \n'),
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(45462,6496,'Minutage','1h25’37 \n'),
(45463,6496,'Images','Noir . \n'),
(45464,6496,'VoixOffIn','Lorsque  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 \n Godard ,  avec  une  voix  d’outre  tombe  :  \n Et  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 *. * *\n* *L’Esthétique * *de * *la * *résistance * ( 1978 - 81 ),  Peter  Weiss . \n'),
(45465,6496,'BandeSon','*Id* *. * et  puis  silence . \n'),
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(45471,6497,'Minutage','1h26’58 \n'),
(45472,6497,'Images','Entrée  du  danseur  cachant  sa  vieillesse  sous  un  masque ,  et  dansant  jusqu\'à  en  mourir .  \n *Le * *masque* ,  *Le * *Plaisir * ( 1952 *), * Max  Ophüls . \n'),
(45473,6497,'VoixOffIn','\n'),
(45474,6497,'BandeSon','*Das * *Buch * *der * *Klange * *I* *-* *XII * ( 1999 *), * *I* *, * Hans  Otte . \n'),
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(45480,6498,'Minutage','1h27’58 \n'),
(45481,6498,'Images','Noir . \n'),
(45482,6498,'VoixOffIn','\n'),
(45483,6498,'BandeSon','Silence . \n'),
(45484,6498,'Ecrits','\n'),
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(45489,6499,'Minutage','1h28’03 \n'),
(45490,6499,'Images','Noir . \n'),
(45491,6499,'VoixOffIn','\n'),
(45492,6499,'BandeSon','*Das * *Buch * *der * *Klange * *I* *-* *XII* *, * *V * ( 1999 *), * Hans  Otte . \n'),
(45493,6499,'Ecrits','C  2018  CASA  AZUL  FILMS \n C  2015  ECRAN  Noir .  productions \n'),
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(45500,6500,'BandeSon','Brusquement : silence. '),
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(47695,7208,'Index','10'),
(47696,7208,'Minutage','0’00 \n'),
(47697,7208,'Images','Noir. \n'),
(47698,7208,'VoixOffIn','\n'),
(47699,7208,'BandeSon','\n'),
(47700,7208,'Ecrits','\n'),
(47701,7208,'_product_image_gallery',''),
(47702,7209,'_pingme','1'),
(47703,7209,'_encloseme','1'),
(47704,7209,'Index','20'),
(47705,7209,'Minutage','0’02 \n'),
(47706,7209,'Images','Logo  de  la  société  de  distribution  Kino  Lorber. \n'),
(47707,7209,'VoixOffIn','\n'),
(47708,7209,'BandeSon','\n'),
(47709,7209,'Ecrits','\n'),
(47710,7209,'_product_image_gallery',''),
(47711,7210,'_pingme','1'),
(47712,7210,'_encloseme','1'),
(47713,7210,'Index','30'),
(47714,7210,'Minutage','0’10 \n'),
(47715,7210,'Images','Noir. \n'),
(47716,7210,'VoixOffIn','\n'),
(47717,7210,'BandeSon','\n'),
(47718,7210,'Ecrits','\n'),
(47719,7210,'_product_image_gallery',''),
(47720,7211,'_pingme','1'),
(47721,7211,'_encloseme','1'),
(47722,7211,'Index','40'),
(47723,7211,'Minutage','0\'13 \n'),
(47724,7211,'Images','Palme  d\'Or  avec  inscrit  en - dessous  «   Festival  de  Cannes  2018  Spécial  ». \n'),
(47725,7211,'VoixOffIn','\n'),
(47726,7211,'BandeSon','Bip  sonore \n'),
(47727,7211,'Ecrits','\n'),
(47728,7211,'_product_image_gallery',''),
(47729,7212,'_pingme','1'),
(47730,7212,'_encloseme','1'),
(47731,7212,'Index','50'),
(47732,7212,'Minutage','0’18 \n'),
(47733,7212,'Images','Noir.  \n'),
(47734,7212,'VoixOffIn','\n'),
(47735,7212,'BandeSon','Silence. \n'),
(47736,7212,'Ecrits','\n'),
(47737,7212,'_product_image_gallery',''),
(47738,7213,'_pingme','1'),
(47739,7213,'_encloseme','1'),
(47740,7213,'Index','60'),
(47741,7213,'Minutage','0’23 \n'),
(47742,7213,'Images','Détail  de  la  main. \n *San* *Giovanni* *Battista* (1508 - 1513),  Léonard  de  Vinci. \n'),
(47743,7213,'VoixOffIn','\n'),
(47744,7213,'BandeSon','Id. *\n*'),
(47745,7213,'Ecrits','\n'),
(47746,7213,'_product_image_gallery',''),
(47747,7214,'_pingme','1'),
(47748,7214,'_encloseme','1'),
(47749,7214,'Index','70'),
(47750,7214,'Minutage','0’26 \n'),
(47751,7214,'Images','Noir. \n'),
(47752,7214,'VoixOffIn','\n'),
(47753,7214,'BandeSon','Id. \n'),
(47754,7214,'Ecrits','Les  maîtres  du  m \n Devraient  se  méf \n Précisément  parc \n'),
(47755,7214,'_product_image_gallery',''),
(47756,7215,'_pingme','1'),
(47757,7215,'_encloseme','1'),
(47758,7215,'Index','80'),
(47759,7215,'Minutage','0’30 \n'),
(47760,7215,'Images','Noir. \n'),
(47761,7215,'VoixOffIn','\n'),
(47762,7215,'BandeSon','Id. \n'),
(47763,7215,'Ecrits','s  du  monde \n Se  méfier  de  Bécassine, \n Parce  qu’elle  se  tait.  \n *Les* *enfants* *humiliés**,* Georges  Bernanos  (1949). \n'),
(47764,7215,'_product_image_gallery',''),
(47765,7216,'_pingme','1'),
(47766,7216,'_encloseme','1'),
(47767,7216,'Index','90'),
(47768,7216,'Minutage','0’35 \n'),
(47769,7216,'Images','Noir. \n'),
(47770,7216,'VoixOffIn','\n'),
(47771,7216,'BandeSon','Id. \n'),
(47772,7216,'Ecrits','\n'),
(47773,7216,'_product_image_gallery',''),
(47774,7217,'_pingme','1'),
(47775,7217,'_encloseme','1'),
(47776,7217,'Index','100'),
(47777,7217,'Minutage','0’41 \n'),
(47778,7217,'Images','Mains  de  Jean-Luc  Godard,  au  travail  à  la  table  de  montage,  avec  une  pellicule.  \n *King* *Lear* (1987), Jean-Luc  Godard.  \n'),
(47779,7217,'VoixOffIn','Il  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'),
(47780,7217,'BandeSon','Id. \n \n \n \n \n'),
(47781,7217,'Ecrits','\n'),
(47782,7217,'_product_image_gallery',''),
(47783,7218,'_pingme','1'),
(47784,7218,'_encloseme','1'),
(47785,7218,'Index','110'),
(47786,7218,'Minutage','01’04 \n'),
(47787,7218,'Images','Main  écrivant  au  tableau  «  Un  ruisseau  d’ombres  /  A  brook  of  shadows  ».  \n *Closed* *Vision* (1953), Marc\'O. \n'),
(47788,7218,'VoixOffIn','Et  la  vraie  condition  de  l’homme  c’est  de  penser  avec  ses  mains.  (Jean-Luc  Godard).  \n *Penser* *avec* *les* *mains* (1936),  Denis  de  Rougemont. \n'),
(47789,7218,'BandeSon','Id. \n'),
(47790,7218,'Ecrits','\n'),
(47791,7218,'_product_image_gallery',''),
(47792,7219,'_pingme','1'),
(47793,7219,'_encloseme','1'),
(47794,7219,'Index','120'),
(47795,7219,'Minutage','01’17 \n'),
(47796,7219,'Images','Détail  de *La* *Main**,* Alberto  Giacometti  (1947)  allant  vers  le  haut.  \n *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98),  Jean-Luc  Godard. \n'),
(47797,7219,'VoixOffIn','\n'),
(47798,7219,'BandeSon','Id. et  début  du *Quintette* *avec* *piano**,* *Op**.* *18* *-* *I**.* (1944),  Mieczysław  Weinberg. \n'),
(47799,7219,'Ecrits','L’image  \n'),
(47800,7219,'_product_image_gallery',''),
(47801,7220,'_pingme','1'),
(47802,7220,'_encloseme','1'),
(47803,7220,'Index','130'),
(47804,7220,'Minutage','01’23 \n'),
(47805,7220,'Images','Mains  de  personne  enchaînée  allant  vers  le  bas  et  touchant  le  sol.  \n *Le* *Procès* *de* *Jeanne* *d’Arc* (1961),  Robert  Bresson. *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98), Jean-Luc  Godard. \n'),
(47806,7220,'VoixOffIn','\n'),
(47807,7220,'BandeSon','Id. \n'),
(47808,7220,'Ecrits','viendra \n'),
(47809,7220,'_product_image_gallery',''),
(47810,7221,'_pingme','1'),
(47811,7221,'_encloseme','1'),
(47812,7221,'Index','140'),
(47813,7221,'Minutage','01’29 \n'),
(47814,7221,'Images','Main  levée  vers  le  haut. *\n* *Gare* *Centrale* (1958), Youssef  Chahine. \n'),
(47815,7221,'VoixOffIn','\n'),
(47816,7221,'BandeSon','Id. \n'),
(47817,7221,'Ecrits','Oh  !  Temps \n'),
(47818,7221,'_product_image_gallery',''),
(47819,7222,'_pingme','1'),
(47820,7222,'_encloseme','1'),
(47821,7222,'Index','150'),
(47822,7222,'Minutage','01’40 \n'),
(47823,7222,'Images','Personne  coupant  en  deux  les  yeux  d’une  dame  avec  un  rasoir.  \n *Un* *chien* *andalou* (1929),  Luis  Bunuel. \n'),
(47824,7222,'VoixOffIn','\n'),
(47825,7222,'BandeSon','Silence. \n'),
(47826,7222,'Ecrits','\n'),
(47827,7222,'_product_image_gallery',''),
(47828,7223,'_pingme','1'),
(47829,7223,'_encloseme','1'),
(47830,7223,'Index','160'),
(47831,7223,'Minutage','01’43 \n'),
(47832,7223,'Images','Noir. \n'),
(47833,7223,'VoixOffIn','\n'),
(47834,7223,'BandeSon','Id. \n'),
(47835,7223,'Ecrits','Archive  s  et  morale. \n Phrase  citée  dans *Histoire* *(**s**)* *du* *cinéma* (1988 - 98),  Jean-Luc  Godard. \n'),
(47836,7223,'_product_image_gallery',''),
(47837,7224,'_pingme','1'),
(47838,7224,'_encloseme','1'),
(47839,7224,'Index','170'),
(47840,7224,'Minutage','01’48 \n'),
(47841,7224,'Images','Saturé  :  maisons  avec  des  arbres.  Détail  d’un  tableau  d’André  Derain. \n'),
(47842,7224,'VoixOffIn','\n'),
(47843,7224,'BandeSon','*Quintette* *avec* *piano**,* *Op**.* *18* *-* *I* (1944), Mieczysław  Weinberg. \n'),
(47844,7224,'Ecrits','Casa  Azul  Films \n'),
(47845,7224,'_product_image_gallery',''),
(47846,7225,'_pingme','1'),
(47847,7225,'_encloseme','1'),
(47848,7225,'Index','180'),
(47849,7225,'Minutage','01’53 \n'),
(47850,7225,'Images','Noir. \n'),
(47851,7225,'VoixOffIn','\n'),
(47852,7225,'BandeSon','Id. \n'),
(47853,7225,'Ecrits','Ecran  noir  production \n \n En  surimpression,  écrit  à  la  main :  \n Mitra  Farahani  (présidente  de  la  société). \n'),
(47854,7225,'_product_image_gallery',''),
(47855,7226,'_pingme','1'),
(47856,7226,'_encloseme','1'),
(47857,7226,'Index','190'),
(47858,7226,'Minutage','01’55 \n'),
(47859,7226,'Images','Saturé  et  surexposé  :  fragments  de  pellicule  sur  fond  blanc. \n *Histoire* *(**s**)* *du* *cinéma* *1a* (1988 - 98), Jean-Luc  Godard. \n'),
(47860,7226,'VoixOffIn','\n'),
(47861,7226,'BandeSon','Id. \n'),
(47862,7226,'Ecrits','\n'),
(47863,7226,'_product_image_gallery',''),
(47864,7227,'_pingme','1'),
(47865,7227,'_encloseme','1'),
(47866,7227,'Index','200'),
(47867,7227,'Minutage','01’58 \n'),
(47868,7227,'Images','Tableau  avec  femmes  dans  la  rue  entre  des  maisons. \n'),
(47869,7227,'VoixOffIn','\n'),
(47870,7227,'BandeSon','Id. \n'),
(47871,7227,'Ecrits','\n'),
(47872,7227,'_product_image_gallery',''),
(47873,7228,'_pingme','1'),
(47874,7228,'_encloseme','1'),
(47875,7228,'Index','210'),
(47876,7228,'Minutage','02’00 \n'),
(47877,7228,'Images','«  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'),
(47878,7228,'VoixOffIn','Bon,  va  me  chercher  les  livres.  On  va  jeter  un  coup  d\'œil. \n'),
(47879,7228,'BandeSon','Silence. \n'),
(47880,7228,'Ecrits','C\'est  que  pour  ne  pas  faire  caca,  il  aurait  fallu.  Extrait  de *Pour* *en* *finir* *avec* *le* *jugement* *de* *Dieu* (1948),  Antonin  Artaud. \n'),
(47881,7228,'_product_image_gallery',''),
(47882,7229,'_pingme','1'),
(47883,7229,'_encloseme','1'),
(47884,7229,'Index','220'),
(47885,7229,'Minutage','02’06 \n'),
(47886,7229,'Images','Noir. \n'),
(47887,7229,'VoixOffIn','\n'),
(47888,7229,'BandeSon','Id. \n'),
(47889,7229,'Ecrits','\n'),
(47890,7229,'_product_image_gallery',''),
(47891,7230,'_pingme','1'),
(47892,7230,'_encloseme','1'),
(47893,7230,'Index','230'),
(47894,7230,'Minutage','02’08 \n'),
(47895,7230,'Images','Noir. \n'),
(47896,7230,'VoixOffIn','\n'),
(47897,7230,'BandeSon','Id. \n'),
(47898,7230,'Ecrits','Image  et  Parole \n'),
(47899,7230,'_product_image_gallery',''),
(47900,7231,'_pingme','1'),
(47901,7231,'_encloseme','1'),
(47902,7231,'Index','240'),
(47903,7231,'Minutage','02’11 \n'),
(47904,7231,'Images','Surexposé  et  saturé  :  pellicule  entraînée  par  une  bobine  en  rotation.  \n *Notre* *caméra* *analytique* (2015),  Yervant  Gianikian  et  Angela  Ricci  Lucchi. \n'),
(47905,7231,'VoixOffIn','Scott  Walker  in  2006,  Orpheus  has  returned  from  the  underworld.  What  happened  on  his  long  long  journey ?  Who  is  this  man ? \n *Scott* *Walker* *:* *30th* *Century* *Man* (2007),  Stephen  Kijak. \n'),
(47906,7231,'BandeSon','*Cossacks* *Are* (2006),  Scott  Walker. \n'),
(47907,7231,'Ecrits','\n'),
(47908,7231,'_product_image_gallery',''),
(47909,7232,'_pingme','1'),
(47910,7232,'_encloseme','1'),
(47911,7232,'Index','250'),
(47912,7232,'Minutage','02’31 \n'),
(47913,7232,'Images','Noir. \n'),
(47914,7232,'VoixOffIn','C’est  que  pour  ne  pas  faire  caca \n'),
(47915,7232,'BandeSon','Silence. \n'),
(47916,7232,'Ecrits','\n'),
(47917,7232,'_product_image_gallery',''),
(47918,7233,'_pingme','1'),
(47919,7233,'_encloseme','1'),
(47920,7233,'Index','260'),
(47921,7233,'Minutage','02’34 \n'),
(47922,7233,'Images','Homme  (avec  une  casquette  de  marin)  visant  dans  une  caméra  (probablement  photographie  de  Friedrich  Wilhelm  Murnau). \n *Histoire* *(**s**)* *du* *cinéma**,* *1b* (1988 - 98)  Jean-Luc  Godard. \n'),
(47923,7233,'VoixOffIn','il  aurait  fallu  qu\'on.  \n *Pour* *en* *finir* *avec* *le* *jugement* *de* *Dieu* (1948),  Antonin  Artaud. \n'),
(47924,7233,'BandeSon','*Cossacks* *Are* (2006),  Scott  Walker. \n'),
(47925,7233,'Ecrits','Tabou \n'),
(47926,7233,'_product_image_gallery',''),
(47927,7234,'_pingme','1'),
(47928,7234,'_encloseme','1'),
(47929,7234,'Index','270'),
(47930,7234,'Minutage','02’38 \n'),
(47931,7234,'Images','Couverture  du  livre  de  C. F.  Ramuz, *Les* *signes* *parmi* *nous**.* *\n*'),
(47932,7234,'VoixOffIn','\n'),
(47933,7234,'BandeSon','Silence. \n'),
(47934,7234,'Ecrits','\n'),
(47935,7234,'_product_image_gallery',''),
(47936,7235,'_pingme','1'),
(47937,7235,'_encloseme','1'),
(47938,7235,'Index','280'),
(47939,7235,'Minutage','02’42 \n'),
(47940,7235,'Images','Noir. \n'),
(47941,7235,'VoixOffIn','\n'),
(47942,7235,'BandeSon','*Cue*,  Scott  Walker  (2006). \n'),
(47943,7235,'Ecrits','Les  prophètes \n'),
(47944,7235,'_product_image_gallery',''),
(47945,7236,'_pingme','1'),
(47946,7236,'_encloseme','1'),
(47947,7236,'Index','290'),
(47948,7236,'Minutage','02’46 \n'),
(47949,7236,'Images','Homme  sautant  une  épée  à  la  main  sur  un  autre  homme.  \n *Hamlet* (1964),  Grigori  Kozintsev.  \n'),
(47950,7236,'VoixOffIn','\n'),
(47951,7236,'BandeSon','Id. *\n*'),
(47952,7236,'Ecrits','\n'),
(47953,7236,'_product_image_gallery',''),
(47954,7237,'_pingme','1'),
(47955,7237,'_encloseme','1'),
(47956,7237,'Index','300'),
(47957,7237,'Minutage','02’47 \n'),
(47958,7237,'Images','Noir. \n'),
(47959,7237,'VoixOffIn','\n'),
(47960,7237,'BandeSon','Id. *\n*'),
(47961,7237,'Ecrits','\n'),
(47962,7237,'_product_image_gallery',''),
(47963,7238,'_pingme','1'),
(47964,7238,'_encloseme','1'),
(47965,7238,'Index','310'),
(47966,7238,'Minutage','02’48 \n'),
(47967,7238,'Images','Homme  en  assassinant  un  autre  à  coups  d’épée,  puis  sautant  d’un  mur,  imitant  un  oiseau. \n *Hamlet* (1948), Laurence  Olivier. \n'),
(47968,7238,'VoixOffIn','\n'),
(47969,7238,'BandeSon','Cri  du  coq.  (Logo  de  Pathé). \n'),
(47970,7238,'Ecrits','\n'),
(47971,7238,'_product_image_gallery',''),
(47972,7239,'_pingme','1'),
(47973,7239,'_encloseme','1'),
(47974,7239,'Index','320'),
(47975,7239,'Minutage','02’51 \n'),
(47976,7239,'Images','Petite  enfant  à  la  tête  levée  et  aux  mains  ouvertes.  \n *Miracle* *en* *Alabama* (1962),  Arthur  Penn. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(47977,7239,'VoixOffIn','\n'),
(47978,7239,'BandeSon','Silence. \n'),
(47979,7239,'Ecrits','\n'),
(47980,7239,'_product_image_gallery',''),
(47981,7240,'_pingme','1'),
(47982,7240,'_encloseme','1'),
(47983,7240,'Index','330'),
(47984,7240,'Minutage','02’55 \n'),
(47985,7240,'Images','Noir. \n'),
(47986,7240,'VoixOffIn','\n'),
(47987,7240,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *IV**.* *Largo* (1944), Mieczysław  Weinberg. \n'),
(47988,7240,'Ecrits','1 \n   REMAKES \n'),
(47989,7240,'_product_image_gallery',''),
(47990,7241,'_pingme','1'),
(47991,7241,'_encloseme','1'),
(47992,7241,'Index','340'),
(47993,7241,'Minutage','03’00 \n'),
(47994,7241,'Images','Explosion  d’une  bombe  atomique.  \n'),
(47995,7241,'VoixOffIn','écrit  dans  une  nuit  d’orage \n'),
(47996,7241,'BandeSon','Id. \n'),
(47997,7241,'Ecrits','\n'),
(47998,7241,'_product_image_gallery',''),
(47999,7242,'_pingme','1'),
(48000,7242,'_encloseme','1'),
(48001,7242,'Index','350'),
(48002,7242,'Minutage','03’04 \n'),
(48003,7242,'Images','Femme  aidant  un  homme  à  s’éloigner  d’une  maison.  \n *En* *quatrième* *vitesse* *[**Kiss* *Me* *Deadly**]*  (1955),  Robert  Aldrich. \n'),
(48004,7242,'VoixOffIn','les  affaires  spéciales  de  police  marchent  de  front  avec  \n'),
(48005,7242,'BandeSon','Id. \n'),
(48006,7242,'Ecrits','\n'),
(48007,7242,'_product_image_gallery',''),
(48008,7243,'_pingme','1'),
(48009,7243,'_encloseme','1'),
(48010,7243,'Index','360'),
(48011,7243,'Minutage','03’08 \n'),
(48012,7243,'Images','Logo  représentant  un  atome. \n'),
(48013,7243,'VoixOffIn','les  mesures  les  plus  générales  de  la  politique. \n'),
(48014,7243,'BandeSon','Id. \n'),
(48015,7243,'Ecrits','\n'),
(48016,7243,'_product_image_gallery',''),
(48017,7244,'_pingme','1'),
(48018,7244,'_encloseme','1'),
(48019,7244,'Index','370'),
(48020,7244,'Minutage','03’12 \n'),
(48021,7244,'Images','Femme  aidant  un  homme  à  s’éloigner  d’une  maison  sur  une  plage. \n *En* *quatrième* *vitesse* *[**Kiss* *Me* *Deadly**]*  (1955),  Robert  Aldrich. \n'),
(48022,7244,'VoixOffIn','Les  fautes  morales  s’y  confondent  avec  les  crimes  d’État.  \n *Histoire* *de* *la* *Révolution* *française* (1893 - 98), Jules  Michelet. \n \n'),
(48023,7244,'BandeSon','Id. \n'),
(48024,7244,'Ecrits','\n'),
(48025,7244,'_product_image_gallery',''),
(48026,7245,'_pingme','1'),
(48027,7245,'_encloseme','1'),
(48028,7245,'Index','380'),
(48029,7245,'Minutage','03’17 \n'),
(48030,7245,'Images','Vassili  Semionovitch  Grossman  écrivant  au  tableau. \n'),
(48031,7245,'VoixOffIn','C’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'),
(48032,7245,'BandeSon','Silence. \n'),
(48033,7245,'Ecrits','\n'),
(48034,7245,'_product_image_gallery',''),
(48035,7246,'_pingme','1'),
(48036,7246,'_encloseme','1'),
(48037,7246,'Index','390'),
(48038,7246,'Minutage','03’24 \n'),
(48039,7246,'Images','Noir. \n'),
(48040,7246,'VoixOffIn','On  accomplirait  l’acte  rédempteur,  si  l’on  pourrait  conduire  la  critique  jusqu’à  la  mort  volontaire,  sagement  désespérée,  de  notre  penser  /  parler.  \n *Le* *langage* (1906), Fritz  Mauthner. \n'),
(48041,7246,'BandeSon','Id. \n'),
(48042,7246,'Ecrits','\n'),
(48043,7246,'_product_image_gallery',''),
(48044,7247,'_pingme','1'),
(48045,7247,'_encloseme','1'),
(48046,7247,'Index','400'),
(48047,7247,'Minutage','03’37 \n'),
(48048,7247,'Images','Noir. \n'),
(48049,7247,'VoixOffIn','\n'),
(48050,7247,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n'),
(48051,7247,'Ecrits','1  Remakes \n'),
(48052,7247,'_product_image_gallery',''),
(48053,7248,'_pingme','1'),
(48054,7248,'_encloseme','1'),
(48055,7248,'Index','410'),
(48056,7248,'Minutage','03’42 \n'),
(48057,7248,'Images','Femmes  sortant  d’un  taxi  ouvert  par  un  concierge,  homme  lisant  un  papier.  \n *Allemagne* *neuf* *zéro* (1997), Jean-Luc  Godard. \n'),
(48058,7248,'VoixOffIn','garder  l’apparence  de  la  vie \n (Jean-Luc  Godard). \n \n \n \n Comme  le  cinéma  aussi,  il  faut  que  tout  soit, \n'),
(48059,7248,'BandeSon','Id. e *Cue* (2006),  Scott  Walker. \n'),
(48060,7248,'Ecrits','\n'),
(48061,7248,'_product_image_gallery',''),
(48062,7249,'_pingme','1'),
(48063,7249,'_encloseme','1'),
(48064,7249,'Index','420'),
(48065,7249,'Minutage','04’04 \n'),
(48066,7249,'Images','Au  ralenti,  et  plus  tard  accéléré  :  deux  dames  accompagnées  à  une  voiture  par  un  concierge  sous  un  parapluie.  \n *Le* *dernier* *des* *hommes* (1924), Friedrich  Wilhelm  Murnau. \n'),
(48067,7249,'VoixOffIn','il  faut  que  tout  parle.  (Pierre  Guyotat). \n'),
(48068,7249,'BandeSon','Silence,  puis  moteur  de  voiture,  et  pas  sur  le  sol  accompagnés  de  rires  de  femmes.  \n *Mon* *histoire* *n’est* *pas* *encore* *écrite* (2017),  Jacqueline  Gozland. \n'),
(48069,7249,'Ecrits','\n'),
(48070,7249,'_product_image_gallery',''),
(48071,7250,'_pingme','1'),
(48072,7250,'_encloseme','1'),
(48073,7250,'Index','430'),
(48074,7250,'Minutage','04’27 \n'),
(48075,7250,'Images','Noir. \n'),
(48076,7250,'VoixOffIn','\n'),
(48077,7250,'BandeSon','Silence. \n'),
(48078,7250,'Ecrits','\n'),
(48079,7250,'_product_image_gallery',''),
(48080,7251,'_pingme','1'),
(48081,7251,'_encloseme','1'),
(48082,7251,'Index','440'),
(48083,7251,'Minutage','04’29 \n'),
(48084,7251,'Images','Homme  parlant  avec  une  femme. \n *Johnny* *Guitar* (1954),  Nicholas  Ray. \n'),
(48085,7251,'VoixOffIn','Johnny  :  Don’t  go  away. \n Vienna  :  I  haven’t  moved. \n \n'),
(48086,7251,'BandeSon','Bande  son  de *Johnny* *Guitar* (1954),  Nicholas  Ray. \n'),
(48087,7251,'Ecrits','\n'),
(48088,7251,'_product_image_gallery',''),
(48089,7252,'_pingme','1'),
(48090,7252,'_encloseme','1'),
(48091,7252,'Index','450'),
(48092,7252,'Minutage','04’36 \n'),
(48093,7252,'Images','Noir. \n'),
(48094,7252,'VoixOffIn','Johnny  :  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'),
(48095,7252,'BandeSon','Id. \n'),
(48096,7252,'Ecrits','\n'),
(48097,7252,'_product_image_gallery',''),
(48098,7253,'_pingme','1'),
(48099,7253,'_encloseme','1'),
(48100,7253,'Index','460'),
(48101,7253,'Minutage','04’48 \n'),
(48102,7253,'Images','Homme  parlant  avec  une  femme.  \n *Johnny* *Guitar* (1954),  Nicholas  Ray. \n'),
(48103,7253,'VoixOffIn','Vienna  :  All  those  years  I’ve  waited … \n Johnny  :  Tell  me  you  would  have  died  if  I  hadn’t  come  back. \n Vienna  :  I  would\'ve  died  if  you  hadn’t  come  back. \n Johnny  :  Tell  me  you  still  love  me  like  I  love  you. \n Vienna  :  I  still …  \n'),
(48104,7253,'BandeSon','Id. \n'),
(48105,7253,'Ecrits','\n'),
(48106,7253,'_product_image_gallery',''),
(48107,7254,'_pingme','1'),
(48108,7254,'_encloseme','1'),
(48109,7254,'Index','470'),
(48110,7254,'Minutage','05’05 \n'),
(48111,7254,'Images','Noir. \n'),
(48112,7254,'VoixOffIn','-  Dites  des  mensonges. \n'),
(48113,7254,'BandeSon','Silence. \n'),
(48114,7254,'Ecrits','\n'),
(48115,7254,'_product_image_gallery',''),
(48116,7255,'_pingme','1'),
(48117,7255,'_encloseme','1'),
(48118,7255,'Index','480'),
(48119,7255,'Minutage','05’10 \n'),
(48120,7255,'Images','Homme  parlant  avec  une  femme. *\n* *Le* *petit* *soldat* (1947), Jean-Luc  Godard. *\n*'),
(48121,7255,'VoixOffIn','que  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'),
(48122,7255,'BandeSon','Id. et  piano. \n'),
(48123,7255,'Ecrits','\n'),
(48124,7255,'_product_image_gallery',''),
(48125,7256,'_pingme','1'),
(48126,7256,'_encloseme','1'),
(48127,7256,'Index','490'),
(48128,7256,'Minutage','05’38 \n'),
(48129,7256,'Images','Noir. \n'),
(48130,7256,'VoixOffIn','Je  ne  vous  embrasse  pas  tendrement. \n'),
(48131,7256,'BandeSon','Id. *\n*'),
(48132,7256,'Ecrits','\n'),
(48133,7256,'_product_image_gallery',''),
(48134,7257,'_pingme','1'),
(48135,7257,'_encloseme','1'),
(48136,7257,'Index','500'),
(48137,7257,'Minutage','05’45 \n'),
(48138,7257,'Images','Homme  parlant  avec  une  femme. *\n* *Le* *petit* *soldat* (1947), Jean-Luc  Godard. *\n*'),
(48139,7257,'VoixOffIn','\n'),
(48140,7257,'BandeSon','Id. *\n*'),
(48141,7257,'Ecrits','\n'),
(48142,7257,'_product_image_gallery',''),
(48143,7258,'_pingme','1'),
(48144,7258,'_encloseme','1'),
(48145,7258,'Index','510'),
(48146,7258,'Minutage','05’50 \n'),
(48147,7258,'Images','Noir. \n'),
(48148,7258,'VoixOffIn','\n'),
(48149,7258,'BandeSon','Silence. \n'),
(48150,7258,'Ecrits','\n'),
(48151,7258,'_product_image_gallery',''),
(48152,7259,'_pingme','1'),
(48153,7259,'_encloseme','1'),
(48154,7259,'Index','520'),
(48155,7259,'Minutage','05’55 \n'),
(48156,7259,'Images','Adolescents  faisant  des  exercices  militaires  sous  la  supervision  de  soldats.  \n *Liban**,* *guerres* *et* *hommes* (1975), Frédéric  Laffont. \n'),
(48157,7259,'VoixOffIn','\n'),
(48158,7259,'BandeSon','Id. *\n*'),
(48159,7259,'Ecrits','\n'),
(48160,7259,'_product_image_gallery',''),
(48161,7260,'_pingme','1'),
(48162,7260,'_encloseme','1'),
(48163,7260,'Index','530'),
(48164,7260,'Minutage','05’59 \n'),
(48165,7260,'Images','Noir. \n'),
(48166,7260,'VoixOffIn','\n'),
(48167,7260,'BandeSon','Id. \n'),
(48168,7260,'Ecrits','\n'),
(48169,7260,'_product_image_gallery',''),
(48170,7261,'_pingme','1'),
(48171,7261,'_encloseme','1'),
(48172,7261,'Index','540'),
(48173,7261,'Minutage','06’00 \n'),
(48174,7261,'Images','Adolescents  faisant  des  exercices  militaires  sous  la  supervision  de  soldats. *\n* *Liban**,* *guerres* *et* *hommes* (1975), Frédéric  Laffont. *\n*'),
(48175,7261,'VoixOffIn','\n'),
(48176,7261,'BandeSon','Id. \n'),
(48177,7261,'Ecrits','\n'),
(48178,7261,'_product_image_gallery',''),
(48179,7262,'_pingme','1'),
(48180,7262,'_encloseme','1'),
(48181,7262,'Index','550'),
(48182,7262,'Minutage','06’03 \n'),
(48183,7262,'Images','Militaires  en  rang  observés  par  un  commandant. *\n* *Liban**,* *guerres* *et* *hommes* (1975), Frédéric  Laffont. *\n*'),
(48184,7262,'VoixOffIn','\n'),
(48185,7262,'BandeSon','Id. \n'),
(48186,7262,'Ecrits','\n'),
(48187,7262,'_product_image_gallery',''),
(48188,7263,'_pingme','1'),
(48189,7263,'_encloseme','1'),
(48190,7263,'Index','560'),
(48191,7263,'Minutage','06’07 \n'),
(48192,7263,'Images','Jeunes  gens  marchant  à  la  manière  de  chiens,  entourés  de  soldats  les  nourrissant.  \n *Salò* *o* *le* *centoventi* *giornate* *di* *Sodoma* (1976), Pier  Paolo  Pasolini. \n'),
(48193,7263,'VoixOffIn','\n'),
(48194,7263,'BandeSon','Aboiements  et  halètements  de  chiens. \n'),
(48195,7263,'Ecrits','\n'),
(48196,7263,'_product_image_gallery',''),
(48197,7264,'_pingme','1'),
(48198,7264,'_encloseme','1'),
(48199,7264,'Index','570'),
(48200,7264,'Minutage','06’17 \n'),
(48201,7264,'Images','Noir. \n'),
(48202,7264,'VoixOffIn','-  Mangia,  sù ! \n'),
(48203,7264,'BandeSon','Silence. \n'),
(48204,7264,'Ecrits','\n'),
(48205,7264,'_product_image_gallery',''),
(48206,7265,'_pingme','1'),
(48207,7265,'_encloseme','1'),
(48208,7265,'Index','580'),
(48209,7265,'Minutage','06’28 \n'),
(48210,7265,'Images','Noir. \n'),
(48211,7265,'VoixOffIn','\n'),
(48212,7265,'BandeSon','Id. \n'),
(48213,7265,'Ecrits','1  Remakes \n'),
(48214,7265,'_product_image_gallery',''),
(48215,7266,'_pingme','1'),
(48216,7266,'_encloseme','1'),
(48217,7266,'Index','590'),
(48218,7266,'Minutage','06’31 \n'),
(48219,7266,'Images','Soldats  djihadistes  tirant  à  la  mitraillette.  \n *Timbuktu* (2014), Abderrahmane  Sissako. \n'),
(48220,7266,'VoixOffIn','\n'),
(48221,7266,'BandeSon','Mitraillette.  \n'),
(48222,7266,'Ecrits','\n'),
(48223,7266,'_product_image_gallery',''),
(48224,7267,'_pingme','1'),
(48225,7267,'_encloseme','1'),
(48226,7267,'Index','600'),
(48227,7267,'Minutage','06’33 \n'),
(48228,7267,'Images','Blanc \n'),
(48229,7267,'VoixOffIn','\n'),
(48230,7267,'BandeSon','Silence. \n'),
(48231,7267,'Ecrits','\n'),
(48232,7267,'_product_image_gallery',''),
(48233,7268,'_pingme','1'),
(48234,7268,'_encloseme','1'),
(48235,7268,'Index','610'),
(48236,7268,'Minutage','06’37 \n'),
(48237,7268,'Images','Soldats  djihadistes  tirant  à  la  mitraillette. *\n* *Timbuktu* (2014), Abderrahmane  Sissako. *\n*'),
(48238,7268,'VoixOffIn','Bruit  de  manipulation  d\'une  arme. \n'),
(48239,7268,'BandeSon','Id. \n'),
(48240,7268,'Ecrits','\n'),
(48241,7268,'_product_image_gallery',''),
(48242,7269,'_pingme','1'),
(48243,7269,'_encloseme','1'),
(48244,7269,'Index','620'),
(48245,7269,'Minutage','06’44 \n'),
(48246,7269,'Images','Soldats  déplaçant  des  cadavres  et  soignant  des  femmes  torturées.  \n *Vrai* *faux* *passeport* (2006), Jean-Luc  Godard. \n'),
(48247,7269,'VoixOffIn','Les  américains  s’efforcent  de  réanimer  cette  combattante  \n'),
(48248,7269,'BandeSon','Bande  son  de *Vrai* *faux* *passeport* (2006), Jean-Luc  Godard. \n'),
(48249,7269,'Ecrits','\n'),
(48250,7269,'_product_image_gallery',''),
(48251,7270,'_pingme','1'),
(48252,7270,'_encloseme','1'),
(48253,7270,'Index','630'),
(48254,7270,'Minutage','07’05 \n'),
(48255,7270,'Images','Noir. \n'),
(48256,7270,'VoixOffIn','\n'),
(48257,7270,'BandeSon','Id. *\n*'),
(48258,7270,'Ecrits','\n'),
(48259,7270,'_product_image_gallery',''),
(48260,7271,'_pingme','1'),
(48261,7271,'_encloseme','1'),
(48262,7271,'Index','640'),
(48263,7271,'Minutage','07’08 \n'),
(48264,7271,'Images','Hélicoptère.  \n *La* *Chute* *du* *faucon* *noir* (2001), Ridley  Scott. \n'),
(48265,7271,'VoixOffIn','pour  sans  doute  l’interroger.  Qu’en  tireront - ils  ?  (fois  2) \n'),
(48266,7271,'BandeSon','Id. \n'),
(48267,7271,'Ecrits','\n'),
(48268,7271,'_product_image_gallery',''),
(48269,7272,'_pingme','1'),
(48270,7272,'_encloseme','1'),
(48271,7272,'Index','650'),
(48272,7272,'Minutage','07’13 \n'),
(48273,7272,'Images','Soldats  déplaçant  des  cadavres  et  soignant  des  femmes  torturées. *Vrai* *faux* *passeport* (2006), Jean-Luc  Godard. \n'),
(48274,7272,'VoixOffIn','Des  insultes,  des  chants  communistes  ou  simplement  des  cris  de  douleur. \n'),
(48275,7272,'BandeSon','Id. \n'),
(48276,7272,'Ecrits','Patrie \n'),
(48277,7272,'_product_image_gallery',''),
(48278,7273,'_pingme','1'),
(48279,7273,'_encloseme','1'),
(48280,7273,'Index','660'),
(48281,7273,'Minutage','07’17 \n'),
(48282,7273,'Images','Soldat  menaçant  une  femme  et  un  enfant  avec  une  carabine.  \n *Les* *carabiniers* (1963),  Jean-Luc  Godard. \n'),
(48283,7273,'VoixOffIn','Faites  la  partir.  Pas  dans  la  cuisine.  Mettez - vous  sur  la  chaise  !  Tournez - vous  ! \n'),
(48284,7273,'BandeSon','Silence. \n'),
(48285,7273,'Ecrits','\n'),
(48286,7273,'_product_image_gallery',''),
(48287,7274,'_pingme','1'),
(48288,7274,'_encloseme','1'),
(48289,7274,'Index','670'),
(48290,7274,'Minutage','07’43 \n'),
(48291,7274,'Images','Noir. \n'),
(48292,7274,'VoixOffIn','\n'),
(48293,7274,'BandeSon','Id. \n'),
(48294,7274,'Ecrits','\n'),
(48295,7274,'_product_image_gallery',''),
(48296,7275,'_pingme','1'),
(48297,7275,'_encloseme','1'),
(48298,7275,'Index','680'),
(48299,7275,'Minutage','07’44 \n'),
(48300,7275,'Images','Enfant  sur  une  pelouse  écoutant  de  la  musique.  Homme  apprenant  à  nager  à  une  femme. *\n* *Les* *hommes* *les* *dimanches* (1930), Robert  Siodmak  et  Edgar  George  Ulmer. *\n*'),
(48301,7275,'VoixOffIn','\n'),
(48302,7275,'BandeSon','Bande  son  de *Les* *hommes* *les* *dimanches* (1930), Robert  Siodmak  et  Edgar  George  Ulmer. \n *\n*'),
(48303,7275,'Ecrits','\n'),
(48304,7275,'_product_image_gallery',''),
(48305,7276,'_pingme','1'),
(48306,7276,'_encloseme','1'),
(48307,7276,'Index','690'),
(48308,7276,'Minutage','07’51 \n'),
(48309,7276,'Images','Deux  hommes  avec  un  scooter  suivant  deux  femmes  qui  se  promenant  dans  la  rue.  \n *Blue* *jeans* (1957), Jacques  Rozier. \n'),
(48310,7276,'VoixOffIn','Alors  on  se  promène  ?  Vous  n’avez  pas  peur  toutes  seules  ?  Vous  habitez  chez  vos  parents  ?  Alors  vous  habitez  chez  papa  et  maman  ? \n'),
(48311,7276,'BandeSon','Silence. \n'),
(48312,7276,'Ecrits','\n'),
(48313,7276,'_product_image_gallery',''),
(48314,7277,'_pingme','1'),
(48315,7277,'_encloseme','1'),
(48316,7277,'Index','700'),
(48317,7277,'Minutage','08’09 \n'),
(48318,7277,'Images','Noir. \n'),
(48319,7277,'VoixOffIn','Chez  papa  et  maman  ? \n'),
(48320,7277,'BandeSon','Id. \n'),
(48321,7277,'Ecrits','\n'),
(48322,7277,'_product_image_gallery',''),
(48323,7278,'_pingme','1'),
(48324,7278,'_encloseme','1'),
(48325,7278,'Index','710'),
(48326,7278,'Minutage','08’12 \n'),
(48327,7278,'Images','Avion  de  guerre  \n orné  d’un  dessin  de  dents.  Documentaire  de  la  guerre  civile  en  Chine. \n'),
(48328,7278,'VoixOffIn','\n'),
(48329,7278,'BandeSon','Id. \n'),
(48330,7278,'Ecrits','\n'),
(48331,7278,'_product_image_gallery',''),
(48332,7279,'_pingme','1'),
(48333,7279,'_encloseme','1'),
(48334,7279,'Index','720'),
(48335,7279,'Minutage','08’13 \n'),
(48336,7279,'Images','Requin  émergeant  de  l\'eau,  la  gueule  grande  ouverte.  \n *Les* *dents* *de* *la* *mer* (1975), Steven  Spielberg. \n'),
(48337,7279,'VoixOffIn','\n'),
(48338,7279,'BandeSon','Id. \n'),
(48339,7279,'Ecrits','\n'),
(48340,7279,'_product_image_gallery',''),
(48341,7280,'_pingme','1'),
(48342,7280,'_encloseme','1'),
(48343,7280,'Index','730'),
(48344,7280,'Minutage','08’14 \n'),
(48345,7280,'Images','Noir. \n'),
(48346,7280,'VoixOffIn','\n'),
(48347,7280,'BandeSon','Id. \n'),
(48348,7280,'Ecrits','1  \n REMAKES \n'),
(48349,7280,'_product_image_gallery',''),
(48350,7281,'_pingme','1'),
(48351,7281,'_encloseme','1'),
(48352,7281,'Index','740'),
(48353,7281,'Minutage','08’16 \n'),
(48354,7281,'Images','Empilement  de  cadavres. \n *Nuit* *et* *brouillard* (1956), Alain  Resnais. \n'),
(48355,7281,'VoixOffIn','\n'),
(48356,7281,'BandeSon','Id. \n'),
(48357,7281,'Ecrits','\n'),
(48358,7281,'_product_image_gallery',''),
(48359,7282,'_pingme','1'),
(48360,7282,'_encloseme','1'),
(48361,7282,'Index','750'),
(48362,7282,'Minutage','08’19 \n'),
(48363,7282,'Images','Homme  tuant  un  cheval.  \n *Le* *sang* *des* *bêtes* (1949), Georges  Franju,. \n'),
(48364,7282,'VoixOffIn','Il  est  presque  impossible  d’abolir  \n'),
(48365,7282,'BandeSon','Id. \n'),
(48366,7282,'Ecrits','\n'),
(48367,7282,'_product_image_gallery',''),
(48368,7283,'_pingme','1'),
(48369,7283,'_encloseme','1'),
(48370,7283,'Index','760'),
(48371,7283,'Minutage','08’24 \n'),
(48372,7283,'Images','Noir. \n'),
(48373,7283,'VoixOffIn','la  réciprocité  entre  les  hommes. \n La  violence  est  une  forme.  \n *La* *violence* *et* *le* *sacré**,* (1972),  René  Girard \n \n'),
(48374,7283,'BandeSon','Id. e *Cue* (2006),  Scott  Walker. \n'),
(48375,7283,'Ecrits','L’une  part  la  décision  et \n décision,  c’est  :  se  tenir \n être  et  le  non - être  @  et  il  y \n de  l’être,  le  primat  incor \n \n (Vladimir  Ilitch  Lénine).  \n'),
(48376,7283,'_product_image_gallery',''),
(48377,7284,'_pingme','1'),
(48378,7284,'_encloseme','1'),
(48379,7284,'Index','770'),
(48380,7284,'Minutage','08’31 \n'),
(48381,7284,'Images','Hibou,  fondu  avec  un  homme  battant  des  paupières  et  les  frottant  successivement.  \n *La* *Grève* (1925), Sergueï  Eisenstein. *Histoire* *(**s**)* *du* *cinéma* *1a* (1988 - 98), Jean-Luc  Godard. \n'),
(48382,7284,'VoixOffIn','\n'),
(48383,7284,'BandeSon','*Cue* (2006),  Scott  Walker. \n'),
(48384,7284,'Ecrits','\n'),
(48385,7284,'_product_image_gallery',''),
(48386,7285,'_pingme','1'),
(48387,7285,'_encloseme','1'),
(48388,7285,'Index','780'),
(48389,7285,'Minutage','08’36 \n'),
(48390,7285,'Images','Noir. \n'),
(48391,7285,'VoixOffIn','\n'),
(48392,7285,'BandeSon','Id. *\n*'),
(48393,7285,'Ecrits','\n'),
(48394,7285,'_product_image_gallery',''),
(48395,7286,'_pingme','1'),
(48396,7286,'_encloseme','1'),
(48397,7286,'Index','790'),
(48398,7286,'Minutage','08’43 \n'),
(48399,7286,'Images','Hommes  essayant  de  prendre  la  fuite  et  se  faisant  tirer  dessus.  Certains  meurent.  Hommes  lançant  dans  la  mer  des  prisonniers  attachés.  \n *Paisà* (1946), Roberto  Rossellini. \n'),
(48400,7286,'VoixOffIn','Accadeva  nell’inverno  del  1944.  All’inizio  della  primavera  la  guerra  era  finita. \n \n'),
(48401,7286,'BandeSon','Mitraillette,  personnes  tombant  dans  l\'eau. \n'),
(48402,7286,'Ecrits','\n'),
(48403,7286,'_product_image_gallery',''),
(48404,7287,'_pingme','1'),
(48405,7287,'_encloseme','1'),
(48406,7287,'Index','800'),
(48407,7287,'Minutage','09’06 \n'),
(48408,7287,'Images','Surexposé  :  djihadistes  tirant  sur  des  hommes,  et  les  lançant  à  la  mer. \n'),
(48409,7287,'VoixOffIn','\n'),
(48410,7287,'BandeSon','Silence. \n'),
(48411,7287,'Ecrits','\n'),
(48412,7287,'_product_image_gallery',''),
(48413,7288,'_pingme','1'),
(48414,7288,'_encloseme','1'),
(48415,7288,'Index','810'),
(48416,7288,'Minutage','09’13 \n'),
(48417,7288,'Images','Surexposé  et  saturé  en  tons  rouges  :  mer. \n'),
(48418,7288,'VoixOffIn','\n'),
(48419,7288,'BandeSon','Id. \n'),
(48420,7288,'Ecrits','\n'),
(48421,7288,'_product_image_gallery',''),
(48422,7289,'_pingme','1'),
(48423,7289,'_encloseme','1'),
(48424,7289,'Index','820'),
(48425,7289,'Minutage','09’15  \n'),
(48426,7289,'Images','Un  homme  et  une  femme  traversant  en  courant  le  corridor  de  Vasari  à  Florence. \n *Paisà* (1946), Roberto  Rossellini.  \n \n En  surimpression, *La* *belle* *et* *la* *bête* (1946), Jean  Cocteau. \n'),
(48427,7289,'VoixOffIn','S’il  vous  plaît  (fois  7) \n'),
(48428,7289,'BandeSon','Ressac  de  vagues. \n'),
(48429,7289,'Ecrits','\n'),
(48430,7289,'_product_image_gallery',''),
(48431,7290,'_pingme','1'),
(48432,7290,'_encloseme','1'),
(48433,7290,'Index','830'),
(48434,7290,'Minutage','09’23 \n'),
(48435,7290,'Images','Noir. \n'),
(48436,7290,'VoixOffIn','Devenir  immortelle  ne  vous  intéresse  vraiment  pas  ? \n'),
(48437,7290,'BandeSon','Id. *\n*'),
(48438,7290,'Ecrits','RIM (AK) ES \n'),
(48439,7290,'_product_image_gallery',''),
(48440,7291,'_pingme','1'),
(48441,7291,'_encloseme','1'),
(48442,7291,'Index','840'),
(48443,7291,'Minutage','09’27 \n'),
(48444,7291,'Images','Homme  se  jettant  à  la  mer  pour  sauver  une  femme  voulant  se  suicider.  \n *Vertigo* (1958), Alfred  Hitchcock. \n'),
(48445,7291,'VoixOffIn','- 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'),
(48446,7291,'BandeSon','Id. \n'),
(48447,7291,'Ecrits','\n'),
(48448,7291,'_product_image_gallery',''),
(48449,7292,'_pingme','1'),
(48450,7292,'_encloseme','1'),
(48451,7292,'Index','850'),
(48452,7292,'Minutage','09’44 \n'),
(48453,7292,'Images','Noir. \n'),
(48454,7292,'VoixOffIn','je  ne  suis  pas  comme  vous. \n'),
(48455,7292,'BandeSon','Id. \n'),
(48456,7292,'Ecrits','\n'),
(48457,7292,'_product_image_gallery',''),
(48458,7293,'_pingme','1'),
(48459,7293,'_encloseme','1'),
(48460,7293,'Index','860'),
(48461,7293,'Minutage','09’47 \n'),
(48462,7293,'Images','Surexposé  et  au  ralenti  :  homme  transportant  le  corps  d’une  femme  ayant  risqué  de  se  noyer.  \n *Vertigo* (1958), Alfred  Hitchcock. \n'),
(48463,7293,'VoixOffIn','- Fière,  et  orgueilleuse  avec  ça.  \n \n'),
(48464,7293,'BandeSon','Id. \n'),
(48465,7293,'Ecrits','\n'),
(48466,7293,'_product_image_gallery',''),
(48467,7294,'_pingme','1'),
(48468,7294,'_encloseme','1'),
(48469,7294,'Index','870'),
(48470,7294,'Minutage','09’49 \n'),
(48471,7294,'Images','Femme  à  la  plage  et  homme  naigeant  dans  la  mer.  \n *Femme* *au* *corbeau* (1929), Frank  Borzage. *\n*'),
(48472,7294,'VoixOffIn','-  Oui,  fière,  si  je  me  compare.  \n'),
(48473,7294,'BandeSon','Id. \n'),
(48474,7294,'Ecrits','\n'),
(48475,7294,'_product_image_gallery',''),
(48476,7295,'_pingme','1'),
(48477,7295,'_encloseme','1'),
(48478,7295,'Index','880'),
(48479,7295,'Minutage','09’56 \n'),
(48480,7295,'Images','Caméraman  assis  sur  une  dolly.  \n *Silence* *!* *On* *tourne* (2001), Youssef  Chahine. \n'),
(48481,7295,'VoixOffIn','\n'),
(48482,7295,'BandeSon','Id. \n'),
(48483,7295,'Ecrits','\n'),
(48484,7295,'_product_image_gallery',''),
(48485,7296,'_pingme','1'),
(48486,7296,'_encloseme','1'),
(48487,7296,'Index','890'),
(48488,7296,'Minutage','09’58 \n'),
(48489,7296,'Images','Visage  d’une  femme. \n *L’Atalante* (1934), Jean  Vigo,  au  ralenti  et  superposé  à  l’image  d’un  homme. \n'),
(48490,7296,'VoixOffIn','Et  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'),
(48491,7296,'BandeSon','Id. \n'),
(48492,7296,'Ecrits','\n'),
(48493,7296,'_product_image_gallery',''),
(48494,7297,'_pingme','1'),
(48495,7297,'_encloseme','1'),
(48496,7297,'Index','900'),
(48497,7297,'Minutage','10’12 \n'),
(48498,7297,'Images','Homme  déposant  une  femme  par  terre  au  bord  d’un  lac. \n *Hélas* *pour* *moi* (1993), Jean-Luc  Godard. \n'),
(48499,7297,'VoixOffIn','C’est  notre  première  dispute,  et  je  t’aime. \n *Hélas* *pour* *moi* (1993), Jean-Luc  Godard. \n'),
(48500,7297,'BandeSon','Id. \n'),
(48501,7297,'Ecrits','\n'),
(48502,7297,'_product_image_gallery',''),
(48503,7298,'_pingme','1'),
(48504,7298,'_encloseme','1'),
(48505,7298,'Index','910'),
(48506,7298,'Minutage','10’19 \n'),
(48507,7298,'Images','Deux  personnes  marchant  à  quatre  pattes  sur  le  sol  au  milieu  de  l\'eau.  \n *La* *furie* *du* *désir* *[**Ruby* *Gentry**]*  (1952), King  Vidor. \n'),
(48508,7298,'VoixOffIn','\n'),
(48509,7298,'BandeSon','Silence. \n'),
(48510,7298,'Ecrits','\n'),
(48511,7298,'_product_image_gallery',''),
(48512,7299,'_pingme','1'),
(48513,7299,'_encloseme','1'),
(48514,7299,'Index','920'),
(48515,7299,'Minutage','10’25 \n'),
(48516,7299,'Images','Noir. \n'),
(48517,7299,'VoixOffIn','\n'),
(48518,7299,'BandeSon','*Quintette* *avec* *piano* (1944), *Op**.* *18* *-* *I* (1944), Mieczysław  Weinberg. \n'),
(48519,7299,'Ecrits','\n'),
(48520,7299,'_product_image_gallery',''),
(48521,7300,'_pingme','1'),
(48522,7300,'_encloseme','1'),
(48523,7300,'Index','930'),
(48524,7300,'Minutage','10’27 \n'),
(48525,7300,'Images','Images  d’archives  :  signature  de  l\'armistice  de  la  Seconde  Guerre  mondiale  le  8  mai  1945.  En  noir  et  blanc,  puis  en  couleurs. \n'),
(48526,7300,'VoixOffIn','\n'),
(48527,7300,'BandeSon','Id. *\n*'),
(48528,7300,'Ecrits','\n'),
(48529,7300,'_product_image_gallery',''),
(48530,7301,'_pingme','1'),
(48531,7301,'_encloseme','1'),
(48532,7301,'Index','940'),
(48533,7301,'Minutage','10’37 \n'),
(48534,7301,'Images','Noir. \n'),
(48535,7301,'VoixOffIn','\n'),
(48536,7301,'BandeSon','Id. \n'),
(48537,7301,'Ecrits','\n'),
(48538,7301,'_product_image_gallery',''),
(48539,7302,'_pingme','1'),
(48540,7302,'_encloseme','1'),
(48541,7302,'Index','950'),
(48542,7302,'Minutage','10’39 \n'),
(48543,7302,'Images','Images  d’archives  de  la  chaîne  de  television  francaise *Planète* :  folle  fêtant,  drapeau  Etatsunien  à  la  main.  \n'),
(48544,7302,'VoixOffIn','\n'),
(48545,7302,'BandeSon','Id. et  silence. \n'),
(48546,7302,'Ecrits','\n'),
(48547,7302,'_product_image_gallery',''),
(48548,7303,'_pingme','1'),
(48549,7303,'_encloseme','1'),
(48550,7303,'Index','960'),
(48551,7303,'Minutage','10’41 \n'),
(48552,7303,'Images','Assignat  de  25  sols.  (Papier  monnaie  fiduciaire  d’échange,  instaurée  sous  la  Révolution  française  par  la  loi  du  4  janvier  1792). \n'),
(48553,7303,'VoixOffIn','On  a  signé,  ah  signé,  assigné,  assigné,  assignats.  (Jean-Luc  Godard) \n'),
(48554,7303,'BandeSon','Silence. \n'),
(48555,7303,'Ecrits','\n'),
(48556,7303,'_product_image_gallery',''),
(48557,7304,'_pingme','1'),
(48558,7304,'_encloseme','1'),
(48559,7304,'Index','970'),
(48560,7304,'Minutage','10’55 \n'),
(48561,7304,'Images','Noir. \n'),
(48562,7304,'VoixOffIn','Vous  vous  souvenez  de  José.  républicain  espagnol  ?  Avec  les  communistes  j\'irai  jusqu\'à  la  mort. \n'),
(48563,7304,'BandeSon','Id. *\n*'),
(48564,7304,'Ecrits','\n'),
(48565,7304,'_product_image_gallery',''),
(48566,7305,'_pingme','1'),
(48567,7305,'_encloseme','1'),
(48568,7305,'Index','980'),
(48569,7305,'Minutage','11’00 \n'),
(48570,7305,'Images','Hommes  posant  un  livre  sur  la  tête  d’un  homme  allongé  et  plaçant  le  bout  de  l\'index  et  du  majeur  sur  sa  couverture. \n *Ivan* *le* *terrible* (1944), Sergej  Ejzenstejn. *Liberté* *et* *patrie* (2002), Jean-Luc  Godard  et  Anne - Marie  Miéville. \n'),
(48571,7305,'VoixOffIn','Avec  les  communistes  j\'irai  jusqu\'à  la  mort  mais  je  ne  ferai  pas  un  pas  de  plus. \n *L’Espoir* (1937),  André  Malraux. \n'),
(48572,7305,'BandeSon','Id. \n'),
(48573,7305,'Ecrits','\n'),
(48574,7305,'_product_image_gallery',''),
(48575,7306,'_pingme','1'),
(48576,7306,'_encloseme','1'),
(48577,7306,'Index','990'),
(48578,7306,'Minutage','11’21 \n'),
(48579,7306,'Images','Enfants  jouant  du  violon.  \n *Les* *enfants* *jouent* *à* *la* *Russie* (1993), Jean-Luc  Godard. \n'),
(48580,7306,'VoixOffIn','\n'),
(48581,7306,'BandeSon','Orchestre.  \n'),
(48582,7306,'Ecrits','\n'),
(48583,7306,'_product_image_gallery',''),
(48584,7307,'_pingme','1'),
(48585,7307,'_encloseme','1'),
(48586,7307,'Index','1000'),
(48587,7307,'Minutage','11’26 \n'),
(48588,7307,'Images','Photographie  d’Inès  Armand,  femme  politique  communiste. \n'),
(48589,7307,'VoixOffIn','\n'),
(48590,7307,'BandeSon','Silence. \n'),
(48591,7307,'Ecrits','\n'),
(48592,7307,'_product_image_gallery',''),
(48593,7308,'_pingme','1'),
(48594,7308,'_encloseme','1'),
(48595,7308,'Index','1010'),
(48596,7308,'Minutage','11’30 \n'),
(48597,7308,'Images','Avec  des  couleurs  surexposées  et  saturées  :  groupe  de  personnes  avec  drapeaux  et  armes. \n *La* *liberté* *guidant* *le* *peuple* (1830),  Eugène  Delacroix. \n'),
(48598,7308,'VoixOffIn','\n'),
(48599,7308,'BandeSon','Id. *\n*'),
(48600,7308,'Ecrits','\n'),
(48601,7308,'_product_image_gallery',''),
(48602,7309,'_pingme','1'),
(48603,7309,'_encloseme','1'),
(48604,7309,'Index','1020'),
(48605,7309,'Minutage','11’32 \n'),
(48606,7309,'Images','En  noir  et  blanc  et  surexposé  :  groupe  de  personnes  avec  drapeaux  et  armes. *\n* *La* *liberté* *guidant* *le* *peuple* (1830),  Eugène  Delacroix. *\n*'),
(48607,7309,'VoixOffIn','Les  aventures.  Encore  un  rouge.  Dernier,  le  rouge. \n   \n \n'),
(48608,7309,'BandeSon','Id. \n'),
(48609,7309,'Ecrits','\n'),
(48610,7309,'_product_image_gallery',''),
(48611,7310,'_pingme','1'),
(48612,7310,'_encloseme','1'),
(48613,7310,'Index','1030'),
(48614,7310,'Minutage','11’35 \n'),
(48615,7310,'Images','Alternance  en  clignotant  de  photos  en  couleur  d’Hitler,  et  d’une  dame  marchant,  un  enfant  dans  les  bras.  \n *Angèle* (1934), Marcel  Pagnol. \n'),
(48616,7310,'VoixOffIn','- C’est  lui  qui  a  commencé,  et  c’est  la  vérité.  \n'),
(48617,7310,'BandeSon','Id. \n'),
(48618,7310,'Ecrits','\n'),
(48619,7310,'_product_image_gallery',''),
(48620,7311,'_pingme','1'),
(48621,7311,'_encloseme','1'),
(48622,7311,'Index','1040'),
(48623,7311,'Minutage','11’40  \n'),
(48624,7311,'Images','Noir. \n'),
(48625,7311,'VoixOffIn','Tais - toi  Cassandre ! \n'),
(48626,7311,'BandeSon','Id. \n'),
(48627,7311,'Ecrits','\n'),
(48628,7311,'_product_image_gallery',''),
(48629,7312,'_pingme','1'),
(48630,7312,'_encloseme','1'),
(48631,7312,'Index','1050'),
(48632,7312,'Minutage','11’42 \n'),
(48633,7312,'Images','Femme  pleurant.  \n *Les* *larmes* *de* *Freya* (1900), Anne - Marie  Zylberman. \n'),
(48634,7312,'VoixOffIn','\n'),
(48635,7312,'BandeSon','Id. \n'),
(48636,7312,'Ecrits','\n'),
(48637,7312,'_product_image_gallery',''),
(48638,7313,'_pingme','1'),
(48639,7313,'_encloseme','1'),
(48640,7313,'Index','1060'),
(48641,7313,'Minutage','11’45 \n'),
(48642,7313,'Images','Mains  tournées  vers  la  lumière.  \n Fragment  de  tableau  (1588),  Anonyme,  Ecole  de  Fontainebleau. \n Une  main  sous  un  sein,  une  autre  main  joignant  l’index  au  pouce.  \n *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard,. \n'),
(48643,7313,'VoixOffIn','\n'),
(48644,7313,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n'),
(48645,7313,'Ecrits','\n'),
(48646,7313,'_product_image_gallery',''),
(48647,7314,'_pingme','1'),
(48648,7314,'_encloseme','1'),
(48649,7314,'Index','1070'),
(48650,7314,'Minutage','11’48 \n'),
(48651,7314,'Images','Noir. \n'),
(48652,7314,'VoixOffIn','\n'),
(48653,7314,'BandeSon','Id. \n'),
(48654,7314,'Ecrits','2  \n LES  SOIRÉES  DE  \n ST.  PÉTERSBOURG  (Joseph  de  Maistre,  1821) \n'),
(48655,7314,'_product_image_gallery',''),
(48656,7315,'_pingme','1'),
(48657,7315,'_encloseme','1'),
(48658,7315,'Index','1080'),
(48659,7315,'Minutage','11’53 \n'),
(48660,7315,'Images','Jeune  fille  dansant  à  un  bal.  \n *Guerre* *et* *paix* (1967), Sergueï  Bondartchouk. \n'),
(48661,7315,'VoixOffIn','\n'),
(48662,7315,'BandeSon','Instruments  à  cordes  :  bande  son  de *Guerre* *et* *paix* (1967), Sergueï  Bondartchouk. \n'),
(48663,7315,'Ecrits','\n'),
(48664,7315,'_product_image_gallery',''),
(48665,7316,'_pingme','1'),
(48666,7316,'_encloseme','1'),
(48667,7316,'Index','1090'),
(48668,7316,'Minutage','11’55 \n'),
(48669,7316,'Images','Soldats  à  cheval,  pendant  une  bataille.  \n *Guerre* *et* *paix* (1967), Sergueï  Bondartchouk. \n'),
(48670,7316,'VoixOffIn','\n'),
(48671,7316,'BandeSon','Silence  et *Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n'),
(48672,7316,'Ecrits','\n'),
(48673,7316,'_product_image_gallery',''),
(48674,7317,'_pingme','1'),
(48675,7317,'_encloseme','1'),
(48676,7317,'Index','1100'),
(48677,7317,'Minutage','12’06 \n'),
(48678,7317,'Images','Surexposé,  puis  perturbé  par  des  scintillements,  des  taches  noires  ou  des  taches  blanches  surexposées  :  nobles  entrant  dans  une  salle  de  bal. \n *\n* *Guerre* *et* *paix* (1967), Sergueï  Bondartchouk. \n'),
(48679,7317,'VoixOffIn','\n'),
(48680,7317,'BandeSon','*Entrance* *of* *Tsar* *Alexander* *(**Polonaise**)* :  bande  son  du  film *Guerre* *et* *paix* (1967), Sergueï  Bondartchouk. \n'),
(48681,7317,'Ecrits','\n'),
(48682,7317,'_product_image_gallery',''),
(48683,7318,'_pingme','1'),
(48684,7318,'_encloseme','1'),
(48685,7318,'Index','1110'),
(48686,7318,'Minutage','12’45 \n'),
(48687,7318,'Images','Noir. \n'),
(48688,7318,'VoixOffIn','\n'),
(48689,7318,'BandeSon','Silence. \n'),
(48690,7318,'Ecrits','\n'),
(48691,7318,'_product_image_gallery',''),
(48692,7319,'_pingme','1'),
(48693,7319,'_encloseme','1'),
(48694,7319,'Index','1120'),
(48695,7319,'Minutage','12’47 \n'),
(48696,7319,'Images','Enfants  luttant  à  coups  de  bâton.  \n *Les* *enfants* *de* *la* *guerre* (1976), Jocelyne  Saab. \n'),
(48697,7319,'VoixOffIn','La  guerre  est  là.  (Jean-Luc  Godard) \n'),
(48698,7319,'BandeSon','Id. *\n*'),
(48699,7319,'Ecrits','\n'),
(48700,7319,'_product_image_gallery',''),
(48701,7320,'_pingme','1'),
(48702,7320,'_encloseme','1'),
(48703,7320,'Index','1130'),
(48704,7320,'Minutage','13’03 \n'),
(48705,7320,'Images','Femme  allongée  sur  le  dos  devant  un  homme  regardant  la  mer.  \n *Notre* *musique* (2004),  Jean-Luc  Godard. \n'),
(48706,7320,'VoixOffIn','- 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'),
(48707,7320,'BandeSon','Ressac  de  vagues. \n'),
(48708,7320,'Ecrits','\n'),
(48709,7320,'_product_image_gallery',''),
(48710,7321,'_pingme','1'),
(48711,7321,'_encloseme','1'),
(48712,7321,'Index','1140'),
(48713,7321,'Minutage','13’13 \n'),
(48714,7321,'Images','Noir. \n'),
(48715,7321,'VoixOffIn','Nous  n\'avions  que  du  livre  à  mettre  dans  du  livre.  \n'),
(48716,7321,'BandeSon','Silence. \n'),
(48717,7321,'Ecrits','\n'),
(48718,7321,'_product_image_gallery',''),
(48719,7322,'_pingme','1'),
(48720,7322,'_encloseme','1'),
(48721,7322,'Index','1150'),
(48722,7322,'Minutage','13’17 \n'),
(48723,7322,'Images','Surexposé  :  bateaux  naviguant  en  mer.  \n'),
(48724,7322,'VoixOffIn','Que  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'),
(48725,7322,'BandeSon','Id. \n'),
(48726,7322,'Ecrits','\n'),
(48727,7322,'_product_image_gallery',''),
(48728,7323,'_pingme','1'),
(48729,7323,'_encloseme','1'),
(48730,7323,'Index','1160'),
(48731,7323,'Minutage','13’29 \n'),
(48732,7323,'Images','Cannon  visant  une  voiture.  \n *De* *l’origine* *du* *XXI* *siècle* (2000), Jean-Luc  Godard. \n'),
(48733,7323,'VoixOffIn','mettre  de  la  réalité.  \n'),
(48734,7323,'BandeSon','Id. \n'),
(48735,7323,'Ecrits','\n'),
(48736,7323,'_product_image_gallery',''),
(48737,7324,'_pingme','1'),
(48738,7324,'_encloseme','1'),
(48739,7324,'Index','1170'),
(48740,7324,'Minutage','13’31 \n'),
(48741,7324,'Images','Femme  se  posant  la  main  sur  la  tête. \n *Le* *silence* *de* *la* *mer* (1949), Jean - Pierre  Melville.  \n \n En  alternance  :  canon  visant  une  voiture.  \n *De* *l’origine* *du* *XXI* *siècle* (2000), Jean-Luc  Godard. \n'),
(48742,7324,'VoixOffIn','Qu\'arrive - t - il  toujours  mon  ami  ?  \n'),
(48743,7324,'BandeSon','Piano. \n'),
(48744,7324,'Ecrits','\n'),
(48745,7324,'_product_image_gallery',''),
(48746,7325,'_pingme','1'),
(48747,7325,'_encloseme','1'),
(48748,7325,'Index','1180'),
(48749,7325,'Minutage','13’34 \n'),
(48750,7325,'Images','Voiture  militaire  passant  devant  une  folle. \n'),
(48751,7325,'VoixOffIn','\n \n'),
(48752,7325,'BandeSon','Id. \n'),
(48753,7325,'Ecrits','\n'),
(48754,7325,'_product_image_gallery',''),
(48755,7326,'_pingme','1'),
(48756,7326,'_encloseme','1'),
(48757,7326,'Index','1190'),
(48758,7326,'Minutage','13’36 \n'),
(48759,7326,'Images','Noir.  En  alternance  :  femme  se  posant  la  main  sur  la  tête.  \n *Le* *silence* *de* *la* *mer* (1949), Jean - Pierre  Melville. \n'),
(48760,7326,'VoixOffIn','Le  soir  tombe,  les  vacances  finissent.  \n'),
(48761,7326,'BandeSon','Id. \n'),
(48762,7326,'Ecrits','\n'),
(48763,7326,'_product_image_gallery',''),
(48764,7327,'_pingme','1'),
(48765,7327,'_encloseme','1'),
(48766,7327,'Index','1200'),
(48767,7327,'Minutage','13’43 \n'),
(48768,7327,'Images','Homme  torturé  au  chalumeau.  \n *Roma* *città* *aperta* (1945), Roberto  Rossellini. \n'),
(48769,7327,'VoixOffIn','Il  me  faut  une  journée  pour  faire  l\'histoire  d\'une  seconde.  \n'),
(48770,7327,'BandeSon','Id. \n'),
(48771,7327,'Ecrits','\n'),
(48772,7327,'_product_image_gallery',''),
(48773,7328,'_pingme','1'),
(48774,7328,'_encloseme','1'),
(48775,7328,'Index','1210'),
(48776,7328,'Minutage','13’46 \n'),
(48777,7328,'Images','Noir. \n'),
(48778,7328,'VoixOffIn','\n'),
(48779,7328,'BandeSon','Id. \n'),
(48780,7328,'Ecrits','\n'),
(48781,7328,'_product_image_gallery',''),
(48782,7329,'_pingme','1'),
(48783,7329,'_encloseme','1'),
(48784,7329,'Index','1220'),
(48785,7329,'Minutage','13’51 \n'),
(48786,7329,'Images','Détail  surexposé  :  Reporter,  et  ombre  d’un  soldat  au  fusil. \n'),
(48787,7329,'VoixOffIn','Il  me  faut  une  année  pour  faire  l\'histoire  d\'une  minute. \n'),
(48788,7329,'BandeSon','Id. \n'),
(48789,7329,'Ecrits','\n'),
(48790,7329,'_product_image_gallery',''),
(48791,7330,'_pingme','1'),
(48792,7330,'_encloseme','1'),
(48793,7330,'Index','1230'),
(48794,7330,'Minutage','13’57 \n'),
(48795,7330,'Images','Reporter,  et  ombre  d’un  soldat  au  fusil. \n'),
(48796,7330,'VoixOffIn','Il  me  faut  une  vie  pour  faire  l\'histoire  d\'une  heure. \n'),
(48797,7330,'BandeSon','Id. \n'),
(48798,7330,'Ecrits','\n'),
(48799,7330,'_product_image_gallery',''),
(48800,7331,'_pingme','1'),
(48801,7331,'_encloseme','1'),
(48802,7331,'Index','1240'),
(48803,7331,'Minutage','14’05 \n'),
(48804,7331,'Images','Noir. \n'),
(48805,7331,'VoixOffIn','Il  me  faut  une  éternité  pour  faire  l\'histoire  d\'un  jour.  (Julie  Delpy). \n  *Clio**,* *dialogue* *de* *l’histoire* *et* *de* *l’âme* *païenne* (1912),  Charles  Péguy. \n'),
(48806,7331,'BandeSon','Id. \n'),
(48807,7331,'Ecrits','\n'),
(48808,7331,'_product_image_gallery',''),
(48809,7332,'_pingme','1'),
(48810,7332,'_encloseme','1'),
(48811,7332,'Index','1250'),
(48812,7332,'Minutage','14’08 \n'),
(48813,7332,'Images','*Hélas* *pour* *moi* (1993), Jean-Luc  Godard. \n'),
(48814,7332,'VoixOffIn','- Au  revoir  Ludovic,  vous  allez  à  la  guerre  ? \n - Oui  madame  Donadieu. \n'),
(48815,7332,'BandeSon','Au  violon  :  bande  son *d’Hélas* *pour* *moi* (1993), Jean-Luc  Godard. \n'),
(48816,7332,'Ecrits','\n'),
(48817,7332,'_product_image_gallery',''),
(48818,7333,'_pingme','1'),
(48819,7333,'_encloseme','1'),
(48820,7333,'Index','1260'),
(48821,7333,'Minutage','14’25 \n'),
(48822,7333,'Images','Noir. \n'),
(48823,7333,'VoixOffIn','\n'),
(48824,7333,'BandeSon','Id. \n'),
(48825,7333,'Ecrits','\n'),
(48826,7333,'_product_image_gallery',''),
(48827,7334,'_pingme','1'),
(48828,7334,'_encloseme','1'),
(48829,7334,'Index','1270'),
(48830,7334,'Minutage','14’28 \n'),
(48831,7334,'Images','Homme  lançant  une  lance  dans  le  dos  d\'un  autre  homme. \n *Les* *Nibelungen**.* *La* *mort* *de* *Siegfried* (1924),  Fritz  Lang. \n'),
(48832,7334,'VoixOffIn','\n'),
(48833,7334,'BandeSon','Id. puis  silence. \n'),
(48834,7334,'Ecrits','\n'),
(48835,7334,'_product_image_gallery',''),
(48836,7335,'_pingme','1'),
(48837,7335,'_encloseme','1'),
(48838,7335,'Index','1280'),
(48839,7335,'Minutage','14’32 \n'),
(48840,7335,'Images','Djihadistes  tuant  d’une  une  voiture  des  gens  dans  la  rue. \n *Ici* *et* *ailleurs* (1976), Jean-Luc  Godard. \n'),
(48841,7335,'VoixOffIn','\n'),
(48842,7335,'BandeSon','Silence. \n'),
(48843,7335,'Ecrits','\n'),
(48844,7335,'_product_image_gallery',''),
(48845,7336,'_pingme','1'),
(48846,7336,'_encloseme','1'),
(48847,7336,'Index','1290'),
(48848,7336,'Minutage','14’35 \n'),
(48849,7336,'Images','Homme  transpercé  par  un  javelot.  \n *Le* *testament* *d\'Orphée* (1960),  Jean  Cocteau. \n'),
(48850,7336,'VoixOffIn','Quel  horreur  (fois  3) \n'),
(48851,7336,'BandeSon','Mitraillette,  voitures. \n'),
(48852,7336,'Ecrits','\n'),
(48853,7336,'_product_image_gallery',''),
(48854,7337,'_pingme','1'),
(48855,7337,'_encloseme','1'),
(48856,7337,'Index','1300'),
(48857,7337,'Minutage','14’42 \n'),
(48858,7337,'Images','Noir. \n'),
(48859,7337,'VoixOffIn','\n'),
(48860,7337,'BandeSon','Silence. \n'),
(48861,7337,'Ecrits','\n'),
(48862,7337,'_product_image_gallery',''),
(48863,7338,'_pingme','1'),
(48864,7338,'_encloseme','1'),
(48865,7338,'Index','1310'),
(48866,7338,'Minutage','14’45 \n'),
(48867,7338,'Images','Maison  en  flammes. \n'),
(48868,7338,'VoixOffIn','C\'est  à  Saint  Petersburg  \n'),
(48869,7338,'BandeSon','Violon. \n'),
(48870,7338,'Ecrits','\n'),
(48871,7338,'_product_image_gallery',''),
(48872,7339,'_pingme','1'),
(48873,7339,'_encloseme','1'),
(48874,7339,'Index','1320'),
(48875,7339,'Minutage','14’51 \n'),
(48876,7339,'Images','Nobles  habillés  pour  une  fête  de  carnaval. *Guerre* *et* *paix* (1967), Sergueï  Bondartchouk. \n'),
(48877,7339,'VoixOffIn','que  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'),
(48878,7339,'BandeSon','Id. \n'),
(48879,7339,'Ecrits','\n'),
(48880,7339,'_product_image_gallery',''),
(48881,7340,'_pingme','1'),
(48882,7340,'_encloseme','1'),
(48883,7340,'Index','1330'),
(48884,7340,'Minutage','15’17 \n'),
(48885,7340,'Images','Photo  d’une  voiture  avec  militaires. \n'),
(48886,7340,'VoixOffIn','C\'est  lui  \n'),
(48887,7340,'BandeSon','Id. \n'),
(48888,7340,'Ecrits','\n'),
(48889,7340,'_product_image_gallery',''),
(48890,7341,'_pingme','1'),
(48891,7341,'_encloseme','1'),
(48892,7341,'Index','1340'),
(48893,7341,'Minutage','15’19 \n'),
(48894,7341,'Images','Montage  en  surimpression  :  photo  d’une  comtesse. *My* *Official* *Wife* (1926),  Paul  L.  Stein. \n'),
(48895,7341,'VoixOffIn','qui  nous  renvoie  à  notre  juge  naturel...  Sa  mission  est  sacrée.  \n'),
(48896,7341,'BandeSon','Id. \n'),
(48897,7341,'Ecrits','\n'),
(48898,7341,'_product_image_gallery',''),
(48899,7342,'_pingme','1'),
(48900,7342,'_encloseme','1'),
(48901,7342,'Index','1350'),
(48902,7342,'Minutage','15’22 \n'),
(48903,7342,'Images','Noir. \n'),
(48904,7342,'VoixOffIn','\n'),
(48905,7342,'BandeSon','Id. \n'),
(48906,7342,'Ecrits','\n'),
(48907,7342,'_product_image_gallery',''),
(48908,7343,'_pingme','1'),
(48909,7343,'_encloseme','1'),
(48910,7343,'Index','1360'),
(48911,7343,'Minutage','15’26 \n'),
(48912,7343,'Images','Militaires  sur  un  champ  de  bataille,  explosions.  \n *Guerre* *et* *paix* (1956), King  Vidor. \n'),
(48913,7343,'VoixOffIn','Le  ciel  ne  peut  être  apaisé  que  par  le  sang.  L’innocent  peut  payer  pour  le  coupable.  (Jean  Luc  Godard). \n *Les* *soirées* *de* *Saint* *-* *Pétersbourg* (1821), Joseph  de  Maistre.  \n'),
(48914,7343,'BandeSon','Id. et  batterie \n'),
(48915,7343,'Ecrits','\n'),
(48916,7343,'_product_image_gallery',''),
(48917,7344,'_pingme','1'),
(48918,7344,'_encloseme','1'),
(48919,7344,'Index','1370'),
(48920,7344,'Minutage','15’33 \n'),
(48921,7344,'Images','En  noir  et  blanc  :  homme  trainant  un  chargement.  \n *Les* *paumés* *de* *la* *mendicité* *[**Ladoni**]*  (1994),  Artur  Aristakisyan. \n'),
(48922,7344,'VoixOffIn','\n'),
(48923,7344,'BandeSon','Silence,  puis *Concerto* *pour* *Violoncelle* *et* *cordes * *:* *part* *II**.* *Longing* (2008), Dobrinka  Tabakova. \n'),
(48924,7344,'Ecrits','\n'),
(48925,7344,'_product_image_gallery',''),
(48926,7345,'_pingme','1'),
(48927,7345,'_encloseme','1'),
(48928,7345,'Index','1380'),
(48929,7345,'Minutage','16’02 \n'),
(48930,7345,'Images','Photo  du  tombeau  de  Rosa  Luxemburg. \n'),
(48931,7345,'VoixOffIn','\n'),
(48932,7345,'BandeSon','Id. *\n*'),
(48933,7345,'Ecrits','\n'),
(48934,7345,'_product_image_gallery',''),
(48935,7346,'_pingme','1'),
(48936,7346,'_encloseme','1'),
(48937,7346,'Index','1390'),
(48938,7346,'Minutage','16’09 \n'),
(48939,7346,'Images','En  superposition  :  soldats  tirant  une  femme  à  la  bouche  ouverte.  \n *La* *Chanteuse* *de* *café* *(ou* *au* *gant)*  (1878),  Edgar  Degas. *Histoire* *(**s**)* *du* *cinéma* *1a* (1988 - 98),  Jean-Luc  Godard. \n'),
(48940,7346,'VoixOffIn','\n'),
(48941,7346,'BandeSon','Silence. \n'),
(48942,7346,'Ecrits','\n'),
(48943,7346,'_product_image_gallery',''),
(48944,7347,'_pingme','1'),
(48945,7347,'_encloseme','1'),
(48946,7347,'Index','1400'),
(48947,7347,'Minutage','16’12 \n'),
(48948,7347,'Images','Cheval  dans  un  cimetière.  Documentaire *Shoah**,* *les* *oubliés* *de* *l’histoire* (2014), Véronique  Lagoarde - Ségot,  par  la  chaîne  de  télévision *Histoire*. \n'),
(48949,7347,'VoixOffIn','\n'),
(48950,7347,'BandeSon','Id. \n'),
(48951,7347,'Ecrits','\n'),
(48952,7347,'_product_image_gallery',''),
(48953,7348,'_pingme','1'),
(48954,7348,'_encloseme','1'),
(48955,7348,'Index','1410'),
(48956,7348,'Minutage','16’18 \n'),
(48957,7348,'Images','Femme  gisant  sur  le  dos,  devant  un  homme  regardant  la  mer.  \n *Notre* *musique* (2004),  Jean-Luc  Godard. \n'),
(48958,7348,'VoixOffIn','\n'),
(48959,7348,'BandeSon','Vagues  et  cris  de  mouettes. \n'),
(48960,7348,'Ecrits','\n'),
(48961,7348,'_product_image_gallery',''),
(48962,7349,'_pingme','1'),
(48963,7349,'_encloseme','1'),
(48964,7349,'Index','1420'),
(48965,7349,'Minutage','16’18 \n'),
(48966,7349,'Images','Surexposé  :  femme  gisant  sur  le  dos,  devant  un  homme  regardant  la  mer.  \n *Notre* *musique* (2004),  Jean-Luc  Godard. \n'),
(48967,7349,'VoixOffIn','They  are  not  men  of  the  world.  They  told  me  I  was  everything.  It  is  a  lie. \n She  is  gone  forever.  She  is  gone.  \n I  know  when  one  is  dead,  when  one  leaves.  (fois  3)  (Jean-Luc  Godard  et  Anne - Marie  Miéville). \n *King* *Lear*,  Acte  IV  Scène  6  (1606),  William  Shakespeare,  avec  modifications  de  Jean-Luc  Godard. \n'),
(48968,7349,'BandeSon','Id. \n'),
(48969,7349,'Ecrits','\n'),
(48970,7349,'_product_image_gallery',''),
(48971,7350,'_pingme','1'),
(48972,7350,'_encloseme','1'),
(48973,7350,'Index','1430'),
(48974,7350,'Minutage','16’50 \n'),
(48975,7350,'Images','Noir. \n'),
(48976,7350,'VoixOffIn','\n'),
(48977,7350,'BandeSon','Id. \n'),
(48978,7350,'Ecrits','\n'),
(48979,7350,'_product_image_gallery',''),
(48980,7351,'_pingme','1'),
(48981,7351,'_encloseme','1'),
(48982,7351,'Index','1440'),
(48983,7351,'Minutage','16’54 \n'),
(48984,7351,'Images','Détail  saturé  et  surexposée  :  photographie  d’une  femme  à  terre,  blessée,  un  chien  mort  à  ses  côtés.  \n *Histoire* *(**s**)* *du* *cinéma* *3a* (1988 - 98), Jean-Luc  Godard. \n'),
(48985,7351,'VoixOffIn','\n'),
(48986,7351,'BandeSon','Id. \n'),
(48987,7351,'Ecrits','\n'),
(48988,7351,'_product_image_gallery',''),
(48989,7352,'_pingme','1'),
(48990,7352,'_encloseme','1'),
(48991,7352,'Index','1450'),
(48992,7352,'Minutage','16’56 \n'),
(48993,7352,'Images','Saturé,  puis  pris  depuis  le  toit  d\'un  réservoir  :  soldats  traversant  une  rivière,  les  armes  au - dessus  de  la  tête.  \n'),
(48994,7352,'VoixOffIn','\n'),
(48995,7352,'BandeSon','Id. \n'),
(48996,7352,'Ecrits','\n'),
(48997,7352,'_product_image_gallery',''),
(48998,7353,'_pingme','1'),
(48999,7353,'_encloseme','1'),
(49000,7353,'Index','1460'),
(49001,7353,'Minutage','17’05 \n'),
(49002,7353,'Images','Noir. \n'),
(49003,7353,'VoixOffIn','\n'),
(49004,7353,'BandeSon','Id. \n'),
(49005,7353,'Ecrits','\n'),
(49006,7353,'_product_image_gallery',''),
(49007,7354,'_pingme','1'),
(49008,7354,'_encloseme','1'),
(49009,7354,'Index','1470'),
(49010,7354,'Minutage','17’08 \n'),
(49011,7354,'Images','Tableau  représentant  Joseph  de  Maistre,  père  de  la  philosophie  contre - révolutionnaire,  et  critique  important  des  idées  des  Lumières. \n'),
(49012,7354,'VoixOffIn','Au  cours  de  la  soirée,  le  comte  Joseph  de  Maistre  grand  croix  de  l\'ordre  de  saint  Maurice  et  de  Lazare,  continua …  \n'),
(49013,7354,'BandeSon','Id. \n'),
(49014,7354,'Ecrits','\n'),
(49015,7354,'_product_image_gallery',''),
(49016,7355,'_pingme','1'),
(49017,7355,'_encloseme','1'),
(49018,7355,'Index','1480'),
(49019,7355,'Minutage','17’16 \n'),
(49020,7355,'Images','Saturé  :  bombardements  aériens. \n'),
(49021,7355,'VoixOffIn','\n'),
(49022,7355,'BandeSon','Explosions  et  avions. \n'),
(49023,7355,'Ecrits','\n'),
(49024,7355,'_product_image_gallery',''),
(49025,7356,'_pingme','1'),
(49026,7356,'_encloseme','1'),
(49027,7356,'Index','1490'),
(49028,7356,'Minutage','17’27 \n'),
(49029,7356,'Images','Voyage  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.  \n *Alenka* (1961),  Boris  Barnet. *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98), Jean-Luc  Godard. \n'),
(49030,7356,'VoixOffIn','\n'),
(49031,7356,'BandeSon','*Concerto* *pour* *Violoncelle* *et* *cordes * *:* *part* *II**.* *Longing* (2008), Dobrinka  Tabakova. \n'),
(49032,7356,'Ecrits','La  terre \n'),
(49033,7356,'_product_image_gallery',''),
(49034,7357,'_pingme','1'),
(49035,7357,'_encloseme','1'),
(49036,7357,'Index','1500'),
(49037,7357,'Minutage','17’33 \n'),
(49038,7357,'Images','Femme  poursuivie  et  attaquée  par  un  groupe  d\'hommes.  \n *Les* *Contes* *de* *la* *lune* *vague* *après* *la* *pluie* (1953), Kenji  Mizoguchi. \n'),
(49039,7357,'VoixOffIn','continua  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'),
(49040,7357,'BandeSon','Silence. \n'),
(49041,7357,'Ecrits','\n'),
(49042,7357,'_product_image_gallery',''),
(49043,7358,'_pingme','1'),
(49044,7358,'_encloseme','1'),
(49045,7358,'Index','1510'),
(49046,7358,'Minutage','17’56 \n'),
(49047,7358,'Images','Femmes  traversant  une  ville  détruite  dont  les  bâtiments  s\'effondrent  devant  elles.  \n *Histoire* *(**s**)* *du* *cinéma* *4b* (1988 - 98), Jean-Luc  Godard. \n'),
(49048,7358,'VoixOffIn','doit  être  immolé,  sans  fin,  sans  mesure  @ \n'),
(49049,7358,'BandeSon','Id. \n'),
(49050,7358,'Ecrits','\n'),
(49051,7358,'_product_image_gallery',''),
(49052,7359,'_pingme','1'),
(49053,7359,'_encloseme','1'),
(49054,7359,'Index','1520'),
(49055,7359,'Minutage','17’56 \n'),
(49056,7359,'Images','Saturé  de  jaune  :  id. \n'),
(49057,7359,'VoixOffIn','\n'),
(49058,7359,'BandeSon','Id. \n'),
(49059,7359,'Ecrits','\n'),
(49060,7359,'_product_image_gallery',''),
(49061,7360,'_pingme','1'),
(49062,7360,'_encloseme','1'),
(49063,7360,'Index','1530'),
(49064,7360,'Minutage','18’02 \n'),
(49065,7360,'Images','En  couleur  :  femme  au  bord  d\'une  route,  le  visage  défiguré  par  des  coups.  \n *Ici* *et* *ailleurs* (1976),  Jean-Luc  Godard. \n'),
(49066,7360,'VoixOffIn','Où  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'),
(49067,7360,'BandeSon','Id. \n'),
(49068,7360,'Ecrits','\n'),
(49069,7360,'_product_image_gallery',''),
(49070,7361,'_pingme','1'),
(49071,7361,'_encloseme','1'),
(49072,7361,'Index','1540'),
(49073,7361,'Minutage','18’15 \n'),
(49074,7361,'Images','Voitures  de  police  djihadistes  défilant  dans  les  rues,  avec  des  drapeaux  noirs. \n'),
(49075,7361,'VoixOffIn','D’ici  un  mois,  les  brigades  allaient  devoir  quitter  le  pays.  Une  fois  de  plus,  nous  comprîmes  à  quel  point  \n'),
(49076,7361,'BandeSon','Id. \n'),
(49077,7361,'Ecrits','\n'),
(49078,7361,'_product_image_gallery',''),
(49079,7362,'_pingme','1'),
(49080,7362,'_encloseme','1'),
(49081,7362,'Index','1550'),
(49082,7362,'Minutage','18’19 \n'),
(49083,7362,'Images','Voiture  avec  des  soldats  armés  de  fusils  passant  au  milieu  d\'une  rue  avec  des  gens  autour. \n'),
(49084,7362,'VoixOffIn','nous  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'),
(49085,7362,'BandeSon','Id. \n'),
(49086,7362,'Ecrits','\n'),
(49087,7362,'_product_image_gallery',''),
(49088,7363,'_pingme','1'),
(49089,7363,'_encloseme','1'),
(49090,7363,'Index','1560'),
(49091,7363,'Minutage','18’28 \n'),
(49092,7363,'Images','Noir. \n'),
(49093,7363,'VoixOffIn','La  guerre,  la  guerre  est  donc  divine  en  elle - même,  parce  que  c\'est  une  loi  du  monde.  \n'),
(49094,7363,'BandeSon','Id. \n'),
(49095,7363,'Ecrits','Délivrance \n'),
(49096,7363,'_product_image_gallery',''),
(49097,7364,'_pingme','1'),
(49098,7364,'_encloseme','1'),
(49099,7364,'Index','1570'),
(49100,7364,'Minutage','18’35 \n'),
(49101,7364,'Images','Photos  d\'avions  de  chasse  en  vol. \n'),
(49102,7364,'VoixOffIn','\n'),
(49103,7364,'BandeSon','Id. \n'),
(49104,7364,'Ecrits','\n'),
(49105,7364,'_product_image_gallery',''),
(49106,7365,'_pingme','1'),
(49107,7365,'_encloseme','1'),
(49108,7365,'Index','1580'),
(49109,7365,'Minutage','18’37 \n'),
(49110,7365,'Images','Saturé  :  bombes  et  explosions. \n'),
(49111,7365,'VoixOffIn','Qui  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'),
(49112,7365,'BandeSon','Id. \n'),
(49113,7365,'Ecrits','\n'),
(49114,7365,'_product_image_gallery',''),
(49115,7366,'_pingme','1'),
(49116,7366,'_encloseme','1'),
(49117,7366,'Index','1590'),
(49118,7366,'Minutage','18’47 \n'),
(49119,7366,'Images','Photo  d\'une  petite  fille  demandant  désespérément  de  l\'aide  à  un  soldat. \n'),
(49120,7366,'VoixOffIn','jugement  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'),
(49121,7366,'BandeSon','Id. \n'),
(49122,7366,'Ecrits','\n'),
(49123,7366,'_product_image_gallery',''),
(49124,7367,'_pingme','1'),
(49125,7367,'_encloseme','1'),
(49126,7367,'Index','1600'),
(49127,7367,'Minutage','19’07 \n'),
(49128,7367,'Images','Noir. \n'),
(49129,7367,'VoixOffIn','inexplicable  qui  nous  y  porte.  \n'),
(49130,7367,'BandeSon','Id. \n'),
(49131,7367,'Ecrits','\n'),
(49132,7367,'_product_image_gallery',''),
(49133,7368,'_pingme','1'),
(49134,7368,'_encloseme','1'),
(49135,7368,'Index','1610'),
(49136,7368,'Minutage','19’11 \n'),
(49137,7368,'Images','Enfants  jouant  à  la  guerre. \n'),
(49138,7368,'VoixOffIn','\n'),
(49139,7368,'BandeSon','Id. \n'),
(49140,7368,'Ecrits','\n'),
(49141,7368,'_product_image_gallery',''),
(49142,7369,'_pingme','1'),
(49143,7369,'_encloseme','1'),
(49144,7369,'Index','1620'),
(49145,7369,'Minutage','19’21 \n'),
(49146,7369,'Images','Saturé  :  voiture  passant  avec  un  drapeau  étasunien. \n'),
(49147,7369,'VoixOffIn','\n'),
(49148,7369,'BandeSon','Id. \n'),
(49149,7369,'Ecrits','\n'),
(49150,7369,'_product_image_gallery',''),
(49151,7370,'_pingme','1'),
(49152,7370,'_encloseme','1'),
(49153,7370,'Index','1630'),
(49154,7370,'Minutage','19’24 \n'),
(49155,7370,'Images','Noir. \n'),
(49156,7370,'VoixOffIn','\n'),
(49157,7370,'BandeSon','Id. \n'),
(49158,7370,'Ecrits','\n'),
(49159,7370,'_product_image_gallery',''),
(49160,7371,'_pingme','1'),
(49161,7371,'_encloseme','1'),
(49162,7371,'Index','1640'),
(49163,7371,'Minutage','19’26 \n'),
(49164,7371,'Images','Femme  militaire.  \n *La* *chute* *de* *Berlin* (1950),  Mikhaïl  Tchiaoureli. \n'),
(49165,7371,'VoixOffIn','En  fin  de  soirée,  encore  ces  mots  de  représentants  de  la  diplomatie  française  \n'),
(49166,7371,'BandeSon','Id. \n'),
(49167,7371,'Ecrits','\n'),
(49168,7371,'_product_image_gallery',''),
(49169,7372,'_pingme','1'),
(49170,7372,'_encloseme','1'),
(49171,7372,'Index','1650'),
(49172,7372,'Minutage','19’33 \n'),
(49173,7372,'Images','Noir. \n'),
(49174,7372,'VoixOffIn','à  Saint - Petersburg.  \n'),
(49175,7372,'BandeSon','Id. \n'),
(49176,7372,'Ecrits','\n'),
(49177,7372,'_product_image_gallery',''),
(49178,7373,'_pingme','1'),
(49179,7373,'_encloseme','1'),
(49180,7373,'Index','1660'),
(49181,7373,'Minutage','19’36 \n'),
(49182,7373,'Images','Au  ralenti  :  politiciens  débattant  dans  une  assemblée.  \n *Napoléon* (1927), Abel  Gance. \n'),
(49183,7373,'VoixOffIn','En  fin  de  soirée,  encore  ces  mots  de  la  diplomatie  française  à  Saint - Petersburg. \n'),
(49184,7373,'BandeSon','Id. \n'),
(49185,7373,'Ecrits','\n'),
(49186,7373,'_product_image_gallery',''),
(49187,7374,'_pingme','1'),
(49188,7374,'_encloseme','1'),
(49189,7374,'Index','1670'),
(49190,7374,'Minutage','19’43 \n'),
(49191,7374,'Images','Détail  :  homme  et  femme  pleurant.  \n *Adam* *et* *Ève* *chassés* *du* *paradis* (1424 - 1425),  Masaccio. \n'),
(49192,7374,'VoixOffIn','Mais  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).  \n *Soirées* *de* *Saint* *-* *Pétersbourg* (1821),  Joseph  de  Maistre. \n'),
(49193,7374,'BandeSon','Id. \n'),
(49194,7374,'Ecrits','\n'),
(49195,7374,'_product_image_gallery',''),
(49196,7375,'_pingme','1'),
(49197,7375,'_encloseme','1'),
(49198,7375,'Index','1680'),
(49199,7375,'Minutage','19’49 \n'),
(49200,7375,'Images','Chien. \n *Adieu* *au* *langage* (2014), Jean-Luc  Godard. \n'),
(49201,7375,'VoixOffIn','\n'),
(49202,7375,'BandeSon','Id. \n'),
(49203,7375,'Ecrits','\n'),
(49204,7375,'_product_image_gallery',''),
(49205,7376,'_pingme','1'),
(49206,7376,'_encloseme','1'),
(49207,7376,'Index','1690'),
(49208,7376,'Minutage','19’57 \n'),
(49209,7376,'Images','Homme  en  voiture  roulant  très  vite.  \n *Dr**.* *Mabuse**,* *le* *joueur* (1922), Fritz  Lang. \n'),
(49210,7376,'VoixOffIn','et  Malraux  dira  plus  simplement  transformer  notre  apocalypse  en  armée  ou  crever,  c’est  tout.  (Jean-Luc  Godard) \n'),
(49211,7376,'BandeSon','Id. \n'),
(49212,7376,'Ecrits','\n'),
(49213,7376,'_product_image_gallery',''),
(49214,7377,'_pingme','1'),
(49215,7377,'_encloseme','1'),
(49216,7377,'Index','1700'),
(49217,7377,'Minutage','20’07 \n'),
(49218,7377,'Images','Noir. \n'),
(49219,7377,'VoixOffIn','Transformer  notre  apocalypse  en  armée  \n'),
(49220,7377,'BandeSon','Id. \n'),
(49221,7377,'Ecrits','\n'),
(49222,7377,'_product_image_gallery',''),
(49223,7378,'_pingme','1'),
(49224,7378,'_encloseme','1'),
(49225,7378,'Index','1710'),
(49226,7378,'Minutage','20’09 \n'),
(49227,7378,'Images','Saturé  et  en  tons  verts  et  jaunes  :  canard  attaqué  par  un  crocodile,  et  tentant  de  s\'échapper. \n'),
(49228,7378,'VoixOffIn','ou  crever,  c’est  tout.  \n *L’espoir* (1937), André  Malraux. \n'),
(49229,7378,'BandeSon','Id. \n'),
(49230,7378,'Ecrits','\n'),
(49231,7378,'_product_image_gallery',''),
(49232,7379,'_pingme','1'),
(49233,7379,'_encloseme','1'),
(49234,7379,'Index','1720'),
(49235,7379,'Minutage','20’13 \n'),
(49236,7379,'Images','Lapin  touché  par  un  coup  de  feu.  \n *La* *règle* *du* *jeu* (1939), Jean  Renoir. \n'),
(49237,7379,'VoixOffIn','\n'),
(49238,7379,'BandeSon','Coup  de  feu. \n'),
(49239,7379,'Ecrits','\n'),
(49240,7379,'_product_image_gallery',''),
(49241,7380,'_pingme','1'),
(49242,7380,'_encloseme','1'),
(49243,7380,'Index','1730'),
(49244,7380,'Minutage','20’21 \n'),
(49245,7380,'Images','Photos  de  trois  indiens  à  cheval  au  bord  d\'une  rivière,  dans  un  quartier  industrialisé.  \n *Notre* *musique* (2004),  Jean-Luc  Godard. \n'),
(49246,7380,'VoixOffIn','Laissez - moi  seul.  Tout  seul,  vous  entendez  ?  Je  ne  demande  rien  à  personne  moi. \n *Allô* *Berlin* *?* *Ici* *Paris* *!* (1931), Julien  Duvivier. \n'),
(49247,7380,'BandeSon','Silence. \n'),
(49248,7380,'Ecrits','\n'),
(49249,7380,'_product_image_gallery',''),
(49250,7381,'_pingme','1'),
(49251,7381,'_encloseme','1'),
(49252,7381,'Index','1740'),
(49253,7381,'Minutage','20’26 \n'),
(49254,7381,'Images','Rangée  de  personnes  pendues  ensemble.  \n *Shoah**,* *les* *oubliés* *de* *l’histoire* (2014), Véronique  Lagoarde - Ségot,  par  la  chaîne  de  télévision *Histoire*. \n'),
(49255,7381,'VoixOffIn','\n'),
(49256,7381,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n \n'),
(49257,7381,'Ecrits','\n'),
(49258,7381,'_product_image_gallery',''),
(49259,7382,'_pingme','1'),
(49260,7382,'_encloseme','1'),
(49261,7382,'Index','1750'),
(49262,7382,'Minutage','20’28 \n'),
(49263,7382,'Images','Noir. \n'),
(49264,7382,'VoixOffIn','\n'),
(49265,7382,'BandeSon','Id. *\n*'),
(49266,7382,'Ecrits','3.  \n CES  FLEURS  ENTRE  LES  RAILS, \n DANS  LE  VENT  CONFUS \n DES  VOYAGES \n \n (Joseph  Maria  Rilke). \n'),
(49267,7382,'_product_image_gallery',''),
(49268,7383,'_pingme','1'),
(49269,7383,'_encloseme','1'),
(49270,7383,'Index','1760'),
(49271,7383,'Minutage','20’41 \n'),
(49272,7383,'Images','Petite  fille  sur  le  quai  regardant  le  passage  d\'un  train.  \n *Madeline* *+* *Train* *=* *Sheer* *Delight*,  Vidéo  sur  youtube  https :// www. youtube. com / watch ? v = rvpCmKUo1Aw.  \n'),
(49273,7383,'VoixOffIn','\n'),
(49274,7383,'BandeSon','Piano. \n'),
(49275,7383,'Ecrits','\n'),
(49276,7383,'_product_image_gallery',''),
(49277,7384,'_pingme','1'),
(49278,7384,'_encloseme','1'),
(49279,7384,'Index','1770'),
(49280,7384,'Minutage','20’42 \n'),
(49281,7384,'Images','En  négatif  et  passé  en  noir  et  blanc  :  train  à  vapeur  passant.  \n *Visual* *essays* *:* *origins* *of* *film* (1983),  Al  Razutis. \n'),
(49282,7384,'VoixOffIn','- What’s  coming  ? \n - A  train. \n \n'),
(49283,7384,'BandeSon','Id. \n'),
(49284,7384,'Ecrits','\n'),
(49285,7384,'_product_image_gallery',''),
(49286,7385,'_pingme','1'),
(49287,7385,'_encloseme','1'),
(49288,7385,'Index','1780'),
(49289,7385,'Minutage','20’45 \n'),
(49290,7385,'Images','Images  du  19ème  siècle  :  passagers  montant  dans  un  train. \n'),
(49291,7385,'VoixOffIn','-  Oh  is  gonna  arrive  the  train  ? \n - Yeah \n'),
(49292,7385,'BandeSon','Id. \n'),
(49293,7385,'Ecrits','\n'),
(49294,7385,'_product_image_gallery',''),
(49295,7386,'_pingme','1'),
(49296,7386,'_encloseme','1'),
(49297,7386,'Index','1790'),
(49298,7386,'Minutage','20’59 \n'),
(49299,7386,'Images','Noir. \n'),
(49300,7386,'VoixOffIn','- Here  he  comes ! \n - We  are  gonna  be  safe,  let\'s  go  back \n'),
(49301,7386,'BandeSon','Id. \n'),
(49302,7386,'Ecrits','\n'),
(49303,7386,'_product_image_gallery',''),
(49304,7387,'_pingme','1'),
(49305,7387,'_encloseme','1'),
(49306,7387,'Index','1800'),
(49307,7387,'Minutage','21’03 \n'),
(49308,7387,'Images','En  négatif,  passé  en  noir  et  blanc,  clignotant  sur  les  images  originales  :  train  à  vapeur  passant.  \n *The* *edge* (2010), Alekseï  Outchitel.  \n'),
(49309,7387,'VoixOffIn','\n'),
(49310,7387,'BandeSon','Train  en  approche. \n'),
(49311,7387,'Ecrits','\n'),
(49312,7387,'_product_image_gallery',''),
(49313,7388,'_pingme','1'),
(49314,7388,'_encloseme','1'),
(49315,7388,'Index','1810'),
(49316,7388,'Minutage','21’05 \n'),
(49317,7388,'Images','Noir. \n'),
(49318,7388,'VoixOffIn','- Oooh \n *Madeline* *+* *Train* *=* *Sheer* *Delight*,  Vidéo  sur  youtube  https :// www. youtube. com / watch ? v = rvpCmKUo1Aw.  \n'),
(49319,7388,'BandeSon','Id. \n'),
(49320,7388,'Ecrits','\n'),
(49321,7388,'_product_image_gallery',''),
(49322,7389,'_pingme','1'),
(49323,7389,'_encloseme','1'),
(49324,7389,'Index','1820'),
(49325,7389,'Minutage','21’07 \n'),
(49326,7389,'Images','Saturé  :  fleurs. \n'),
(49327,7389,'VoixOffIn','\n'),
(49328,7389,'BandeSon','Silence. \n'),
(49329,7389,'Ecrits','\n'),
(49330,7389,'_product_image_gallery',''),
(49331,7390,'_pingme','1'),
(49332,7390,'_encloseme','1'),
(49333,7390,'Index','1830'),
(49334,7390,'Minutage','21’09 \n'),
(49335,7390,'Images','Hommes  jetant  des  pierres  sur  un  train  venant  de  passer.  \n *Hélas* *pour* *moi* (1993), Jean-Luc  Godard. \n'),
(49336,7390,'VoixOffIn','-  lui  jette  la  première  pierre ! \n'),
(49337,7390,'BandeSon','Id. \n'),
(49338,7390,'Ecrits','\n'),
(49339,7390,'_product_image_gallery',''),
(49340,7391,'_pingme','1'),
(49341,7391,'_encloseme','1'),
(49342,7391,'Index','1840'),
(49343,7391,'Minutage','21’14 \n'),
(49344,7391,'Images','Noir. \n'),
(49345,7391,'VoixOffIn','\n'),
(49346,7391,'BandeSon','Id. \n'),
(49347,7391,'Ecrits','\n'),
(49348,7391,'_product_image_gallery',''),
(49349,7392,'_pingme','1'),
(49350,7392,'_encloseme','1'),
(49351,7392,'Index','1850'),
(49352,7392,'Minutage','21’19 \n'),
(49353,7392,'Images','Passagers  d\'un  train  s\'installant  dans  leurs  cabines  avant  le  départ.  \n *Berlin* *express* (1948), Jacques  Tourneur. \n'),
(49354,7392,'VoixOffIn','Compartment  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.  \n Compartment  G,  Hans  Schmidt,  birthplace  Munich,  occupation \n'),
(49355,7392,'BandeSon','Id. \n'),
(49356,7392,'Ecrits','\n'),
(49357,7392,'_product_image_gallery',''),
(49358,7393,'_pingme','1'),
(49359,7393,'_encloseme','1'),
(49360,7393,'Index','1860'),
(49361,7393,'Minutage','22’27 \n'),
(49362,7393,'Images','Noir. \n'),
(49363,7393,'VoixOffIn','\n'),
(49364,7393,'BandeSon','Id. \n'),
(49365,7393,'Ecrits','\n'),
(49366,7393,'_product_image_gallery',''),
(49367,7394,'_pingme','1'),
(49368,7394,'_encloseme','1'),
(49369,7394,'Index','1870'),
(49370,7394,'Minutage','22’30 \n'),
(49371,7394,'Images','Train  à  vapeur  en  approche  traversant  un  bois  sous  la  neige.  \n *The* *edge* (2010), Alekseï  Outchitel.  \n'),
(49372,7394,'VoixOffIn','Il  était  environ  neuf  heures  du  matin  \n'),
(49373,7394,'BandeSon','Id. \n'),
(49374,7394,'Ecrits','\n'),
(49375,7394,'_product_image_gallery',''),
(49376,7395,'_pingme','1'),
(49377,7395,'_encloseme','1'),
(49378,7395,'Index','1880'),
(49379,7395,'Minutage','22’38 \n'),
(49380,7395,'Images','En  couleurs  :  gens  poursuivant  un  train  en  partance.  \n *The* *edge* (2010), Alekseï  Outchitel.  \n'),
(49381,7395,'VoixOffIn','c’était  à  la  fin  de  novembre,  par  un  temps  de  dégel.  Le  train  de  Varsovie  filait  à  toute  vapeur  vers  Petersburg.  \n'),
(49382,7395,'BandeSon','Id. \n'),
(49383,7395,'Ecrits','\n'),
(49384,7395,'_product_image_gallery',''),
(49385,7396,'_pingme','1'),
(49386,7396,'_encloseme','1'),
(49387,7396,'Index','1890'),
(49388,7396,'Minutage','22’42 \n'),
(49389,7396,'Images','Suresposé  et  passé  en  noir  et  blanc  :  Femmes  nues  au  sauna.  \n *The* *edge* (2010), Alekseï  Outchitel.  \n'),
(49390,7396,'VoixOffIn','L’humidité  et  la  brume  étaient  telles  que  le  jour  avait  peine  à  percer.  \n'),
(49391,7396,'BandeSon','Id. \n'),
(49392,7396,'Ecrits','\n'),
(49393,7396,'_product_image_gallery',''),
(49394,7397,'_pingme','1'),
(49395,7397,'_encloseme','1'),
(49396,7397,'Index','1900'),
(49397,7397,'Minutage','22’51 \n'),
(49398,7397,'Images','Deux  enfants  devant  un  train  en  partance.  \n *Paysage* *dans* *le* *brouillard* (1988),  Theo  Angelopoulos. \n'),
(49399,7397,'VoixOffIn','A  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).  \n *L’idiot* (1962), Fiodor  Dostoïevski. \n'),
(49400,7397,'BandeSon','Id. puis  trains  et  foule  dans  une  gare. \n'),
(49401,7397,'Ecrits','\n'),
(49402,7397,'_product_image_gallery',''),
(49403,7398,'_pingme','1'),
(49404,7398,'_encloseme','1'),
(49405,7398,'Index','1910'),
(49406,7398,'Minutage','23’23 \n'),
(49407,7398,'Images','Noir. \n'),
(49408,7398,'VoixOffIn','Quand  un  siècle \n'),
(49409,7398,'BandeSon','Silence. \n'),
(49410,7398,'Ecrits','\n'),
(49411,7398,'_product_image_gallery',''),
(49412,7399,'_pingme','1'),
(49413,7399,'_encloseme','1'),
(49414,7399,'Index','1920'),
(49415,7399,'Minutage','23’28 \n'),
(49416,7399,'Images','Photo  d\'une  femme  en  robe  rose. \n'),
(49417,7399,'VoixOffIn','se  dissout  lentement  dans  le  siècle  suivant \n'),
(49418,7399,'BandeSon','Id. \n'),
(49419,7399,'Ecrits','\n'),
(49420,7399,'_product_image_gallery',''),
(49421,7400,'_pingme','1'),
(49422,7400,'_encloseme','1'),
(49423,7400,'Index','1930'),
(49424,7400,'Minutage','23’34 \n'),
(49425,7400,'Images','Enfants  photographiant  un  canard.  \n *Histoires* *du* *cinéma* *4b* (1988 - 98), Jean-Luc  Godard. \n'),
(49426,7400,'VoixOffIn','quelques  individus  transforment  les  moyens  de  survie  anciens  en  moyens  nouveaux.  Ce  sont  ces  derniers  que  nous  appelons  arts. \n'),
(49427,7400,'BandeSon','Id. \n'),
(49428,7400,'Ecrits','\n'),
(49429,7400,'_product_image_gallery',''),
(49430,7401,'_pingme','1'),
(49431,7401,'_encloseme','1'),
(49432,7401,'Index','1940'),
(49433,7401,'Minutage','23’44 \n'),
(49434,7401,'Images','Photo  de  Louis - Ferdinand  Céline. \n'),
(49435,7401,'VoixOffIn','La  seule  chose  qui  survit  à  une  époque  \n'),
(49436,7401,'BandeSon','Id. \n'),
(49437,7401,'Ecrits','\n'),
(49438,7401,'_product_image_gallery',''),
(49439,7402,'_pingme','1'),
(49440,7402,'_encloseme','1'),
(49441,7402,'Index','1950'),
(49442,7402,'Minutage','23’50 \n'),
(49443,7402,'Images','Surexposé  :  maisons  blanches  cubiques.  \n'),
(49444,7402,'VoixOffIn','c\'est  la  forme  d\'art  qu\'elle  s\'est  créée.  Aucune  activité  ne  deviendra  un  art  \n'),
(49445,7402,'BandeSon','Id. \n'),
(49446,7402,'Ecrits','\n'),
(49447,7402,'_product_image_gallery',''),
(49448,7403,'_pingme','1'),
(49449,7403,'_encloseme','1'),
(49450,7403,'Index','1960'),
(49451,7403,'Minutage','23’56 \n'),
(49452,7403,'Images','Saturé  :  personnes  assises  à  des  tables  en  terrasse  d\'un  bar. \n'),
(49453,7403,'VoixOffIn','avant  que  son  époque  ne  soit  terminée.  Ensuite  \n'),
(49454,7403,'BandeSon','Id. \n'),
(49455,7403,'Ecrits','\n'),
(49456,7403,'_product_image_gallery',''),
(49457,7404,'_pingme','1'),
(49458,7404,'_encloseme','1'),
(49459,7404,'Index','1970'),
(49460,7404,'Minutage','24’00 \n'),
(49461,7404,'Images','Fragment  surexposé.  \n *Louis* *IX**,* *dit* *Saint* *Louis**,* *Roi* *de* *France* (1844), Emile  Signol. \n'),
(49462,7404,'VoixOffIn','cet  art  disparaîtra.  (Jean  Luc  Godard).  \n *Pour* *une* *métahistoire* *du* *film* (printemps  1997),  Hollis  Frampton,  «  Trafic *», * n.  21. \n'),
(49463,7404,'BandeSon','Id. \n'),
(49464,7404,'Ecrits','Le  roi  Saint  Louis \n'),
(49465,7404,'_product_image_gallery',''),
(49466,7405,'_pingme','1'),
(49467,7405,'_encloseme','1'),
(49468,7405,'Index','1980'),
(49469,7405,'Minutage','24’05 \n'),
(49470,7405,'Images','Femme  traversant  un  train  bondé*.* *\n* *Manon* (1949),  Henri - Georges  Clouzot. \n'),
(49471,7405,'VoixOffIn','- C’est  pire  que  dans  le  métro. \n - Pardon,  laissez  passer. \n - Merde  alors,  vous  pouvez  pas  rester  à  votre  place  non  ? \n'),
(49472,7405,'BandeSon','*Das* *Buch* *der* *Klange* *I* *-* *XII**,* *V* (1999), Hans  Otte. \n'),
(49473,7405,'Ecrits','\n'),
(49474,7405,'_product_image_gallery',''),
(49475,7406,'_pingme','1'),
(49476,7406,'_encloseme','1'),
(49477,7406,'Index','1990'),
(49478,7406,'Minutage','24’46 \n'),
(49479,7406,'Images','Train  prenant  un  virage. \n'),
(49480,7406,'VoixOffIn','- Suivez - moi  Monsieur. \n - Décidément  vous  dormez \n - Oui,  oui  je  dors.  C’est  très  curieux.  \n - Enfin  madame,  mais  expliquerez - vous  ? \n \n'),
(49481,7406,'BandeSon','Silence. \n'),
(49482,7406,'Ecrits','\n'),
(49483,7406,'_product_image_gallery',''),
(49484,7407,'_pingme','1'),
(49485,7407,'_encloseme','1'),
(49486,7407,'Index','2000'),
(49487,7407,'Minutage','25’02 \n'),
(49488,7407,'Images','Cadavres  le  long  de  voies  ferrées.  \n *Nuit* *et* *Brouillard* (1956), Alain  Resnais. \n'),
(49489,7407,'VoixOffIn','-  Rien.  Si  vous  dormez,  si  vous  rêvez,  acceptez  vos  rêves.  C\'est  le  rôle  du  dormeur. \n* * *Orphée* (1950), Jean  Cocteau. \n \n'),
(49490,7407,'BandeSon','Id. \n'),
(49491,7407,'Ecrits','\n'),
(49492,7407,'_product_image_gallery',''),
(49493,7408,'_pingme','1'),
(49494,7408,'_encloseme','1'),
(49495,7408,'Index','2010'),
(49496,7408,'Minutage','25’08 \n'),
(49497,7408,'Images','Couple  dans  un  train  regardant  par  la  fenêtre.  \n *Film* *socialisme* (2010), Jean-Luc  Godard. \n'),
(49498,7408,'VoixOffIn','Elle  était  devenue  terrible,  la  langue  de  Goethe,  quand  on  l\'entendait  dans  la  nuit  des  petites  gares  russes.  (Jean  Luc  Godard).  \n *Vie* *et* *destin* (1930),  Vasiliĭ  Semenovich  Grossman. \n \n Femme  [traduction  du  dialecte  tunisien]: \n On  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 \n Homme  (traduction  du  dialecte  tunisien): \n Je  te  souhaite  la  sûreté.  \n'),
(49499,7408,'BandeSon','Id. \n'),
(49500,7408,'Ecrits','\n'),
(49501,7408,'_product_image_gallery',''),
(49502,7409,'_pingme','1'),
(49503,7409,'_encloseme','1'),
(49504,7409,'Index','2020'),
(49505,7409,'Minutage','25’53 \n'),
(49506,7409,'Images','Femme  marchant  et  trébuchant  parmi  des  soldats  campant  par  terre  après  une  catastrophe  ferroviaire  en  Inde.  \n *La* *Croisée* *des* *destins* *[**Bhowani* *Junction**]*  (1956), George  Cukor. \n'),
(49507,7409,'VoixOffIn','\n'),
(49508,7409,'BandeSon','Nombreuses  personnes  parlant  et  criant.  \n'),
(49509,7409,'Ecrits','\n'),
(49510,7409,'_product_image_gallery',''),
(49511,7410,'_pingme','1'),
(49512,7410,'_encloseme','1'),
(49513,7410,'Index','2030'),
(49514,7410,'Minutage','26’00 \n'),
(49515,7410,'Images','Homme  aidant  une  femme  à  sortir  par  la  fenêtre  d\'un  wagon  de  train.  \n *Le* *Mécano* *de* *la* *General* *[**The* *General**]*  (1927), Buster  Keaton. \n'),
(49516,7410,'VoixOffIn','Nous  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. *\n* *Histoires* *du* *cinéma* *2a* (1989 - 1999), Jean-Luc  Godard. \n'),
(49517,7410,'BandeSon','Silence  et *Le* *Clavier* *bien* *tempéré* *1**,* *BWV* *846* *-* *869* (1722),  Johann  Sebastian  Bach. \n'),
(49518,7410,'Ecrits','\n'),
(49519,7410,'_product_image_gallery',''),
(49520,7411,'_pingme','1'),
(49521,7411,'_encloseme','1'),
(49522,7411,'Index','2040'),
(49523,7411,'Minutage','26’30 \n'),
(49524,7411,'Images','Train  en  Afrique  avec  autour  des  femmes  et  hommes  vendant  des  fruits  et  vêtements  dans  un  marché.  Enfants  suivant  un  train  qui  s’éloigne.  \n *Les* *routes* *de* *l’impossible* (2007), Tony  Comiti,  France  5. \n'),
(49525,7411,'VoixOffIn','\n'),
(49526,7411,'BandeSon','Personnes  parlant  et  criant.  En  arrière - plan  sonore  :  tambours. \n'),
(49527,7411,'Ecrits','\n'),
(49528,7411,'_product_image_gallery',''),
(49529,7412,'_pingme','1'),
(49530,7412,'_encloseme','1'),
(49531,7412,'Index','2050'),
(49532,7412,'Minutage','26’46 \n'),
(49533,7412,'Images','Homme  et  femme  mangeant  assis  sur  les  sièges  d\'un  train. *\n* *Manon* (1949),  Henri - Georges  Clouzot. *\n*'),
(49534,7412,'VoixOffIn','\n'),
(49535,7412,'BandeSon','Silence. \n'),
(49536,7412,'Ecrits','\n'),
(49537,7412,'_product_image_gallery',''),
(49538,7413,'_pingme','1'),
(49539,7413,'_encloseme','1'),
(49540,7413,'Index','2060'),
(49541,7413,'Minutage','26’48 \n'),
(49542,7413,'Images','Passagers  dans  un  wagon. \n *Manon* (1949),  Henri - Georges  Clouzot. \n'),
(49543,7413,'VoixOffIn','\n'),
(49544,7413,'BandeSon','Accordéon. \n'),
(49545,7413,'Ecrits','\n'),
(49546,7413,'_product_image_gallery',''),
(49547,7414,'_pingme','1'),
(49548,7414,'_encloseme','1'),
(49549,7414,'Index','2070'),
(49550,7414,'Minutage','26’50 \n'),
(49551,7414,'Images','Homme  parlant  de  manière  animée  à  une  femme  dans  un  train. \n *Manon* (1949),  Henri - Georges  Clouzot. \n'),
(49552,7414,'VoixOffIn','\n'),
(49553,7414,'BandeSon','Sifflement  de  la  vapeur  s\'échappant  d\'un  train. \n'),
(49554,7414,'Ecrits','\n'),
(49555,7414,'_product_image_gallery',''),
(49556,7415,'_pingme','1'),
(49557,7415,'_encloseme','1'),
(49558,7415,'Index','2080'),
(49559,7415,'Minutage','26’53 \n'),
(49560,7415,'Images','Passagers  à  l\'intérieur  d\'une  voiture.  \n *Manon* (1949),  Henri - Georges  Clouzot. \n'),
(49561,7415,'VoixOffIn','\n'),
(49562,7415,'BandeSon','Accordéon,  voix  de  personnes  qui  discutent. \n'),
(49563,7415,'Ecrits','\n'),
(49564,7415,'_product_image_gallery',''),
(49565,7416,'_pingme','1'),
(49566,7416,'_encloseme','1'),
(49567,7416,'Index','2090'),
(49568,7416,'Minutage','26’55 \n'),
(49569,7416,'Images','Groupe  de  personnes  à  l\'intérieur  d\'une  voiture,  jouant  de  l\'accordéon.  \n *Manon* (1949),  Henri - Georges  Clouzot. \n'),
(49570,7416,'VoixOffIn','\n'),
(49571,7416,'BandeSon','Id. *\n*'),
(49572,7416,'Ecrits','\n'),
(49573,7416,'_product_image_gallery',''),
(49574,7417,'_pingme','1'),
(49575,7417,'_encloseme','1'),
(49576,7417,'Index','2100'),
(49577,7417,'Minutage','26’56 \n'),
(49578,7417,'Images','Noir.  \n'),
(49579,7417,'VoixOffIn','Les  voix  de  la  séquence  précédente  continuent \n'),
(49580,7417,'BandeSon','Id. \n'),
(49581,7417,'Ecrits','\n'),
(49582,7417,'_product_image_gallery',''),
(49583,7418,'_pingme','1'),
(49584,7418,'_encloseme','1'),
(49585,7418,'Index','2110'),
(49586,7418,'Minutage','27’00 \n'),
(49587,7418,'Images','Train  passant  au  ralenti  avec  un  drapeau  nazi. \n'),
(49588,7418,'VoixOffIn','\n'),
(49589,7418,'BandeSon','Silence  et  train  passant. \n'),
(49590,7418,'Ecrits','\n'),
(49591,7418,'_product_image_gallery',''),
(49592,7419,'_pingme','1'),
(49593,7419,'_encloseme','1'),
(49594,7419,'Index','2120'),
(49595,7419,'Minutage','27’05 \n'),
(49596,7419,'Images','Train  traversant  lentement  un  marché  en  Chine.  \n *Shanghai* *Express* (1932), Josef  von  Sternberg. \n'),
(49597,7419,'VoixOffIn','\n'),
(49598,7419,'BandeSon','Silence. \n'),
(49599,7419,'Ecrits','\n'),
(49600,7419,'_product_image_gallery',''),
(49601,7420,'_pingme','1'),
(49602,7420,'_encloseme','1'),
(49603,7420,'Index','2130'),
(49604,7420,'Minutage','27’07 \n'),
(49605,7420,'Images','Saturé  :  fleurs. \n'),
(49606,7420,'VoixOffIn','\n'),
(49607,7420,'BandeSon','*Rising* *Grace* (2016),  Wolfgang  Muthspiel. \n'),
(49608,7420,'Ecrits','\n'),
(49609,7420,'_product_image_gallery',''),
(49610,7421,'_pingme','1'),
(49611,7421,'_encloseme','1'),
(49612,7421,'Index','2140'),
(49613,7421,'Minutage','27’17 \n'),
(49614,7421,'Images','Noir. \n'),
(49615,7421,'VoixOffIn','\n'),
(49616,7421,'BandeSon','Silence. \n'),
(49617,7421,'Ecrits','Sous  les  yeux  de  l’occident.  \n *Under* *Western* *Eyes* (1911),  Joseph  Conrad*.* \n'),
(49618,7421,'_product_image_gallery',''),
(49619,7422,'_pingme','1'),
(49620,7422,'_encloseme','1'),
(49621,7422,'Index','2150'),
(49622,7422,'Minutage','27’19 \n'),
(49623,7422,'Images','Personne  en  tuant  une  autre  dans  un  train.  \n *Shanghai* *Express* (1932), Josef  von  Sternberg. \n'),
(49624,7422,'VoixOffIn','\n'),
(49625,7422,'BandeSon','Vapeur  s\'échappant  d\'un  train. \n'),
(49626,7422,'Ecrits','\n'),
(49627,7422,'_product_image_gallery',''),
(49628,7423,'_pingme','1'),
(49629,7423,'_encloseme','1'),
(49630,7423,'Index','2160'),
(49631,7423,'Minutage','27’23 \n'),
(49632,7423,'Images','Soldat  tirant  sur  d\'autres  soldats,  au - delà  d\'une  barricade.  \n'),
(49633,7423,'VoixOffIn','\n'),
(49634,7423,'BandeSon','Tirs  de  pistolets  et  mitraillettes. \n'),
(49635,7423,'Ecrits','\n'),
(49636,7423,'_product_image_gallery',''),
(49637,7424,'_pingme','1'),
(49638,7424,'_encloseme','1'),
(49639,7424,'Index','2170'),
(49640,7424,'Minutage','27’25 \n'),
(49641,7424,'Images','Au  ralenti  :  homme  et  femme  passant  dans  le  couloir  d\'un  train. *\n* *\n* *Terror* *by* *night* (1946), Roy  William  Neill. *\n*'),
(49642,7424,'VoixOffIn','Mais  enfin  dites - moi  pourquoi  vous  avez  fait  de  l’espionnage  ? \n - J\'en  sais  rien.  \n - Vous  avez  accepté  ? \n'),
(49643,7424,'BandeSon','Silence. \n'),
(49644,7424,'Ecrits','\n'),
(49645,7424,'_product_image_gallery',''),
(49646,7425,'_pingme','1'),
(49647,7425,'_encloseme','1'),
(49648,7425,'Index','2180'),
(49649,7425,'Minutage','27’36 \n'),
(49650,7425,'Images','Noir. \n'),
(49651,7425,'VoixOffIn','-  D’entrer  dans  son  organisation  ?  Non  Michel. \n Mais  même  chez  les  communistes  l’agent  compte  plus  que  tout  le  reste. \n'),
(49652,7425,'BandeSon','Id. *\n*'),
(49653,7425,'Ecrits','\n'),
(49654,7425,'_product_image_gallery',''),
(49655,7426,'_pingme','1'),
(49656,7426,'_encloseme','1'),
(49657,7426,'Index','2190'),
(49658,7426,'Minutage','27’45 \n'),
(49659,7426,'Images','Vapeur  sortant  d\'un  train  prenant  un  virage.  \n *Terror* *by* *night* (1946), Roy  William  Neill. \n'),
(49660,7426,'VoixOffIn','\n'),
(49661,7426,'BandeSon','Sifflet,  puis  passage  d\'un  train. \n'),
(49662,7426,'Ecrits','\n'),
(49663,7426,'_product_image_gallery',''),
(49664,7427,'_pingme','1'),
(49665,7427,'_encloseme','1'),
(49666,7427,'Index','2200'),
(49667,7427,'Minutage','27’50  \n'),
(49668,7427,'Images','Homme  regardant  une  femme  boire,  au  restaurant  d\'un  train.  \n *Terror* *by* *night* (1946), Roy  William  Neill. \n'),
(49669,7427,'VoixOffIn','Deux  discours  prononcés  par  George  Steiner  et  Cornelius  Castoriadis  se  chevauchent  :  \n Steiner  :  Il  fera  exactement  la  même  chose  que  les  autres,  ce  que  les  autres  lui  ont  appris.  \n'),
(49670,7427,'BandeSon','Silence. \n'),
(49671,7427,'Ecrits','\n'),
(49672,7427,'_product_image_gallery',''),
(49673,7428,'_pingme','1'),
(49674,7428,'_encloseme','1'),
(49675,7428,'Index','2210'),
(49676,7428,'Minutage','27’54 \n'),
(49677,7428,'Images','Enfant  regardant  par  la  fenêtre  d\'un  train  des  wagons  militaires  transportant  des  réservoirs.  \n *Le* *silence* (1963), Ingmar  Bergman. \n'),
(49678,7428,'VoixOffIn','Pour  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 \n Castoriadis  :  Quelque  chose  a  surgi  de  barbare.  Quelque  chose  d’immense  lumière  qui  a  accentué  les  beaux  mystères  de  la  vie \n \n'),
(49679,7428,'BandeSon','Id. \n'),
(49680,7428,'Ecrits','\n'),
(49681,7428,'_product_image_gallery',''),
(49682,7429,'_pingme','1'),
(49683,7429,'_encloseme','1'),
(49684,7429,'Index','2220'),
(49685,7429,'Minutage','28’11 \n'),
(49686,7429,'Images','Au  ralenti  :  femme  dans  le  vagons  d’un  train.  \n *Terror* *by* *night* (1946), Roy  William  Neill. \n'),
(49687,7429,'VoixOffIn','- Come  va  a  New  York  ?  Va  bene ?  \n -  Non  ci  si  arricchisce \n -  Che  importa  questo ?  Si  può  star  bene  senza  arricchire \n'),
(49688,7429,'BandeSon','Train*.* \n'),
(49689,7429,'Ecrits','\n'),
(49690,7429,'_product_image_gallery',''),
(49691,7430,'_pingme','1'),
(49692,7430,'_encloseme','1'),
(49693,7430,'Index','2230'),
(49694,7430,'Minutage','28’14 \n'),
(49695,7430,'Images','Hommes  parlant  en  regardant  par  la  fenêtre  d\'un  train.  \n *Sicilia * *!* (1998),  Jean - Marie  Straub  et  Danièle  Huillet. \n'),
(49696,7430,'VoixOffIn','-  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'),
(49697,7430,'BandeSon','Id. \n'),
(49698,7430,'Ecrits','\n'),
(49699,7430,'_product_image_gallery',''),
(49700,7431,'_pingme','1'),
(49701,7431,'_encloseme','1'),
(49702,7431,'Index','2240'),
(49703,7431,'Minutage','28’35 \n'),
(49704,7431,'Images','Femme  entrant  dans  un  wagon  de  train,  hommes  se  retournant  pour  la  regarder.  \n *Johnny* *Guitar* (1954),  Nicholas  Ray. \n'),
(49705,7431,'VoixOffIn','\n'),
(49706,7431,'BandeSon','*Image* *The* *Fog* *Dirappearing* (2016), Tord  Gustavsen. \n'),
(49707,7431,'Ecrits','\n'),
(49708,7431,'_product_image_gallery',''),
(49709,7432,'_pingme','1'),
(49710,7432,'_encloseme','1'),
(49711,7432,'Index','2250'),
(49712,7432,'Minutage','29’03 \n'),
(49713,7432,'Images','Noir. \n'),
(49714,7432,'VoixOffIn','\n'),
(49715,7432,'BandeSon','Id. \n'),
(49716,7432,'Ecrits','\n'),
(49717,7432,'_product_image_gallery',''),
(49718,7433,'_pingme','1'),
(49719,7433,'_encloseme','1'),
(49720,7433,'Index','2260'),
(49721,7433,'Minutage','29’07 \n'),
(49722,7433,'Images','Cheval  et  cavalier  au  galop,  derrière  un  train.  \n *Turksib* (1921), Viktor  Alexandrovitch  Turin. \n \n'),
(49723,7433,'VoixOffIn','\n'),
(49724,7433,'BandeSon','Id. \n'),
(49725,7433,'Ecrits','\n'),
(49726,7433,'_product_image_gallery',''),
(49727,7434,'_pingme','1'),
(49728,7434,'_encloseme','1'),
(49729,7434,'Index','2270'),
(49730,7434,'Minutage','29’10 \n'),
(49731,7434,'Images','Homme  passant  la  main  sur  un  vinyle  et  écoutant  la  musique  qui  s\'en  dégage.  \n *L’Atalante* (1934), Jean  Vigo. \n'),
(49732,7434,'VoixOffIn','\n'),
(49733,7434,'BandeSon','Silence  et *Concerto* *Grosso* *No**.* *4* (1988), Alfred  Schnittke. \n'),
(49734,7434,'Ecrits','\n'),
(49735,7434,'_product_image_gallery',''),
(49736,7435,'_pingme','1'),
(49737,7435,'_encloseme','1'),
(49738,7435,'Index','2280'),
(49739,7435,'Minutage','29’16 \n'),
(49740,7435,'Images','Cheval  et  cavalier  au  galop,  le  long  d’un  train.  \n *Turksib* (1921), Viktor  Alexandrovitch  Turin. \n \n'),
(49741,7435,'VoixOffIn','\n'),
(49742,7435,'BandeSon','Id. *\n*'),
(49743,7435,'Ecrits','\n'),
(49744,7435,'_product_image_gallery',''),
(49745,7436,'_pingme','1'),
(49746,7436,'_encloseme','1'),
(49747,7436,'Index','2290'),
(49748,7436,'Minutage','29’22 \n'),
(49749,7436,'Images','Noir.  \n'),
(49750,7436,'VoixOffIn','\n'),
(49751,7436,'BandeSon','Silence. \n'),
(49752,7436,'Ecrits','\n'),
(49753,7436,'_product_image_gallery',''),
(49754,7437,'_pingme','1'),
(49755,7437,'_encloseme','1'),
(49756,7437,'Index','2300'),
(49757,7437,'Minutage','29’24 \n'),
(49758,7437,'Images','Chameau  reniflant  les  rails  d\'un  train,  train  traversant  une  prairie  déserte.  \n *Turksib* (1921), Viktor  Alexandrovitch  Turin. \n'),
(49759,7437,'VoixOffIn','\n'),
(49760,7437,'BandeSon','*Image* *The* *Fog* *Dirappearing* (2016), Tord  Gustavsen. \n'),
(49761,7437,'Ecrits','\n'),
(49762,7437,'_product_image_gallery',''),
(49763,7438,'_pingme','1'),
(49764,7438,'_encloseme','1'),
(49765,7438,'Index','2310'),
(49766,7438,'Minutage','29’31 \n'),
(49767,7438,'Images','Paysage  vu  d\'un  train.  \n'),
(49768,7438,'VoixOffIn','j\'avoue  qu\'avant  d\'embarquer  à  bord  \n'),
(49769,7438,'BandeSon','Voix  masculine  accompagnée  au  piano. \n'),
(49770,7438,'Ecrits','\n'),
(49771,7438,'_product_image_gallery',''),
(49772,7439,'_pingme','1'),
(49773,7439,'_encloseme','1'),
(49774,7439,'Index','2320'),
(49775,7439,'Minutage','29’36 \n'),
(49776,7439,'Images','Saturé  et  surexposé  :  train  avançant. \n'),
(49777,7439,'VoixOffIn','de  ce  vieux \n   piano \n'),
(49778,7439,'BandeSon','Id. \n'),
(49779,7439,'Ecrits','\n'),
(49780,7439,'_product_image_gallery',''),
(49781,7440,'_pingme','1'),
(49782,7440,'_encloseme','1'),
(49783,7440,'Index','2330'),
(49784,7440,'Minutage','29’39 \n'),
(49785,7440,'Images','Montage  en  superposition  :  rose. \n  *Allemagne* *90* *neuf* *zéro* (1991),  Jean-Luc  Godard. \n'),
(49786,7440,'VoixOffIn','j\'ai  scruté  la  météo \n'),
(49787,7440,'BandeSon','Id. \n'),
(49788,7440,'Ecrits','\n'),
(49789,7440,'_product_image_gallery',''),
(49790,7441,'_pingme','1'),
(49791,7441,'_encloseme','1'),
(49792,7441,'Index','2340'),
(49793,7441,'Minutage','29’42 \n'),
(49794,7441,'Images','Passage  du  métro.  Superposé  :  femme  semblant  avoir  été  heurtée  par  un  train.  \n *Liberté* *et* *patrie* (2002), Jean-Luc  Godard  et  Anne - Marie  Miéville. \n'),
(49795,7441,'VoixOffIn','j\'ai  longtemps  flâné \n \n'),
(49796,7441,'BandeSon','Id. et  silence. \n'),
(49797,7441,'Ecrits','\n'),
(49798,7441,'_product_image_gallery',''),
(49799,7442,'_pingme','1'),
(49800,7442,'_encloseme','1'),
(49801,7442,'Index','2350'),
(49802,7442,'Minutage','29’45 \n'),
(49803,7442,'Images','Dessin  :  femme  vue  de  dos.  \n *Liberté* *et* *patrie* (2002), Jean-Luc  Godard  et  Anne - Marie  Miéville. \n'),
(49804,7442,'VoixOffIn','\n'),
(49805,7442,'BandeSon','Silence. \n'),
(49806,7442,'Ecrits','\n'),
(49807,7442,'_product_image_gallery',''),
(49808,7443,'_pingme','1'),
(49809,7443,'_encloseme','1'),
(49810,7443,'Index','2360'),
(49811,7443,'Minutage','29’50 \n'),
(49812,7443,'Images','Noir. \n'),
(49813,7443,'VoixOffIn','Eux  tous \n'),
(49814,7443,'BandeSon','*Fratres* *pour* *12* *violoncelles* (1977),  Arvo  Pärt. \n'),
(49815,7443,'Ecrits','\n'),
(49816,7443,'_product_image_gallery',''),
(49817,7444,'_pingme','1'),
(49818,7444,'_encloseme','1'),
(49819,7444,'Index','2370'),
(49820,7444,'Minutage','29’53 \n'),
(49821,7444,'Images','Hommes  saluant  joyeusement  des  deux  mains,  depuis  un  train.  \n *Les* *Deux* *Fedor* (1959), Marlen  Khoutsiev. \n'),
(49822,7444,'VoixOffIn','enfilés  sur  le  fond \n'),
(49823,7444,'BandeSon','Id. \n'),
(49824,7444,'Ecrits','\n'),
(49825,7444,'_product_image_gallery',''),
(49826,7445,'_pingme','1'),
(49827,7445,'_encloseme','1'),
(49828,7445,'Index','2380'),
(49829,7445,'Minutage','29’57 \n'),
(49830,7445,'Images','Femmes  courant. \n *Les* *Deux* *Fedor* (1959), Marlen  Khoutsiev. \n'),
(49831,7445,'VoixOffIn','Du  vert  luxuriant. \n'),
(49832,7445,'BandeSon','Id. \n'),
(49833,7445,'Ecrits','\n'),
(49834,7445,'_product_image_gallery',''),
(49835,7446,'_pingme','1'),
(49836,7446,'_encloseme','1'),
(49837,7446,'Index','2390'),
(49838,7446,'Minutage','30’00 \n'),
(49839,7446,'Images','Saturé  :  paysage  vu  depuis  la  fenêtre  d’un  train. \n'),
(49840,7446,'VoixOffIn','De  l’été. \n'),
(49841,7446,'BandeSon','Id. \n'),
(49842,7446,'Ecrits','\n'),
(49843,7446,'_product_image_gallery',''),
(49844,7447,'_pingme','1'),
(49845,7447,'_encloseme','1'),
(49846,7447,'Index','2400'),
(49847,7447,'Minutage','30’03 \n'),
(49848,7447,'Images','Noir. \n'),
(49849,7447,'VoixOffIn','\n'),
(49850,7447,'BandeSon','Id. \n'),
(49851,7447,'Ecrits','\n'),
(49852,7447,'_product_image_gallery',''),
(49853,7448,'_pingme','1'),
(49854,7448,'_encloseme','1'),
(49855,7448,'Index','2410'),
(49856,7448,'Minutage','30’04 \n'),
(49857,7448,'Images','Homme  courant  le  long  d\'un  train. *\n* *Wild* *boys* *on* *the* *road* (1933),  William  A.  Wellman. *Liberté* *et* *patrie* (2002), Jean-Luc  Godard  et  Anne - Marie  Miéville. \n'),
(49858,7448,'VoixOffIn','Et  l’embrasement \n'),
(49859,7448,'BandeSon','Id. \n'),
(49860,7448,'Ecrits','\n'),
(49861,7448,'_product_image_gallery',''),
(49862,7449,'_pingme','1'),
(49863,7449,'_encloseme','1'),
(49864,7449,'Index','2420'),
(49865,7449,'Minutage','30’06  \n'),
(49866,7449,'Images','Au  ralenti  :  homme  s\'approchant  d\'une  femme  assise  dans  une  grange  devant  un  brasier.  \n *Wild* *boys* *on* *the* *road* (1933),  William  A.  Wellman. \n'),
(49867,7449,'VoixOffIn','\n'),
(49868,7449,'BandeSon','Id. \n'),
(49869,7449,'Ecrits','\n'),
(49870,7449,'_product_image_gallery',''),
(49871,7450,'_pingme','1'),
(49872,7450,'_encloseme','1'),
(49873,7450,'Index','2430'),
(49874,7450,'Minutage','30’07 \n'),
(49875,7450,'Images','Foule  d\'hommes  se  pressant  pour  monter  dans  un  train.  \n *Wild* *boys* *on* *the* *road* (1933),  William  A.  Wellman. \n'),
(49876,7450,'VoixOffIn','Royal \n'),
(49877,7450,'BandeSon','Id. \n'),
(49878,7450,'Ecrits','\n'),
(49879,7450,'_product_image_gallery',''),
(49880,7451,'_pingme','1'),
(49881,7451,'_encloseme','1'),
(49882,7451,'Index','2440'),
(49883,7451,'Minutage','30’10 \n'),
(49884,7451,'Images','Saturé  :  trains  miniatures  passant  sur  une  ligne  de  chemin  de  fer. *Toccata* *for* *Toy* *Trains* (1957), Charles  and  Ray  Eames. \n'),
(49885,7451,'VoixOffIn','de  l\'automne. \n -  Et  la  ruine  de  l’hiver \n'),
(49886,7451,'BandeSon','Id. \n'),
(49887,7451,'Ecrits','\n'),
(49888,7451,'_product_image_gallery',''),
(49889,7452,'_pingme','1'),
(49890,7452,'_encloseme','1'),
(49891,7452,'Index','2450'),
(49892,7452,'Minutage','30’15 \n'),
(49893,7452,'Images','Noir. \n'),
(49894,7452,'VoixOffIn','avant  que  ne  fleurisse \n'),
(49895,7452,'BandeSon','Id. \n'),
(49896,7452,'Ecrits','\n'),
(49897,7452,'_product_image_gallery',''),
(49898,7453,'_pingme','1'),
(49899,7453,'_encloseme','1'),
(49900,7453,'Index','2460'),
(49901,7453,'Minutage','30’19 \n'),
(49902,7453,'Images','Fille  faisant  de  l\'escrime  devant  un  projecteur  montrant  une  cathédrale  gothique.  En  montage  clignotant  :  cameraman  sur  un  dolly. \n'),
(49903,7453,'VoixOffIn','à  nouveau \n le  printemps, \n salit  maintenant \n un  peu  noirci \n'),
(49904,7453,'BandeSon','Id. \n'),
(49905,7453,'Ecrits','\n'),
(49906,7453,'_product_image_gallery',''),
(49907,7454,'_pingme','1'),
(49908,7454,'_encloseme','1'),
(49909,7454,'Index','2470'),
(49910,7454,'Minutage','30’30 \n'),
(49911,7454,'Images','Homme  se  traînant  le  long  d\'une  voie  ferrée.  \n *Wild* *boys* *on* *the* *road* (1933),  William  A.  Wellman.  \n'),
(49912,7454,'VoixOffIn','\n'),
(49913,7454,'BandeSon','Train  en  approche. \n'),
(49914,7454,'Ecrits','\n'),
(49915,7454,'_product_image_gallery',''),
(49916,7455,'_pingme','1'),
(49917,7455,'_encloseme','1'),
(49918,7455,'Index','2480'),
(49919,7455,'Minutage','30’33 \n'),
(49920,7455,'Images','Noir. \n'),
(49921,7455,'VoixOffIn','\n'),
(49922,7455,'BandeSon','Id. \n'),
(49923,7455,'Ecrits','\n'),
(49924,7455,'_product_image_gallery',''),
(49925,7456,'_pingme','1'),
(49926,7456,'_encloseme','1'),
(49927,7456,'Index','2490'),
(49928,7456,'Minutage','30’36 \n'),
(49929,7456,'Images','Homme  se  traînant  le  long  d\'une  voie  ferrée,  et  essayant  de  ne  pas  être  écrasé  par  un  train  en  approche.  \n *Wild* *boys* *on* *the* *road* (1933),  William  A.  Wellman.  \n'),
(49930,7456,'VoixOffIn','\n'),
(49931,7456,'BandeSon','Id. \n'),
(49932,7456,'Ecrits','\n'),
(49933,7456,'_product_image_gallery',''),
(49934,7457,'_pingme','1'),
(49935,7457,'_encloseme','1'),
(49936,7457,'Index','2500'),
(49937,7457,'Minutage','30’39 \n'),
(49938,7457,'Images','Noir. \n'),
(49939,7457,'VoixOffIn','par  le  temps. \n'),
(49940,7457,'BandeSon','*Fratres* *pour* *12* *violoncelles* (1977),  Arvo  Pärt. \n'),
(49941,7457,'Ecrits','\n'),
(49942,7457,'_product_image_gallery',''),
(49943,7458,'_pingme','1'),
(49944,7458,'_encloseme','1'),
(49945,7458,'Index','2510'),
(49946,7458,'Minutage','30’41 \n'),
(49947,7458,'Images','Homme  évanoui  et  écrasé  par  un  train.  \n *Wild* *boys* *on* *the* *road* (1933),  William  A.  Wellman.  \n'),
(49948,7458,'VoixOffIn','\n Toujours  serein \n'),
(49949,7458,'BandeSon','Train  en  approche,  cris. \n'),
(49950,7458,'Ecrits','\n'),
(49951,7458,'_product_image_gallery',''),
(49952,7459,'_pingme','1'),
(49953,7459,'_encloseme','1'),
(49954,7459,'Index','2520'),
(49955,7459,'Minutage','30’45 \n'),
(49956,7459,'Images','Noir. \n'),
(49957,7459,'VoixOffIn','\n'),
(49958,7459,'BandeSon','*Id.* et  silence. \n'),
(49959,7459,'Ecrits','\n'),
(49960,7459,'_product_image_gallery',''),
(49961,7460,'_pingme','1'),
(49962,7460,'_encloseme','1'),
(49963,7460,'Index','2530'),
(49964,7460,'Minutage','30’47 \n'),
(49965,7460,'Images','Femme  arrachant  ses  boucles  d\'oreilles  en  perle,  horrifiée. \n *Au* *bord* *de* *la* *mer* *bleue* (1937), Boris  Barnet. \n'),
(49966,7460,'VoixOffIn','…  des  sentinelles.  Non. \n - Comme  s\'ils  défendaient \n'),
(49967,7460,'BandeSon','Id. \n'),
(49968,7460,'Ecrits','\n'),
(49969,7460,'_product_image_gallery',''),
(49970,7461,'_pingme','1'),
(49971,7461,'_encloseme','1'),
(49972,7461,'Index','2540'),
(49973,7461,'Minutage','31’01 \n'),
(49974,7461,'Images','Perles  tombant.  \n *Au* *bord* *de* *la* *mer* *bleue* (1937), Boris  Barnet. \n Enchaînement  avec  un  montage  clignotant  :  cadavres  le  long  d\'une  voie  ferrée.  \n *Nuit* *et* *brouillard* (1956), Alain  Resnais. \n'),
(49975,7461,'VoixOffIn','de  leurs  énormes  et  monolithiques  \n'),
(49976,7461,'BandeSon','*Fratres* *pour* *12* *violoncelles* (1977),  Arvo  Pärt. \n'),
(49977,7461,'Ecrits','\n'),
(49978,7461,'_product_image_gallery',''),
(49979,7462,'_pingme','1'),
(49980,7462,'_encloseme','1'),
(49981,7462,'Index','2550'),
(49982,7462,'Minutage','31’09 \n'),
(49983,7462,'Images','Montage  clignotant  :  sous  des  cadavres  longant  les  rails  d\'un  train,  folle  dans  une  église  du  tableau.  \n *L\'église* *Ludwigskirche* *à* *Munich* (1908*), * Wassily  Kandinsky. \n'),
(49984,7462,'VoixOffIn','Les  vivants  contre  les  morts.  \n'),
(49985,7462,'BandeSon','Id. \n'),
(49986,7462,'Ecrits','\n'),
(49987,7462,'_product_image_gallery',''),
(49988,7463,'_pingme','1'),
(49989,7463,'_encloseme','1'),
(49990,7463,'Index','2560'),
(49991,7463,'Minutage','31’18 \n'),
(49992,7463,'Images','Noir. \n'),
(49993,7463,'VoixOffIn','Tous.  \n Les  ossements.  \n'),
(49994,7463,'BandeSon','Id. \n'),
(49995,7463,'Ecrits','\n'),
(49996,7463,'_product_image_gallery',''),
(49997,7464,'_pingme','1'),
(49998,7464,'_encloseme','1'),
(49999,7464,'Index','2570'),
(50000,7464,'Minutage','31’21 \n'),
(50001,7464,'Images','Femmes  et  hommes  autour  d\'une  table,  plaçant  leurs  mains  en  cercle  lors  d\'une  séance  de  spiritisme. *Anna* *Karénine* (1948),  Julien  Duvivier. \n'),
(50002,7464,'VoixOffIn','Avant  que  ne  fleurissent \n'),
(50003,7464,'BandeSon','Id. \n'),
(50004,7464,'Ecrits','\n'),
(50005,7464,'_product_image_gallery',''),
(50006,7465,'_pingme','1'),
(50007,7465,'_encloseme','1'),
(50008,7465,'Index','2580'),
(50009,7465,'Minutage','31’26 \n'),
(50010,7465,'Images','Noir. \n'),
(50011,7465,'VoixOffIn','à  nouveau  le  printemps  \n'),
(50012,7465,'BandeSon','Id. \n'),
(50013,7465,'Ecrits','\n'),
(50014,7465,'_product_image_gallery',''),
(50015,7466,'_pingme','1'),
(50016,7466,'_encloseme','1'),
(50017,7466,'Index','2590'),
(50018,7466,'Minutage','31’28 \n'),
(50019,7466,'Images','Train  passant  dans  le  blizzard  et  personnes  marchant  sous  la  neige  et  dans  le  vent.  \n *Anna* *Karénine* (1948),  Julien  Duvivier. \n \n'),
(50020,7466,'VoixOffIn','\n'),
(50021,7466,'BandeSon','Id. et  train  passant. \n'),
(50022,7466,'Ecrits','\n'),
(50023,7466,'_product_image_gallery',''),
(50024,7467,'_pingme','1'),
(50025,7467,'_encloseme','1'),
(50026,7467,'Index','2600'),
(50027,7467,'Minutage','31’43 \n'),
(50028,7467,'Images','En  superposition,  et  en  alternance  :  dessin  d\'un  mort. \n *Les* *désastres* *de* *la* *guerre* (1815 - 20),  Francisco  Goya.  \n \n Puis  montage  clignotant  :  personne  levant  un  fusil  vers  le  ciel,  femme  juive. \n'),
(50029,7467,'VoixOffIn','Eux  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'),
(50030,7467,'BandeSon','*Fratres* *pour* *12* *violoncelles* (1977),  Arvo  Pärt  et  silence. \n'),
(50031,7467,'Ecrits','\n'),
(50032,7467,'_product_image_gallery',''),
(50033,7468,'_pingme','1'),
(50034,7468,'_encloseme','1'),
(50035,7468,'Index','2610'),
(50036,7468,'Minutage','32’09 \n'),
(50037,7468,'Images','Au  ralenti,  saturé  :  voie  ferrée  parcourue  par  un  train.  \n *Après* *le* *feu* (2010), Jacques  Perconte. \n'),
(50038,7468,'VoixOffIn','avant  que  ne  fleurisse  à  nouveau  le  printemps.  Eux  tous.  \n *Sépulture* *Sud*,  in *Id.ylle* *au* *désert* *et* *autres* *nouvelles* (1985),  William  Faulkner. *Grandeur* *et* *décadence* *d\'un* *petit* *commerce* *de* *cinéma* (1986),  Jean-Luc  Godard. \n'),
(50039,7468,'BandeSon','Silence. \n'),
(50040,7468,'Ecrits','\n'),
(50041,7468,'_product_image_gallery',''),
(50042,7469,'_pingme','1'),
(50043,7469,'_encloseme','1'),
(50044,7469,'Index','2620'),
(50045,7469,'Minutage','32’23 \n'),
(50046,7469,'Images','Homme  saluant  une  femme  le  regardant  par  la  fenêtre  d\'un  train,  et  poursuvant  le  train  qui  s’éloigne.  \n *Le* *plaisir* (1938), Max  Ophüls. \n'),
(50047,7469,'VoixOffIn','\n'),
(50048,7469,'BandeSon','Silence  et *Das* *Buch* *der* *Klange* *I* *-* *XII**,* *V* (1999), Hans  Otte. \n'),
(50049,7469,'Ecrits','\n'),
(50050,7469,'_product_image_gallery',''),
(50051,7470,'_pingme','1'),
(50052,7470,'_encloseme','1'),
(50053,7470,'Index','2630'),
(50054,7470,'Minutage','32’51 \n'),
(50055,7470,'Images','Pellicule  passant  dans  un  projecteur. \n *Deux* *fois* *cinquante* *ans* *de* *cinéma* *français* (1995), Jean-Luc  Godard. \n'),
(50056,7470,'VoixOffIn','\n'),
(50057,7470,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944),  Mieczysław  Weinberg. \n \n'),
(50058,7470,'Ecrits','\n'),
(50059,7470,'_product_image_gallery',''),
(50060,7471,'_pingme','1'),
(50061,7471,'_encloseme','1'),
(50062,7471,'Index','2640'),
(50063,7471,'Minutage','33’02 \n'),
(50064,7471,'Images','Noir. \n'),
(50065,7471,'VoixOffIn','\n'),
(50066,7471,'BandeSon','Id. \n \n'),
(50067,7471,'Ecrits','\n'),
(50068,7471,'_product_image_gallery',''),
(50069,7472,'_pingme','1'),
(50070,7472,'_encloseme','1'),
(50071,7472,'Index','2650'),
(50072,7472,'Minutage','33’05 \n'),
(50073,7472,'Images','Noir. \n'),
(50074,7472,'VoixOffIn','\n'),
(50075,7472,'BandeSon','Id. \n'),
(50076,7472,'Ecrits','4  \n L’ESPRIT  DES  LOIS \n'),
(50077,7472,'_product_image_gallery',''),
(50078,7473,'_pingme','1'),
(50079,7473,'_encloseme','1'),
(50080,7473,'Index','2660'),
(50081,7473,'Minutage','33’08 \n'),
(50082,7473,'Images','Acteurs  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'),
(50083,7473,'VoixOffIn','Écartez - vous.  Première  sommation,  nous  allons  faire  usage  de  la  force.  Deuxième  et  dernière  sommation,  nous  allons  faire  usage  de  la  force.  Dispersez - vous. \n'),
(50084,7473,'BandeSon','Personnes  protestant  et  criant.  \n *Three* *Little* *Nocturnes**,* *II* *Allegro* *appassionata* (2005),  Hans  Abrahamsen. \n'),
(50085,7473,'Ecrits','\n'),
(50086,7473,'_product_image_gallery',''),
(50087,7474,'_pingme','1'),
(50088,7474,'_encloseme','1'),
(50089,7474,'Index','2670'),
(50090,7474,'Minutage','34’08 \n'),
(50091,7474,'Images','Hommes  derrière  une  barricade  attaqués  par  des  soldats.  \n *Vendémiaire* (1918),  Louis  Feuillade.  \n *Histoire* *(**s**)* *du* *cinéma* *3b* (1988 - 98), Jean-Luc  Godard. \n'),
(50092,7474,'VoixOffIn','-  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'),
(50093,7474,'BandeSon','*Breit* *-* *sehr* *frisch* *und* *straff* (1939), Paul  Hindemith. \n'),
(50094,7474,'Ecrits','\n'),
(50095,7474,'_product_image_gallery',''),
(50096,7475,'_pingme','1'),
(50097,7475,'_encloseme','1'),
(50098,7475,'Index','2680'),
(50099,7475,'Minutage','34’20 \n'),
(50100,7475,'Images','Photographie  d’Arthur  Rimbaud. \n'),
(50101,7475,'VoixOffIn','-  la  mélancolie  suprême  d’Enjolras. *Les* *Misérables* (1862), Victor  Hugo. \n - Le  drapeau  va  au  paysage  infâme \n'),
(50102,7475,'BandeSon','Silence. \n'),
(50103,7475,'Ecrits','\n'),
(50104,7475,'_product_image_gallery',''),
(50105,7476,'_pingme','1'),
(50106,7476,'_encloseme','1'),
(50107,7476,'Index','2690'),
(50108,7476,'Minutage','34’30 \n'),
(50109,7476,'Images','Femme  tout  en  blanc  se  dirigeant  vers  un  écran  puis  reculant  de  peur,  les  mains  en  l\'air. *\n* *Le* *Mystère* *des* *roches* *de* *Kador* (1912),  Léonce  Perret. *Histoire* *(**s**)* *du* *cinéma* *2a* (1988 - 89), Jean-Luc  Godard.  \n'),
(50110,7476,'VoixOffIn','et  notre  patois  étouffe  le \n tambour.  Arthur  Rimbaud,  \n'),
(50111,7476,'BandeSon','Id. \n'),
(50112,7476,'Ecrits','\n'),
(50113,7476,'_product_image_gallery',''),
(50114,7477,'_pingme','1'),
(50115,7477,'_encloseme','1'),
(50116,7477,'Index','2700'),
(50117,7477,'Minutage','34’36 \n'),
(50118,7477,'Images','Noir. \n'),
(50119,7477,'VoixOffIn','démocratie.  (Jean  Luc  Godard). *Les* *Illuminations**.* *Démocratie* (1854), Arthur  Rimbaud. \n'),
(50120,7477,'BandeSon','Id. \n'),
(50121,7477,'Ecrits','TERRORISM  CONSIDERED  \n as  one  of  the  \n FINE  ARTS \n'),
(50122,7477,'_product_image_gallery',''),
(50123,7478,'_pingme','1'),
(50124,7478,'_encloseme','1'),
(50125,7478,'Index','2710'),
(50126,7478,'Minutage','34’38 \n'),
(50127,7478,'Images','Noir. \n'),
(50128,7478,'VoixOffIn','\n'),
(50129,7478,'BandeSon','Id. \n'),
(50130,7478,'Ecrits','Dissonance  Films \n'),
(50131,7478,'_product_image_gallery',''),
(50132,7479,'_pingme','1'),
(50133,7479,'_encloseme','1'),
(50134,7479,'Index','2720'),
(50135,7479,'Minutage','34’41 \n'),
(50136,7479,'Images','Femme  supliant  un  homme  jettant  un  bébé  par  la  fenêtre.  \n *Histoire* *(**s**)* *du* *cinéma**,* (1988 - 89), Jean-Luc  Godard. *\n*'),
(50137,7479,'VoixOffIn','Après  une  révolution  dans  la  révolution  (Philippe  Sollers). \n'),
(50138,7479,'BandeSon','Id. \n'),
(50139,7479,'Ecrits','End  Lo  Sung \n'),
(50140,7479,'_product_image_gallery',''),
(50141,7480,'_pingme','1'),
(50142,7480,'_encloseme','1'),
(50143,7480,'Index','2730'),
(50144,7480,'Minutage','34’44 \n'),
(50145,7480,'Images','Noir. \n'),
(50146,7480,'VoixOffIn','\n'),
(50147,7480,'BandeSon','Au  violon \n'),
(50148,7480,'Ecrits','\n'),
(50149,7480,'_product_image_gallery',''),
(50150,7481,'_pingme','1'),
(50151,7481,'_encloseme','1'),
(50152,7481,'Index','2740'),
(50153,7481,'Minutage','34’48 \n'),
(50154,7481,'Images','Saturé  :  torero  transperçant  un  taureau  à  coups  d’épée. \n'),
(50155,7481,'VoixOffIn','\n'),
(50156,7481,'BandeSon','Silence. \n'),
(50157,7481,'Ecrits','\n'),
(50158,7481,'_product_image_gallery',''),
(50159,7482,'_pingme','1'),
(50160,7482,'_encloseme','1'),
(50161,7482,'Index','2750'),
(50162,7482,'Minutage','34’49 \n'),
(50163,7482,'Images','Au  ralenti  :  homme  courant  et  criant  en  faisant  claquer  ses  poignets  ensemble.  \n *La* *terre* (1930), Alexandre  Dovjenko. *Histoire* *(**s**)* *du* *cinéma* *2a* (1988 - 98), Jean-Luc  Godard. \n'),
(50164,7482,'VoixOffIn','\n'),
(50165,7482,'BandeSon','Voix  masculine,  accompagnée  à  la  guitare  :  chant  russe.  \n *La* *chasse* *aux* *loups* (1977), Vladimir  Vissotsky. \n'),
(50166,7482,'Ecrits','\n'),
(50167,7482,'_product_image_gallery',''),
(50168,7483,'_pingme','1'),
(50169,7483,'_encloseme','1'),
(50170,7483,'Index','2760'),
(50171,7483,'Minutage','35’12 \n'),
(50172,7483,'Images','Noir. \n'),
(50173,7483,'VoixOffIn','\n'),
(50174,7483,'BandeSon','Silence. \n'),
(50175,7483,'Ecrits','\n'),
(50176,7483,'_product_image_gallery',''),
(50177,7484,'_pingme','1'),
(50178,7484,'_encloseme','1'),
(50179,7484,'Index','2770'),
(50180,7484,'Minutage','35’14 \n'),
(50181,7484,'Images','Surexposé  :  photographie  d’un  buste  de  Montesquieu. \n'),
(50182,7484,'VoixOffIn','Si  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'),
(50183,7484,'BandeSon','Id. *\n*'),
(50184,7484,'Ecrits','\n'),
(50185,7484,'_product_image_gallery',''),
(50186,7485,'_pingme','1'),
(50187,7485,'_encloseme','1'),
(50188,7485,'Index','2780'),
(50189,7485,'Minutage','35’26 \n'),
(50190,7485,'Images','Enfants  en  Asie  faisant  un  exercice  militaire. \n'),
(50191,7485,'VoixOffIn','\n'),
(50192,7485,'BandeSon','Voix  d\'enfants  chantant  et  criant  ensemble. \n'),
(50193,7485,'Ecrits','\n'),
(50194,7485,'_product_image_gallery',''),
(50195,7486,'_pingme','1'),
(50196,7486,'_encloseme','1'),
(50197,7486,'Index','2790'),
(50198,7486,'Minutage','35’31 \n'),
(50199,7486,'Images','Surexposé  :  personnes  marchant  courbées  et  vacillantes  le  long  d\'un  couloir.  \n *Alphaville* (1965), Jean-Luc  Godard. \n'),
(50200,7486,'VoixOffIn','Je  me  croirais  le  plus  heureux  des  hommes. \n'),
(50201,7486,'BandeSon','Silence. \n'),
(50202,7486,'Ecrits','\n'),
(50203,7486,'_product_image_gallery',''),
(50204,7487,'_pingme','1'),
(50205,7487,'_encloseme','1'),
(50206,7487,'Index','2800'),
(50207,7487,'Minutage','35’37 \n'),
(50208,7487,'Images','Noir. \n'),
(50209,7487,'VoixOffIn','Je  me  croirais  le  plus  heureux  des  mortels. \n'),
(50210,7487,'BandeSon','Id. \n'),
(50211,7487,'Ecrits','\n'),
(50212,7487,'_product_image_gallery',''),
(50213,7488,'_pingme','1'),
(50214,7488,'_encloseme','1'),
(50215,7488,'Index','2810'),
(50216,7488,'Minutage','35’40 \n'),
(50217,7488,'Images','Saturé  et  surexposé  :  pellicule  d’aspect  usée  et  déchirée.  \n *Notre* *caméra* *analytique* (2015),  Yervant  Gianikian  et  Angela  Ricci  Lucchi. \n'),
(50218,7488,'VoixOffIn','Je  me  croirais  le  plus  heureux  des  mortels,  si  je  pouvais  faire  que  les  hommes  \n'),
(50219,7488,'BandeSon','Id. \n'),
(50220,7488,'Ecrits','\n'),
(50221,7488,'_product_image_gallery',''),
(50222,7489,'_pingme','1'),
(50223,7489,'_encloseme','1'),
(50224,7489,'Index','2820'),
(50225,7489,'Minutage','35’50 \n'),
(50226,7489,'Images','Couverture  des  volumes  de *l\'Esprit* *des* *lois* (1748),  Montesquieu. \n'),
(50227,7489,'VoixOffIn','puissent  se  guérir  de  leurs  préjugés. *\n* *L’esprit* *des* *lois* (1748), Montesquieu.  \n'),
(50228,7489,'BandeSon','Id. \n'),
(50229,7489,'Ecrits','\n'),
(50230,7489,'_product_image_gallery',''),
(50231,7490,'_pingme','1'),
(50232,7490,'_encloseme','1'),
(50233,7490,'Index','2830'),
(50234,7490,'Minutage','35’54 \n'),
(50235,7490,'Images','Saturé  :  visage  d’un  homme  de  profil  allumant  une  cigarette.  \n *Détective* (1985),  Jean-Luc  Godard. *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98), Jean-Luc  Godard. \n'),
(50236,7490,'VoixOffIn','J\'appelle  ici  préjugés,  \n'),
(50237,7490,'BandeSon','Id. \n'),
(50238,7490,'Ecrits','\n'),
(50239,7490,'_product_image_gallery',''),
(50240,7491,'_pingme','1'),
(50241,7491,'_encloseme','1'),
(50242,7491,'Index','2840'),
(50243,7491,'Minutage','35’56 \n'),
(50244,7491,'Images','Montage  superposé  :  main  tenant  une  bougie.  \n *Ivan* *le* *terrible* (1944 - 46), Sergueï  Eisenstein. *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98), Jean-Luc  Godard. \n'),
(50245,7491,'VoixOffIn','non  pas  \n'),
(50246,7491,'BandeSon','Id. \n'),
(50247,7491,'Ecrits','\n'),
(50248,7491,'_product_image_gallery',''),
(50249,7492,'_pingme','1'),
(50250,7492,'_encloseme','1'),
(50251,7492,'Index','2850'),
(50252,7492,'Minutage','35’59 \n'),
(50253,7492,'Images','Noir. \n'),
(50254,7492,'VoixOffIn','ce  qui  fait  qu\'on  ignore  de  certaines  choses,  \n'),
(50255,7492,'BandeSon','Id. \n'),
(50256,7492,'Ecrits','\n'),
(50257,7492,'_product_image_gallery',''),
(50258,7493,'_pingme','1'),
(50259,7493,'_encloseme','1'),
(50260,7493,'Index','2860'),
(50261,7493,'Minutage','36’00 \n'),
(50262,7493,'Images','Surexposé  :  buste  de  Montesquieu. \n'),
(50263,7493,'VoixOffIn','mais  ce  qui  fait  qu\'on  s\'ignore  soi - même.  (Jean  Luc  Godard) \n *L’esprit* *des* *lois* (1748), Montesquieu.  \n'),
(50264,7493,'BandeSon','Id. \n'),
(50265,7493,'Ecrits','\n'),
(50266,7493,'_product_image_gallery',''),
(50267,7494,'_pingme','1'),
(50268,7494,'_encloseme','1'),
(50269,7494,'Index','2870'),
(50270,7494,'Minutage','36’02 \n'),
(50271,7494,'Images','Couteau  planté  sur  une  surface  noire.  \n *Au* *cœur* *de* *l\'orage* (1948),  Jean - Paul  Le  Chanois. \n'),
(50272,7494,'VoixOffIn','E  arrivato  Zampanò  !  è  arrivato  Zampanò  ! \n'),
(50273,7494,'BandeSon','Tambours. \n'),
(50274,7494,'Ecrits','\n'),
(50275,7494,'_product_image_gallery',''),
(50276,7495,'_pingme','1'),
(50277,7495,'_encloseme','1'),
(50278,7495,'Index','2880'),
(50279,7495,'Minutage','36’13 \n'),
(50280,7495,'Images','Au  ralenti  :  deux  clowns  parmi  une  foule  de  gens.  \n *La* *Strada* (1954), Federico  Fellini. \n'),
(50281,7495,'VoixOffIn','\n'),
(50282,7495,'BandeSon','Silence. \n'),
(50283,7495,'Ecrits','\n'),
(50284,7495,'_product_image_gallery',''),
(50285,7496,'_pingme','1'),
(50286,7496,'_encloseme','1'),
(50287,7496,'Index','2890'),
(50288,7496,'Minutage','36’18 \n'),
(50289,7496,'Images','Femme  au  bord  d\'une  rivière. \n *Pastorales* *Tahitiennes* (1893),  Paul  Gauguin.  Alternant,  en  montage  clignotant  :  homme  l’observant  à  travers  une  vitre.  \n *Le* *Pré* *de* *Béjine* (1935 - 37),  Sergueï  Eisenstein.  En  alternance  :  femme  en  blanc  des *Pastorales* *tahitiennes* (1892),  Paul  Gauguin. \n'),
(50290,7496,'VoixOffIn','\n'),
(50291,7496,'BandeSon','Id. \n'),
(50292,7496,'Ecrits','\n'),
(50293,7496,'_product_image_gallery',''),
(50294,7497,'_pingme','1'),
(50295,7497,'_encloseme','1'),
(50296,7497,'Index','2900'),
(50297,7497,'Minutage','36’22 \n'),
(50298,7497,'Images','Saturé  :  homme  et  femme  marchant  entre  des  voitures  en  feu.  \n *Weekend* (1967), Jean-Luc  Godard. \n'),
(50299,7497,'VoixOffIn','C’est  qu’il  n’est  pas  \n \n'),
(50300,7497,'BandeSon','*Choral* *pour* *orgue**,* *BWV* *721* (« *Aie* *pitié* *de* *moi* *Seigneur* »)  (1704), Johann  Sebastian  Bach. \n'),
(50301,7497,'Ecrits','\n'),
(50302,7497,'_product_image_gallery',''),
(50303,7498,'_pingme','1'),
(50304,7498,'_encloseme','1'),
(50305,7498,'Index','2910'),
(50306,7498,'Minutage','36’27 \n'),
(50307,7498,'Images','Noir. \n'),
(50308,7498,'VoixOffIn','plus  permis  à  un  gouvernement \n qu’à  un  individu  d’être  un  assassin.  C’est  que  l’Europe  est  solidaire \n'),
(50309,7498,'BandeSon','Id. \n'),
(50310,7498,'Ecrits','\n'),
(50311,7498,'_product_image_gallery',''),
(50312,7499,'_pingme','1'),
(50313,7499,'_encloseme','1'),
(50314,7499,'Index','2920'),
(50315,7499,'Minutage','36’32 \n'),
(50316,7499,'Images','Femmes  décapitant  un  homme. \n* * *Judith* *tranchant* *la* *tête* *d’Holopherne* (1620),  Artemisia  Gentileschi. \n'),
(50317,7499,'VoixOffIn','c’est  que  tout  ce  qui  se  fait  en  Europe \n est  fait  par  l’Europe \n'),
(50318,7499,'BandeSon','Id. \n'),
(50319,7499,'Ecrits','\n'),
(50320,7499,'_product_image_gallery',''),
(50321,7500,'_pingme','1'),
(50322,7500,'_encloseme','1'),
(50323,7500,'Index','2930'),
(50324,7500,'Minutage','35’34 \n'),
(50325,7500,'Images','Homme  pillant  un  cadavre. \n'),
(50326,7500,'VoixOffIn','c’est  que \n s’il  existe  un  gouvernement  \n de  bêtes  fauves \n il  doit  être  traité  \n'),
(50327,7500,'BandeSon','Id. \n'),
(50328,7500,'Ecrits','\n'),
(50329,7500,'_product_image_gallery',''),
(50330,7501,'_pingme','1'),
(50331,7501,'_encloseme','1'),
(50332,7501,'Index','2940'),
(50333,7501,'Minutage','36’41 \n'),
(50334,7501,'Images','Homme  regardant  à  travers  une  caméra.  En  superposition  :  cadavre  d’homme  dans  la  rue. \n'),
(50335,7501,'VoixOffIn','en  bête  fauve \n'),
(50336,7501,'BandeSon','Id. \n'),
(50337,7501,'Ecrits','\n'),
(50338,7501,'_product_image_gallery',''),
(50339,7502,'_pingme','1'),
(50340,7502,'_encloseme','1'),
(50341,7502,'Index','2950'),
(50342,7502,'Minutage','36’44 \n'),
(50343,7502,'Images','Homme  conduisant  une  voiture  à  toute  vitesse. \n *Dr**.* *Mabuse**,* *le* *joueur* (1922), Fritz  Lang.  \n \n En  superposition  :  dessin  d\'homme. *Combats* (1915),  Ernst  Ludwig  Kirchner. *Histoire* *(**s**)* *du* *cinéma* *3a* (1988 - 98), Jean-Luc  Godard. \n'),
(50344,7502,'VoixOffIn','c’est  qu’à  l’heure  qu’il  est,  tout  près  de  nous  là,  sous  nos  yeux  on  massacre \n on  incendie \n on  pille \n on  extermine \n \n'),
(50345,7502,'BandeSon','Id. \n'),
(50346,7502,'Ecrits','\n'),
(50347,7502,'_product_image_gallery',''),
(50348,7503,'_pingme','1'),
(50349,7503,'_encloseme','1'),
(50350,7503,'Index','2960'),
(50351,7503,'Minutage','36’49 \n'),
(50352,7503,'Images','Noir. \n'),
(50353,7503,'VoixOffIn','on  égorge  les  pères  et  les  mères \n on  vend  les  petites  filles  et  les  petits  garçons \n'),
(50354,7503,'BandeSon','Id. \n'),
(50355,7503,'Ecrits','\n'),
(50356,7503,'_product_image_gallery',''),
(50357,7504,'_pingme','1'),
(50358,7504,'_encloseme','1'),
(50359,7504,'Index','2970'),
(50360,7504,'Minutage','36’52 \n \n'),
(50361,7504,'Images','Femme  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.  \n *Lady* *Macbeth* *somnambule* (1781 - 84),  Johann  Heinrich  Füssli. *Histoire* *(**s**)* *du* *cinéma* *3a**,* Jean-Luc  Godard  (1889 - 99) \n'),
(50362,7504,'VoixOffIn','on  vend  les  petites  filles  et  les  petits  garçons  \n \n'),
(50363,7504,'BandeSon','Id. \n'),
(50364,7504,'Ecrits','\n'),
(50365,7504,'_product_image_gallery',''),
(50366,7505,'_pingme','1'),
(50367,7505,'_encloseme','1'),
(50368,7505,'Index','2980'),
(50369,7505,'Minutage','36’55 \n'),
(50370,7505,'Images','Lady  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.  \n *Bel* *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'),
(50371,7505,'VoixOffIn','c’est  que  les  enfants  trop  petits  \n pour  être  vendus \n on  les  fend  d’un  coup  de  sabre \n \n'),
(50372,7505,'BandeSon','Id. \n'),
(50373,7505,'Ecrits','\n'),
(50374,7505,'_product_image_gallery',''),
(50375,7506,'_pingme','1'),
(50376,7506,'_encloseme','1'),
(50377,7506,'Index','2990'),
(50378,7506,'Minutage','36’58 \n'),
(50379,7506,'Images','Goya  id.  Clignotant  :  enfant  errant  dans  une  ville.  \n *Allemagne* *année* *zéro* (1948),  Roberto  Rossellini. \n'),
(50380,7506,'VoixOffIn','c’est  qu’on  brûle  les  familles  dans  les  maisons \n'),
(50381,7506,'BandeSon','Id. \n'),
(50382,7506,'Ecrits','\n'),
(50383,7506,'_product_image_gallery',''),
(50384,7507,'_pingme','1'),
(50385,7507,'_encloseme','1'),
(50386,7507,'Index','3000'),
(50387,7507,'Minutage','37’03 \n'),
(50388,7507,'Images','Enfant  errant  dans  une  ville. \n *Allemagne* *année* *zéro* (1948),  Roberto  Rossellini. \n'),
(50389,7507,'VoixOffIn','\n'),
(50390,7507,'BandeSon','Silence. \n'),
(50391,7507,'Ecrits','\n'),
(50392,7507,'_product_image_gallery',''),
(50393,7508,'_pingme','1'),
(50394,7508,'_encloseme','1'),
(50395,7508,'Index','3010'),
(50396,7508,'Minutage','37’09 \n'),
(50397,7508,'Images','Id..  Rossellini.  En  surimpression  :  homme  avec  une  tête  au  bout  d’un  pique. *\n* Gravure  des *Disparates* (1821 - 24), Francisco  de  Goya. *Histoire* *(**s**)* *du* *cinéma* *3a* (1889 - 99), Jean-Luc  Godard. \n'),
(50398,7508,'VoixOffIn','de  sorte  qu’aux  vivants  qui  leur  ont  envoyé  le  carnage \n les  morts  envoient  la  peste,  ce  qui  est  bien  fait \n nous  apprenons  aux  gouvernements  d’Europe \n ceci : \n c’est  qu’on  ouvre  les  femmes  grosses \n pour  leur  tuer  les  enfants  dans  les  entrailles \n'),
(50399,7508,'BandeSon','*Choral* *pour* *orgue**,* *BWV* *721* *(«* *Aie* *pitié* *de* *moi* *Seigneur* *»)* (1704), Johann  Sebastian  Bach. \n'),
(50400,7508,'Ecrits','Les  signes  parmi  nous. \n'),
(50401,7508,'_product_image_gallery',''),
(50402,7509,'_pingme','1'),
(50403,7509,'_encloseme','1'),
(50404,7509,'Index','3020'),
(50405,7509,'Minutage','37’25 \n'),
(50406,7509,'Images','Noir. \n'),
(50407,7509,'VoixOffIn','c’est  qu’il  y  a  dans  les  places  publiques \n des  tas  de  squelettes.  (Jean-Luc  Godard) \n *Pour* *la* *Serbie* (1876), Victor  Hugo. \n'),
(50408,7509,'BandeSon','Id. \n'),
(50409,7509,'Ecrits','\n'),
(50410,7509,'_product_image_gallery',''),
(50411,7510,'_pingme','1'),
(50412,7510,'_encloseme','1'),
(50413,7510,'Index','3030'),
(50414,7510,'Minutage','37’27 \n'),
(50415,7510,'Images','Chat  noir  descendant  les  escaliers  au  ralenti. \n *De* *l’origine* *du* *XXI* *siècle* (2000), Jean-Luc  Godard. \n'),
(50416,7510,'VoixOffIn','Le  sort  de  la  France \n'),
(50417,7510,'BandeSon','Silence. \n'),
(50418,7510,'Ecrits','\n'),
(50419,7510,'_product_image_gallery',''),
(50420,7511,'_pingme','1'),
(50421,7511,'_encloseme','1'),
(50422,7511,'Index','3040'),
(50423,7511,'Minutage','37’29 \n'),
(50424,7511,'Images','Surexposé  :  homme  se  traînant  péniblement  vers  une  chaise.  \n *Docteur* *Jerry* *et* *Mister* *Love* (1963),  Jerry  Lewis. \n'),
(50425,7511,'VoixOffIn','Suivait  celui  de  l’Amérique.  Comme  dans  les  contes  romantiques  allemandes,  le  chat \n'),
(50426,7511,'BandeSon','Id. \n'),
(50427,7511,'Ecrits','\n'),
(50428,7511,'_product_image_gallery',''),
(50429,7512,'_pingme','1'),
(50430,7512,'_encloseme','1'),
(50431,7512,'Index','3050'),
(50432,7512,'Minutage','37’37 \n'),
(50433,7512,'Images','Noir. \n'),
(50434,7512,'VoixOffIn','qui  éprouve  à  son  tour  les  amours \n'),
(50435,7512,'BandeSon','Id. \n'),
(50436,7512,'Ecrits','\n'),
(50437,7512,'_product_image_gallery',''),
(50438,7513,'_pingme','1'),
(50439,7513,'_encloseme','1'),
(50440,7513,'Index','3060'),
(50441,7513,'Minutage','37’42 \n'),
(50442,7513,'Images','Pieds  marchant  au  milieu  de  l\'eau.  \n *La* *couleur* *de* *la* *grenade* (1968), Sergei  Parajanov. \n'),
(50443,7513,'VoixOffIn','et  les  ambitions  de  son  maître  et  les  rend  dérisoires.  \n'),
(50444,7513,'BandeSon','Id. \n'),
(50445,7513,'Ecrits','\n'),
(50446,7513,'_product_image_gallery',''),
(50447,7514,'_pingme','1'),
(50448,7514,'_encloseme','1'),
(50449,7514,'Index','3070'),
(50450,7514,'Minutage','37’44 \n'),
(50451,7514,'Images','Pieds  marchant  dans  la  rue.  \n *Les* *Olvidados* (1950), Luis  Buñuel. \n'),
(50452,7514,'VoixOffIn','\n'),
(50453,7514,'BandeSon','Cloche  d’enterrement.  \n'),
(50454,7514,'Ecrits','\n'),
(50455,7514,'_product_image_gallery',''),
(50456,7515,'_pingme','1'),
(50457,7515,'_encloseme','1'),
(50458,7515,'Index','3080'),
(50459,7515,'Minutage','37’46 \n'),
(50460,7515,'Images','Photographie  de  Marilyn  Monroe.  \n *Histoire* *(**s**)* *du* *cinéma* *4b* (1988 - 98), Jean-Luc  Godard. \n'),
(50461,7515,'VoixOffIn','\n'),
(50462,7515,'BandeSon','Silence. \n'),
(50463,7515,'Ecrits','\n'),
(50464,7515,'_product_image_gallery',''),
(50465,7516,'_pingme','1'),
(50466,7516,'_encloseme','1'),
(50467,7516,'Index','3090'),
(50468,7516,'Minutage','37’47 \n'),
(50469,7516,'Images','Homme  et  jeune  femme  sous  la  pluie.  \n *Le* *premier* *maître* (1965), Andreï  Kontchalovski. *De* *l’origine* *du* *XXI* *siècle* (2000), Jean-Luc  Godard. \n'),
(50470,7516,'VoixOffIn','\n'),
(50471,7516,'BandeSon','Id. \n'),
(50472,7516,'Ecrits','\n'),
(50473,7516,'_product_image_gallery',''),
(50474,7517,'_pingme','1'),
(50475,7517,'_encloseme','1'),
(50476,7517,'Index','3100'),
(50477,7517,'Minutage','37’50 \n'),
(50478,7517,'Images','Visage  de  femme  aux  mains  jointes  dans  un  geste  de  prière. En  tons  rouges  : \n détail  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'),
(50479,7517,'VoixOffIn','\n'),
(50480,7517,'BandeSon','Id. \n'),
(50481,7517,'Ecrits','\n'),
(50482,7517,'_product_image_gallery',''),
(50483,7518,'_pingme','1'),
(50484,7518,'_encloseme','1'),
(50485,7518,'Index','3110'),
(50486,7518,'Minutage','37’51 \n'),
(50487,7518,'Images','Jean-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.  A  côté, *JLG* */* *JLG* (1995),  Jean-Luc  Godard. *Histoire* *(**s**)* *du* *cinéma* *3a* (1988 - 98), Jean-Luc  Godard. \n'),
(50488,7518,'VoixOffIn','\n'),
(50489,7518,'BandeSon','*Klavierquintett**,* *Op**.* *18*,  *Moderato* *con* *moto* (1946), Mieczysław  Weinberg. \n'),
(50490,7518,'_product_image_gallery',''),
(50491,7519,'_pingme','1'),
(50492,7519,'_encloseme','1'),
(50493,7519,'Index','3120'),
(50494,7519,'Minutage','37’59 \n'),
(50495,7519,'Images','Iris  :  détail,  un  visage.  \n *Judith* *et* *Holopherne* (1820 - 23), Francisco  de  Goya. *Histoire* *(**s**)* *du* *cinéma* *3a* (1988 - 98), Jean-Luc  Godard. \n'),
(50496,7519,'VoixOffIn','-  Pourquoi  Sarajevo  ? \n -  On  dit  deux  cents  villages  brûlés \n il  n’y  en  a  que  quatre  vingt  dix  neuf \n ce  que  vous  appelez  la  peste \n n’est  que  le  typhus \n toutes  les  femmes  n’ont  pas  été  violées \n \n'),
(50497,7519,'BandeSon','Cloche  d’enterrement  et  silence. \n'),
(50498,7519,'Ecrits','Des  ténèbres \n'),
(50499,7519,'_product_image_gallery',''),
(50500,7520,'_pingme','1'),
(50501,7520,'_encloseme','1'),
(50502,7520,'Index','3130'),
(50503,7520,'Minutage','38’10 \n'),
(50504,7520,'Images','Noir. \n'),
(50505,7520,'VoixOffIn','toutes  les  filles  n’ont  pas  été  vendues \n quelques - unes  ont  échappé \n on  a  châtré  les  prisonniers \n'),
(50506,7520,'BandeSon','Id. \n'),
(50507,7520,'Ecrits','\n'),
(50508,7520,'_product_image_gallery',''),
(50509,7521,'_pingme','1'),
(50510,7521,'_encloseme','1'),
(50511,7521,'Index','3140'),
(50512,7521,'Minutage','38’15 \n'),
(50513,7521,'Images','Détail  du  visage  d\'une  femme.  \n *Balcon* (1868),  Edouard  Manet. *Histoire* *(**s**)* *du* *cinéma* *3a* (1988 - 98), Jean-Luc  Godard. \n'),
(50514,7521,'VoixOffIn','mais  on  leur  a  aussi  coupé  la  tête … \n - Parce  que  la  Palestine \n -... à  la  pointe  d’une  baïonnette.  (Jean-Luc  Godard) \n *Pour* *la* *Serbie* (1876), Victor  Hugo. \n'),
(50515,7521,'BandeSon','Id. \n'),
(50516,7521,'Ecrits','Je  sais  à  quoi  tu  penses \n'),
(50517,7521,'_product_image_gallery',''),
(50518,7522,'_pingme','1'),
(50519,7522,'_encloseme','1'),
(50520,7522,'Index','3150'),
(50521,7522,'Minutage','38’27 \n'),
(50522,7522,'Images','Noir. \n'),
(50523,7522,'VoixOffIn','Et  cetera,  et  cetera.  (Jean-Luc  Godard) \n'),
(50524,7522,'BandeSon','Silence. \n'),
(50525,7522,'Ecrits','\n'),
(50526,7522,'_product_image_gallery',''),
(50527,7523,'_pingme','1'),
(50528,7523,'_encloseme','1'),
(50529,7523,'Index','3160'),
(50530,7523,'Minutage','38’31 \n'),
(50531,7523,'Images','Quatrièmes  de  couverture  des  exemplaires  des  volumes  de *l\'Esprit* *des* *lois* (1748),  Montesquieu. \n'),
(50532,7523,'VoixOffIn','C\'est  en  cherchant  à  instruire  les  hommes,  que  l\'on  peut  pratiquer  cette  vertu  générale  qui  comprend  l\'amour  de  tous.  L\'homme …  \n que  l\'on  peut  pratiquer  cette  vertu  générale  qui  comprend  l\'amour  de  tous. \n'),
(50533,7523,'BandeSon','Id. \n'),
(50534,7523,'Ecrits','\n'),
(50535,7523,'_product_image_gallery',''),
(50536,7524,'_pingme','1'),
(50537,7524,'_encloseme','1'),
(50538,7524,'Index','3170'),
(50539,7524,'Minutage','38’58 \n'),
(50540,7524,'Images','Hommes  encagoulés  de  blanc  sur  le  toit  d\'une  voiture  avec  une  croix  en  bois  sur  le  coffre. \n'),
(50541,7524,'VoixOffIn','L\'homme,  l’homme \n'),
(50542,7524,'BandeSon','Id. \n'),
(50543,7524,'Ecrits','\n'),
(50544,7524,'_product_image_gallery',''),
(50545,7525,'_pingme','1'),
(50546,7525,'_encloseme','1'),
(50547,7525,'Index','3180'),
(50548,7525,'Minutage','39’00 \n'),
(50549,7525,'Images','Au  ralenti  :  homme  ouvrant  un  canif  avec  sa  main.  \n *M* *le* *maudit* (1931), Fritz  Lang. *Histoire* *(**s**)* *du* *cinéma* *1a* (1988 - 98), Jean-Luc  Godard. \n'),
(50550,7525,'VoixOffIn','cet  être  flexible,  se  pliant  dans  la  société  \n'),
(50551,7525,'BandeSon','Id. \n'),
(50552,7525,'Ecrits','\n'),
(50553,7525,'_product_image_gallery',''),
(50554,7526,'_pingme','1'),
(50555,7526,'_encloseme','1'),
(50556,7526,'Index','3190'),
(50557,7526,'Minutage','39’07 \n'),
(50558,7526,'Images','Homme  tenant  un  appareil  photo.  \n'),
(50559,7526,'VoixOffIn','aux  pensées  \n'),
(50560,7526,'BandeSon','Id. \n'),
(50561,7526,'Ecrits','\n'),
(50562,7526,'_product_image_gallery',''),
(50563,7527,'_pingme','1'),
(50564,7527,'_encloseme','1'),
(50565,7527,'Index','3200'),
(50566,7527,'Minutage','39’09 \n'),
(50567,7527,'Images','Femme  mourant  dans  les  bras  d\'un  homme  et  s\'effondrant  sur  le  sol.  \n'),
(50568,7527,'VoixOffIn','et  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). \n *L’esprit* *des* *lois* (1748), Montesquieu. \n'),
(50569,7527,'BandeSon','Id. \n'),
(50570,7527,'Ecrits','\n'),
(50571,7527,'_product_image_gallery',''),
(50572,7528,'_pingme','1'),
(50573,7528,'_encloseme','1'),
(50574,7528,'Index','3210'),
(50575,7528,'Minutage','39’30 \n'),
(50576,7528,'Images','Homme  poussant  un  autre  homme  au  sol.  \n *Francesco**,* *giullare* *di* *dio* (1950), Roberto  Rossellini. \n'),
(50577,7528,'VoixOffIn','\n'),
(50578,7528,'BandeSon','Id. \n'),
(50579,7528,'Ecrits','\n'),
(50580,7528,'_product_image_gallery',''),
(50581,7529,'_pingme','1'),
(50582,7529,'_encloseme','1'),
(50583,7529,'Index','3220'),
(50584,7529,'Minutage','39’39 \n'),
(50585,7529,'Images','Photographie  d\'un  réalisateur  regardant  à  travers  une  caméra  \n'),
(50586,7529,'VoixOffIn','\n'),
(50587,7529,'BandeSon','Id. \n'),
(50588,7529,'Ecrits','\n'),
(50589,7529,'_product_image_gallery',''),
(50590,7530,'_pingme','1'),
(50591,7530,'_encloseme','1'),
(50592,7530,'Index','3230'),
(50593,7530,'Minutage','39’46 \n'),
(50594,7530,'Images','Saturé  et  ouverture  iris  entourée  de  noir  :  mains  d\'une  femme  avec  des  ciseaux  coupant  une  pellicule. \n'),
(50595,7530,'VoixOffIn','- Books ? \n - Yeah,  in  the  last  barrel \n - Books \n \n'),
(50596,7530,'BandeSon','Id. \n'),
(50597,7530,'Ecrits','\n'),
(50598,7530,'_product_image_gallery',''),
(50599,7531,'_pingme','1'),
(50600,7531,'_encloseme','1'),
(50601,7531,'Index','3240'),
(50602,7531,'Minutage','39’48 \n'),
(50603,7531,'Images','Homme  trouvant  un  livre  et  le  lisant,  pendant  que  d\'autres  enfants  et  adultes  l\'entourent  avec  intérêt. *\n* *Vers* *sa* *destinée* (1939), John  Ford. \n'),
(50604,7531,'VoixOffIn','-  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'),
(50605,7531,'BandeSon','Id. \n'),
(50606,7531,'Ecrits','\n'),
(50607,7531,'_product_image_gallery',''),
(50608,7532,'_pingme','1'),
(50609,7532,'_encloseme','1'),
(50610,7532,'Index','3250'),
(50611,7532,'Minutage','40’07 \n'),
(50612,7532,'Images','Noir. \n'),
(50613,7532,'VoixOffIn','\n'),
(50614,7532,'BandeSon','Id. \n'),
(50615,7532,'Ecrits','\n'),
(50616,7532,'_product_image_gallery',''),
(50617,7533,'_pingme','1'),
(50618,7533,'_encloseme','1'),
(50619,7533,'Index','3260'),
(50620,7533,'Minutage','40’10 \n'),
(50621,7533,'Images','Homme  allongé,  les  jambes  contre  un  arbre,  un  livre  à  la  main. *\n* *Vers* *sa* *destinée* (1939), John  Ford. \n'),
(50622,7533,'VoixOffIn','A  bas  le  roi  ! \n Il  a  dix  femmes  dans  son  lit  pour  y  passer  de  folles  nuits.  A  Bas  le  roi  ! \n Vive  la  loi  !  Vive  la  loi  ! \n Vive  le  roi  !  Peut  contenter  d’une  traite.  A  bas  la  loi  ! \n *Chanson* *paillarde* *républicaine**.* *\n*'),
(50623,7533,'BandeSon','Accordéon,  voix  féminine. \n'),
(50624,7533,'Ecrits','\n'),
(50625,7533,'_product_image_gallery',''),
(50626,7534,'_pingme','1'),
(50627,7534,'_encloseme','1'),
(50628,7534,'Index','3270'),
(50629,7534,'Minutage','40’32 \n'),
(50630,7534,'Images','Homme  en  menaçant  et  poussant  un  autre  dans  des  escaliers.  \n *Le* *Chaos* (2007), Youssef  Chahine. \n'),
(50631,7534,'VoixOffIn','\n'),
(50632,7534,'BandeSon','Silence. \n'),
(50633,7534,'Ecrits','\n'),
(50634,7534,'_product_image_gallery',''),
(50635,7535,'_pingme','1'),
(50636,7535,'_encloseme','1'),
(50637,7535,'Index','3280'),
(50638,7535,'Minutage','40’36 \n'),
(50639,7535,'Images','Noir. \n'),
(50640,7535,'VoixOffIn','\n'),
(50641,7535,'BandeSon','Id. \n'),
(50642,7535,'Ecrits','\n'),
(50643,7535,'_product_image_gallery',''),
(50644,7536,'_pingme','1'),
(50645,7536,'_encloseme','1'),
(50646,7536,'Index','3290'),
(50647,7536,'Minutage','40’39 \n'),
(50648,7536,'Images','Au  ralenti  :  homme  souriant,  les  dents  découvertes.  \n *Freaks* (1939),  Tod  Browning. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(50649,7536,'VoixOffIn','\n'),
(50650,7536,'BandeSon','Id. \n'),
(50651,7536,'Ecrits','\n'),
(50652,7536,'_product_image_gallery',''),
(50653,7537,'_pingme','1'),
(50654,7537,'_encloseme','1'),
(50655,7537,'Index','3300'),
(50656,7537,'Minutage','40’44 \n'),
(50657,7537,'Images','Femme  nue,  homme  lui  lèchant  l’anus.  \n Extrait  d’un  film  pornographique.  \n *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(50658,7537,'VoixOffIn','\n'),
(50659,7537,'BandeSon','Id. \n'),
(50660,7537,'Ecrits','\n'),
(50661,7537,'_product_image_gallery',''),
(50662,7538,'_pingme','1'),
(50663,7538,'_encloseme','1'),
(50664,7538,'Index','3310'),
(50665,7538,'Minutage','40’51 \n \n \n'),
(50666,7538,'Images','Homme  riant,  et  se  couvrant  la  bouche  avec  la  main.  \n *Freaks* (1939),  Tod  Browning. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(50667,7538,'VoixOffIn','\n'),
(50668,7538,'BandeSon','Id. et *Arcadiana**,* *Op**.* *12* *: * *IV**.* *Et* *…* *(**tango* *mortale*)  (1994),  Thomas  Adès. \n'),
(50669,7538,'Ecrits','\n'),
(50670,7538,'_product_image_gallery',''),
(50671,7539,'_pingme','1'),
(50672,7539,'_encloseme','1'),
(50673,7539,'Index','3320'),
(50674,7539,'Minutage','40’57 \n'),
(50675,7539,'Images','Surexposé,  en  noir  et  blanc  :  François  Truffaut. \n'),
(50676,7539,'VoixOffIn','\n'),
(50677,7539,'BandeSon','*Arcadiana**,* *Op**.* *12* *: * *IV**.* *Et* *…* *(**tango* *mortale*)  (1994),  Thomas  Adès. *\n*'),
(50678,7539,'Ecrits','\n'),
(50679,7539,'_product_image_gallery',''),
(50680,7540,'_pingme','1'),
(50681,7540,'_encloseme','1'),
(50682,7540,'Index','3330'),
(50683,7540,'Minutage','41’00 \n'),
(50684,7540,'Images','Surexposé,  en  noir  et  blanc  :  Jacques  Rivette. \n'),
(50685,7540,'VoixOffIn','\n'),
(50686,7540,'BandeSon','Id. \n'),
(50687,7540,'Ecrits','\n'),
(50688,7540,'_product_image_gallery',''),
(50689,7541,'_pingme','1'),
(50690,7541,'_encloseme','1'),
(50691,7541,'Index','3340'),
(50692,7541,'Minutage','41’04 \n'),
(50693,7541,'Images','Surexposé,  en  noir  et  blanc  :  Eric  Rohmer. \n'),
(50694,7541,'VoixOffIn','On  sent  que  l’on  tombera.  Doit  tomber. \n Va  tomber. \n'),
(50695,7541,'BandeSon','Id. \n'),
(50696,7541,'Ecrits','\n'),
(50697,7541,'_product_image_gallery',''),
(50698,7542,'_pingme','1'),
(50699,7542,'_encloseme','1'),
(50700,7542,'Index','3350'),
(50701,7542,'Minutage','41’08 \n'),
(50702,7542,'Images','Noir. \n'),
(50703,7542,'VoixOffIn','\n'),
(50704,7542,'BandeSon','Id. \n'),
(50705,7542,'Ecrits','le  secret  et  la  loi \n'),
(50706,7542,'_product_image_gallery',''),
(50707,7543,'_pingme','1'),
(50708,7543,'_encloseme','1'),
(50709,7543,'Index','3360'),
(50710,7543,'Minutage','41’16 \n'),
(50711,7543,'Images','Saturé  :  femme  attachée  à  un  poteau,  et  brûlée  vive.  \n *Jeanne* *au* *bûcher* (1954)  Roberto  Rossellini. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard.  \n'),
(50712,7543,'VoixOffIn','\n'),
(50713,7543,'BandeSon','Id. \n'),
(50714,7543,'Ecrits','\n'),
(50715,7543,'_product_image_gallery',''),
(50716,7544,'_pingme','1'),
(50717,7544,'_encloseme','1'),
(50718,7544,'Index','3370'),
(50719,7544,'Minutage','41’30 \n'),
(50720,7544,'Images','Noir. \n'),
(50721,7544,'VoixOffIn','\n'),
(50722,7544,'BandeSon','Id. \n'),
(50723,7544,'Ecrits','\n'),
(50724,7544,'_product_image_gallery',''),
(50725,7545,'_pingme','1'),
(50726,7545,'_encloseme','1'),
(50727,7545,'Index','3380'),
(50728,7545,'Minutage','41’32  \n'),
(50729,7545,'Images','Homme  marchant  sous  un  arbre. \n'),
(50730,7545,'VoixOffIn','Qu’est - ce  que  cela  fait  ?  Tout  est  grâce.  Je  crois  qu’il  est  mort  presque  aussitôt.  (Jean-Luc  Godard).  \n *Journal* *d\'un* *curé* *de* *campagne* (1951),  Robert  Bresson. \n \n'),
(50731,7545,'BandeSon','Id. \n'),
(50732,7545,'Ecrits','\n'),
(50733,7545,'_product_image_gallery',''),
(50734,7546,'_pingme','1'),
(50735,7546,'_encloseme','1'),
(50736,7546,'Index','3390'),
(50737,7546,'Minutage','41’37 \n'),
(50738,7546,'Images','Chars  traversant  une  forêt. \n'),
(50739,7546,'VoixOffIn','\n'),
(50740,7546,'BandeSon','Id. \n'),
(50741,7546,'Ecrits','\n'),
(50742,7546,'_product_image_gallery',''),
(50743,7547,'_pingme','1'),
(50744,7547,'_encloseme','1'),
(50745,7547,'Index','3400'),
(50746,7547,'Minutage','41’41 \n'),
(50747,7547,'Images','Noir. \n'),
(50748,7547,'VoixOffIn','\n'),
(50749,7547,'BandeSon','Silence. \n'),
(50750,7547,'Ecrits','\n'),
(50751,7547,'_product_image_gallery',''),
(50752,7548,'_pingme','1'),
(50753,7548,'_encloseme','1'),
(50754,7548,'Index','3410'),
(50755,7548,'Minutage','41’43 \n'),
(50756,7548,'Images','Hommes  courbés  à  genoux  ponçant  un  parquet.  \n *Les* *Raboteurs* *de * *parquet* (1875),  Gustave  Caillebotte. \n'),
(50757,7548,'VoixOffIn','Un  homme  que  la  justice  a  retranché  du  nombre  des  vivants  \n'),
(50758,7548,'BandeSon','Id. \n'),
(50759,7548,'Ecrits','\n'),
(50760,7548,'_product_image_gallery',''),
(50761,7549,'_pingme','1'),
(50762,7549,'_encloseme','1'),
(50763,7549,'Index','3420'),
(50764,7549,'Minutage','41’47 \n'),
(50765,7549,'Images','Homme  marchant  derrière  les  barreaux  d\'une  prison. \n *La* *faux* *coupable* (1956), Alfred  Hitchcock. \n'),
(50766,7549,'VoixOffIn','appartient  au  Parquet.  Le  Parquet  est  souverain  @ \n'),
(50767,7549,'BandeSon','Id. \n'),
(50768,7549,'Ecrits','\n'),
(50769,7549,'_product_image_gallery',''),
(50770,7550,'_pingme','1'),
(50771,7550,'_encloseme','1'),
(50772,7550,'Index','3430'),
(50773,7550,'Minutage','41’54 \n'),
(50774,7550,'Images','Noir. \n'),
(50775,7550,'VoixOffIn','il  ne  dépend  de  personne,  il  ne  relève  que  de  sa  conscience.  \n'),
(50776,7550,'BandeSon','Id. \n'),
(50777,7550,'Ecrits','\n'),
(50778,7550,'_product_image_gallery',''),
(50779,7551,'_pingme','1'),
(50780,7551,'_encloseme','1'),
(50781,7551,'Index','3440'),
(50782,7551,'Minutage','42’00 \n'),
(50783,7551,'Images','Homme  serrant  les  poings.  \n *Le* *faux* *coupable* (1956), Alfred  Hitchcock. \n'),
(50784,7551,'VoixOffIn','La  prison  appartient  au  Parquet \n'),
(50785,7551,'BandeSon','Id. \n'),
(50786,7551,'Ecrits','\n'),
(50787,7551,'_product_image_gallery',''),
(50788,7552,'_pingme','1'),
(50789,7552,'_encloseme','1'),
(50790,7552,'Index','3450'),
(50791,7552,'Minutage','42’03 \n'),
(50792,7552,'Images','Noir. \n'),
(50793,7552,'VoixOffIn','il  en  est \n'),
(50794,7552,'BandeSon','Id. \n'),
(50795,7552,'Ecrits','\n'),
(50796,7552,'_product_image_gallery',''),
(50797,7553,'_pingme','1'),
(50798,7553,'_encloseme','1'),
(50799,7553,'Index','3460'),
(50800,7553,'Minutage','42’06 \n'),
(50801,7553,'Images','Juge  enjoinant  à  une  femme  de  garder  le  silence*.* *\n* *Jour* *de* *colère* (1943),  Carl  Theodor  Dreyer. \n'),
(50802,7553,'VoixOffIn','le  maître  absolu.  (Jean-Luc  Godard) *\n* *Scènes* *de* *la* *vie* *parisienne* (1820),  Honoré  Balzac. \n'),
(50803,7553,'BandeSon','Id. \n'),
(50804,7553,'Ecrits','\n'),
(50805,7553,'_product_image_gallery',''),
(50806,7554,'_pingme','1'),
(50807,7554,'_encloseme','1'),
(50808,7554,'Index','3470'),
(50809,7554,'Minutage','42’10 \n'),
(50810,7554,'Images','Homme  marchant  dans  un  long  couloir  obscure.  \n *La* *dame* *de* *Shanghai* (1948), Orson  Welles. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(50811,7554,'VoixOffIn','-  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. *\n* *Wyatt* *Earp* (1994), Lawrence  Kasdan. \n'),
(50812,7554,'BandeSon','Id. \n'),
(50813,7554,'Ecrits','- Tais  toi  ! \n'),
(50814,7554,'_product_image_gallery',''),
(50815,7555,'_pingme','1'),
(50816,7555,'_encloseme','1'),
(50817,7555,'Index','3480'),
(50818,7555,'Minutage','42’22 \n'),
(50819,7555,'Images','Noir. \n'),
(50820,7555,'VoixOffIn','*\n*'),
(50821,7555,'BandeSon','*Insight* (2002*), * Dobrinka  Tabakova. \n'),
(50822,7555,'Ecrits','\n'),
(50823,7555,'_product_image_gallery',''),
(50824,7556,'_pingme','1'),
(50825,7556,'_encloseme','1'),
(50826,7556,'Index','3490'),
(50827,7556,'Minutage','42’23 \n'),
(50828,7556,'Images','Saturé  :  hommes  marchant  en  rang,  les  mains  au - dessus  de  la  tête.  En  arrière - plan  :  fumée  d’incendie.  \n *Tout* *va* *bien* (1972),  Jean  Luc  Godard. \n'),
(50829,7556,'VoixOffIn','\n'),
(50830,7556,'BandeSon','Id. \n'),
(50831,7556,'Ecrits','\n'),
(50832,7556,'_product_image_gallery',''),
(50833,7557,'_pingme','1'),
(50834,7557,'_encloseme','1'),
(50835,7557,'Index','3500'),
(50836,7557,'Minutage','42’32 \n'),
(50837,7557,'Images','Au  ralenti  :  homme  désignant  de  la  main  un  point  hors - champ.  \n *Alexandre* *Nevski* (1938),  Sergueï  Eisenstein  et  Dmitri  Vassiliev. \n'),
(50838,7557,'VoixOffIn','\n'),
(50839,7557,'BandeSon','Id. \n'),
(50840,7557,'Ecrits','\n'),
(50841,7557,'_product_image_gallery',''),
(50842,7558,'_pingme','1'),
(50843,7558,'_encloseme','1'),
(50844,7558,'Index','3510'),
(50845,7558,'Minutage','42’39 \n'),
(50846,7558,'Images','Noir. \n'),
(50847,7558,'VoixOffIn','\n'),
(50848,7558,'BandeSon','Id. \n'),
(50849,7558,'Ecrits','\n'),
(50850,7558,'_product_image_gallery',''),
(50851,7559,'_pingme','1'),
(50852,7559,'_encloseme','1'),
(50853,7559,'Index','3520'),
(50854,7559,'Minutage','42’44 \n'),
(50855,7559,'Images','Prisonnier  nu,  assis  et  recroquevillé.  \n *Eau* *argentée*, *Syrie* *autoportrait* (2014), Ossama  Mohammad  et  Wiam  Simav  Bedirxan. \n'),
(50856,7559,'VoixOffIn','\n'),
(50857,7559,'BandeSon','Id. \n'),
(50858,7559,'Ecrits','\n'),
(50859,7559,'_product_image_gallery',''),
(50860,7560,'_pingme','1'),
(50861,7560,'_encloseme','1'),
(50862,7560,'Index','3530'),
(50863,7560,'Minutage','42’52 \n'),
(50864,7560,'Images','Femme  avec  un  foulard  autour  de  la  bouche  et  du  nez  regardant  à  travers  les  barreaux.  \n *Tout* *va* *bien* (1972),  Jean  Luc  Godard. *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98), Jean-Luc  Godard. \n'),
(50865,7560,'VoixOffIn','\n'),
(50866,7560,'BandeSon','Id. \n'),
(50867,7560,'Ecrits','\n'),
(50868,7560,'_product_image_gallery',''),
(50869,7561,'_pingme','1'),
(50870,7561,'_encloseme','1'),
(50871,7561,'Index','3540'),
(50872,7561,'Minutage','42’57 \n'),
(50873,7561,'Images','Prisonnier  d\'un  camp  de  concentration  regardant  à  travers  la  fenêtre  d’un  train. \n *Nuit* *et* *brouillard* (1956), Alain  Resnais. *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98), Jean-Luc  Godard. \n'),
(50874,7561,'VoixOffIn','\n'),
(50875,7561,'BandeSon','Id. \n'),
(50876,7561,'Ecrits','\n'),
(50877,7561,'_product_image_gallery',''),
(50878,7562,'_pingme','1'),
(50879,7562,'_encloseme','1'),
(50880,7562,'Index','3550'),
(50881,7562,'Minutage','42’59 \n'),
(50882,7562,'Images','Soldats. \n'),
(50883,7562,'VoixOffIn','\n'),
(50884,7562,'BandeSon','Id. \n'),
(50885,7562,'Ecrits','\n'),
(50886,7562,'_product_image_gallery',''),
(50887,7563,'_pingme','1'),
(50888,7563,'_encloseme','1'),
(50889,7563,'Index','3560'),
(50890,7563,'Minutage','43’00 \n'),
(50891,7563,'Images','Manifestation  appelant  à  la  grève  générale  diffusée  par  la  programme  télévisé  français *C\'est* *dans* *l\'air**.* *\n*'),
(50892,7563,'VoixOffIn','Grève  générale, \n Jusqu’au  retrait  total.  (2x) \n \n'),
(50893,7563,'BandeSon','Id. \n'),
(50894,7563,'Ecrits','\n'),
(50895,7563,'_product_image_gallery',''),
(50896,7564,'_pingme','1'),
(50897,7564,'_encloseme','1'),
(50898,7564,'Index','3570'),
(50899,7564,'Minutage','43’04 \n'),
(50900,7564,'Images','Homme  dans  l\'obscurité,  le  menton  appuyé  sur  la  paume  de  la  main. \n *Fantômas* (1913),  Louis  Feuillade. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(50901,7564,'VoixOffIn','-  Et  toujours  le  même  slogan,  et  la  même  connerie. \n \n Tous  ensemble,  tous  ensemble  ! \n'),
(50902,7564,'BandeSon','Id. \n'),
(50903,7564,'Ecrits','\n'),
(50904,7564,'_product_image_gallery',''),
(50905,7565,'_pingme','1'),
(50906,7565,'_encloseme','1'),
(50907,7565,'Index','3580'),
(50908,7565,'Minutage','43’13 \n'),
(50909,7565,'Images','Blanc \n'),
(50910,7565,'VoixOffIn','Grève  générale  ! \n Tous  ensemble,  tous  ensemble  ! \n Il  faut  que  ça  continue,  il  faut  que  ça  continue  pour  faire  céder  ce  gouvernement.  (Discours  de  François  Ruffin) *\n*'),
(50911,7565,'BandeSon','Id. \n'),
(50912,7565,'Ecrits','la  société \n est  fondée \n sur  un  crime \n en  commun \n *La* *violence* *et* *le* *sacré* (1972),  René  Girard. \n'),
(50913,7565,'_product_image_gallery',''),
(50914,7566,'_pingme','1'),
(50915,7566,'_encloseme','1'),
(50916,7566,'Index','3590'),
(50917,7566,'Minutage','43’20 \n'),
(50918,7566,'Images','Homme  recourbé,  la  tête  posée  sur  un  bloc  de  bois,  condamné  à  mort,  puis  décapité. *Le* *procès* *de* *Charles* *I* (1963), Guy  Lessertisseur. \n'),
(50919,7566,'VoixOffIn','Souvenez - vous  !  (Sigmund  Freud) \n'),
(50920,7566,'BandeSon','Id. \n'),
(50921,7566,'Ecrits','\n'),
(50922,7566,'_product_image_gallery',''),
(50923,7567,'_pingme','1'),
(50924,7567,'_encloseme','1'),
(50925,7567,'Index','3600'),
(50926,7567,'Minutage','43’35 \n'),
(50927,7567,'Images','Au  ralenti  :  personnes  dans  le  procès  de  Nuremberg  (1945 - 46). \n'),
(50928,7567,'VoixOffIn','\n'),
(50929,7567,'BandeSon','Silence. \n'),
(50930,7567,'Ecrits','\n'),
(50931,7567,'_product_image_gallery',''),
(50932,7568,'_pingme','1'),
(50933,7568,'_encloseme','1'),
(50934,7568,'Index','3610'),
(50935,7568,'Minutage','43’46 \n'),
(50936,7568,'Images','Noir. \n'),
(50937,7568,'VoixOffIn','\n'),
(50938,7568,'BandeSon','*Insight* (2002*), * Dobrinka  Tabakova. \n'),
(50939,7568,'Ecrits','\n'),
(50940,7568,'_product_image_gallery',''),
(50941,7569,'_pingme','1'),
(50942,7569,'_encloseme','1'),
(50943,7569,'Index','3620'),
(50944,7569,'Minutage','43’50 \n'),
(50945,7569,'Images','Saturé  et  surexposé  :  femme  et  fleurs  géantes.  \n *La* *Fée* *Libellule* (1908),  Georges  Méliès. *Histoire* *(**s**)* *du* *cinéma* *2a* (1988 - 98), Jean-Luc  Godard. \n'),
(50946,7569,'VoixOffIn','\n'),
(50947,7569,'BandeSon','Id. \n'),
(50948,7569,'Ecrits','\n'),
(50949,7569,'_product_image_gallery',''),
(50950,7570,'_pingme','1'),
(50951,7570,'_encloseme','1'),
(50952,7570,'Index','3630'),
(50953,7570,'Minutage','44’04 \n'),
(50954,7570,'Images','Photographie  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'),
(50955,7570,'VoixOffIn','Devenue  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'),
(50956,7570,'BandeSon','Id. \n'),
(50957,7570,'Ecrits','\n'),
(50958,7570,'_product_image_gallery',''),
(50959,7571,'_pingme','1'),
(50960,7571,'_encloseme','1'),
(50961,7571,'Index','3640'),
(50962,7571,'Minutage','44’12 \n'),
(50963,7571,'Images','Noir. \n'),
(50964,7571,'VoixOffIn','\n'),
(50965,7571,'BandeSon','Id. \n'),
(50966,7571,'Ecrits','\n'),
(50967,7571,'_product_image_gallery',''),
(50968,7572,'_pingme','1'),
(50969,7572,'_encloseme','1'),
(50970,7572,'Index','3650'),
(50971,7572,'Minutage','44’13 \n'),
(50972,7572,'Images','Banc  de  montage.  Puis  en  surimpression  :  détail  de *Gabrielle* *d\'Estrées* *et* *une* *de* *ses* *sœurs* \n (1594), Anonyme,  Ecole  Française.  La  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'),
(50973,7572,'VoixOffIn','non  par  principe,  mais  parce  que  l\'Europe  \n'),
(50974,7572,'BandeSon','Id. et  silence. \n'),
(50975,7572,'Ecrits','\n'),
(50976,7572,'_product_image_gallery',''),
(50977,7573,'_pingme','1'),
(50978,7573,'_encloseme','1'),
(50979,7573,'Index','3660'),
(50980,7573,'Minutage','44’16 \n'),
(50981,7573,'Images','Hommes  prononçant  un  discours  devant  une  foule,  à  la  fin  du  XVII  siècle.  \n'),
(50982,7573,'VoixOffIn','n\'a  pas  les  vertus  nécessaires.  (Jean-Luc  Godard). \n *Mémoire* *de* *la* *reine* *Hortense* (1831), *Hortense* *de* *Beauharnais*. \n'),
(50983,7573,'BandeSon','Silence. \n'),
(50984,7573,'Ecrits','\n'),
(50985,7573,'_product_image_gallery',''),
(50986,7574,'_pingme','1'),
(50987,7574,'_encloseme','1'),
(50988,7574,'Index','3670'),
(50989,7574,'Minutage','44’21 \n'),
(50990,7574,'Images','Plusieurs  personnes  dansant  dans  une  salle. *This* *Country\'s* *Going* *to* *War*, *Duck* *soup* (1933),  Leo  McCarey. \n'),
(50991,7574,'VoixOffIn','\n'),
(50992,7574,'BandeSon','Bande  son  de *This* *Country\'s* *Going* *to* *War*, *Duck* *soup* (1933),  Leo  McCarey.  Et  voix  qui  chantent. \n'),
(50993,7574,'Ecrits','\n'),
(50994,7574,'_product_image_gallery',''),
(50995,7575,'_pingme','1'),
(50996,7575,'_encloseme','1'),
(50997,7575,'Index','3680'),
(50998,7575,'Minutage','44’24 \n'),
(50999,7575,'Images','Noir. \n'),
(51000,7575,'VoixOffIn','Les  rebels,  c’est  vous  ?  Vous  vous  insurgez  contre  l’ordre \n'),
(51001,7575,'BandeSon','Silence. \n'),
(51002,7575,'Ecrits','t \n'),
(51003,7575,'_product_image_gallery',''),
(51004,7576,'_pingme','1'),
(51005,7576,'_encloseme','1'),
(51006,7576,'Index','3690'),
(51007,7576,'Minutage','44’28 \n'),
(51008,7576,'Images','Chat  se  retournant,  l’air  terrifié.  Cartoon  de  Tex  Avery.  En  surimpression  :  texte. *\n* *Histoire* *(**s**)* *du* *cinéma* *4b* (1988 - 98), Jean-Luc  Godard. \n'),
(51009,7576,'VoixOffIn','- Non,  contre  les  privilèges  ! \n \n \n'),
(51010,7576,'BandeSon','Id. *\n*'),
(51011,7576,'Ecrits','montage \n inter \n dit  / \n par \n andré \n bazin \n'),
(51012,7576,'_product_image_gallery',''),
(51013,7577,'_pingme','1'),
(51014,7577,'_encloseme','1'),
(51015,7577,'Index','3700'),
(51016,7577,'Minutage','44’34 \n'),
(51017,7577,'Images','Adolescent  parlant  à  une  caméra,  habillé  en  soldat  avec  un  foulard  sur  la  tête. \n'),
(51018,7577,'VoixOffIn','Devant  nous  de  la  République \n L\'étendard … \n (réécriture  de *La* *Marseillaise**,* paroles  de  l’Abbé  René  Charles  de  Lusson) \n'),
(51019,7577,'BandeSon','Voix  masculine  chantant *La* *Marseillaise**.* \n'),
(51020,7577,'Ecrits','Et  je  vous  invite  à  égorger  les  mécréants \n'),
(51021,7577,'_product_image_gallery',''),
(51022,7578,'_pingme','1'),
(51023,7578,'_encloseme','1'),
(51024,7578,'Index','3710'),
(51025,7578,'Minutage','44’37 \n'),
(51026,7578,'Images','Adolescent  tirant  avec  une  arme  à  feu  sur  un  autre  dans  les  couloirs  d\'une  école*.* *\n* *Elephant* (2003), Gus  Van  Sant. \n'),
(51027,7578,'VoixOffIn','la  sensation  mentale  qu’il  éprouvait  depuis  quelques  temps,  se  transforma  en  un  tourbillon  de  ténèbres \n'),
(51028,7578,'BandeSon','Coup  de  mitraillette. \n'),
(51029,7578,'Ecrits','\n'),
(51030,7578,'_product_image_gallery',''),
(51031,7579,'_pingme','1'),
(51032,7579,'_encloseme','1'),
(51033,7579,'Index','3720'),
(51034,7579,'Minutage','44’41 \n'),
(51035,7579,'Images','Noir. \n'),
(51036,7579,'VoixOffIn','Les  pauvres  gens,  ceux  pour  qui  j’avais  \n'),
(51037,7579,'BandeSon','Silence. \n'),
(51038,7579,'Ecrits','\n'),
(51039,7579,'_product_image_gallery',''),
(51040,7580,'_pingme','1'),
(51041,7580,'_encloseme','1'),
(51042,7580,'Index','3730'),
(51043,7580,'Minutage','44’44 \n'),
(51044,7580,'Images','Au  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*'),
(51045,7580,'VoixOffIn','Je  les  préfère  [les  pauvres] \n'),
(51046,7580,'BandeSon','Id. \n'),
(51047,7580,'Ecrits','\n'),
(51048,7580,'_product_image_gallery',''),
(51049,7581,'_pingme','1'),
(51050,7581,'_encloseme','1'),
(51051,7581,'Index','3740'),
(51052,7581,'Minutage','44’50 \n'),
(51053,7581,'Images','Dessin  :  femme,  homme  et  deux  enfants  manipulant  une  lanterne  magique. \n *Histoire* *(**s**)* *du* *cinéma* *3b* (1988 - 98), Jean-Luc  Godard. *\n*'),
(51054,7581,'VoixOffIn','mais  uniquement  parce  qu\'ils  sont  les  vaincus.  (Jean-Luc  Godard) \n  *Les* *Conquérants* (1928),  André  Malraux. \n'),
(51055,7581,'BandeSon','Id. \n'),
(51056,7581,'Ecrits','\n'),
(51057,7581,'_product_image_gallery',''),
(51058,7582,'_pingme','1'),
(51059,7582,'_encloseme','1'),
(51060,7582,'Index','3750'),
(51061,7582,'Minutage','44’55 \n'),
(51062,7582,'Images','Gris \n'),
(51063,7582,'VoixOffIn','\n'),
(51064,7582,'BandeSon','Id. \n'),
(51065,7582,'Ecrits','\n'),
(51066,7582,'_product_image_gallery',''),
(51067,7583,'_pingme','1'),
(51068,7583,'_encloseme','1'),
(51069,7583,'Index','3760'),
(51070,7583,'Minutage','44’56 \n'),
(51071,7583,'Images','Homme  avec  un  chapeau  mexicain  et  une  moustache,  l\'air  en  colère. \n *Viva* *Villa* *!* (1934),  Jack  Conway. \n'),
(51072,7583,'VoixOffIn','\n'),
(51073,7583,'BandeSon','*\n*'),
(51074,7583,'Ecrits','\n'),
(51075,7583,'_product_image_gallery',''),
(51076,7584,'_pingme','1'),
(51077,7584,'_encloseme','1'),
(51078,7584,'Index','3770'),
(51079,7584,'Minutage','44’58 \n'),
(51080,7584,'Images','Au  ralenti  :  Cavaliers  passant  au - dessus  d’un  jeune  homme  enterré  jusqu’aux  épaules.  \n *Que* *Viva* *Mexico * *!* (1931 - 1979),  Sergueï  Eisenstein. \n'),
(51081,7584,'VoixOffIn','[Bruit  d\'une  voiture  qui  freine  et  accélère]\n Et  bien  des  fois  abandonné  cet  ouvrage \n'),
(51082,7584,'BandeSon','Freinage  et  accélération  de  la  voiture. \n'),
(51083,7584,'Ecrits','\n'),
(51084,7584,'_product_image_gallery',''),
(51085,7585,'_pingme','1'),
(51086,7585,'_encloseme','1'),
(51087,7585,'Index','3780'),
(51088,7585,'Minutage','45’06 \n'),
(51089,7585,'Images','Homme  passant  la  main  à  travers  le  feu  d’une  cheminée.  \n *Les* *visiteurs* *du* *soir* (1942),  Marcel  Carné. \n'),
(51090,7585,'VoixOffIn','Je  suivais  mon  objet  sans  former  de  dessein  @  je  ne  connaissais  ni  les  règles  \n'),
(51091,7585,'BandeSon','Silence. \n'),
(51092,7585,'Ecrits','\n'),
(51093,7585,'_product_image_gallery',''),
(51094,7586,'_pingme','1'),
(51095,7586,'_encloseme','1'),
(51096,7586,'Index','3790'),
(51097,7586,'Minutage','45’15 \n'),
(51098,7586,'Images','Noir. \n'),
(51099,7586,'VoixOffIn','ni  les  exceptions. \n'),
(51100,7586,'BandeSon','Id. \n'),
(51101,7586,'Ecrits','\n'),
(51102,7586,'_product_image_gallery',''),
(51103,7587,'_pingme','1'),
(51104,7587,'_encloseme','1'),
(51105,7587,'Index','3800'),
(51106,7587,'Minutage','45’16 \n'),
(51107,7587,'Images','Paysage  de  jour,  paisible. \n  *JLG* */* *JLG* (1995),  Jean-Luc  Godard.  \n \n En  alternance  :  homme  à  cheval  semblant  mort,  battu  par  le  vent.  \n *Nan* *of* *the* *Music* *Mountain* (1917),  G.  H.  Melford. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(51108,7587,'VoixOffIn','Je  ne  trouvais  la  vérité  que  pour  la  perdre.  (Jean-Luc  Godard).  \n *L’Esprit* *des* *lois* (1887),  Montesquieu. \n \n'),
(51109,7587,'BandeSon','Id. \n'),
(51110,7587,'Ecrits','\n'),
(51111,7587,'_product_image_gallery',''),
(51112,7588,'_pingme','1'),
(51113,7588,'_encloseme','1'),
(51114,7588,'Index','3810'),
(51115,7588,'Minutage','45’19 \n'),
(51116,7588,'Images','Noir. \n'),
(51117,7588,'VoixOffIn','Il  n’y  a  que  de  traits  noir. *Histoire* *de* *l’art*,  «  L’art  moderne  »,  I,  (1921),  Elie  Faure,. \n *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(51118,7588,'BandeSon','Id. \n'),
(51119,7588,'Ecrits','\n'),
(51120,7588,'_product_image_gallery',''),
(51121,7589,'_pingme','1'),
(51122,7589,'_encloseme','1'),
(51123,7589,'Index','3820'),
(51124,7589,'Minutage','45’21 \n'),
(51125,7589,'Images','Saturé  et  surexposé  en  tons  rouges  :  flammes  et  fumée  s\'élevant  à  l\'horizon. \n'),
(51126,7589,'VoixOffIn','\n'),
(51127,7589,'BandeSon','Violons.  Sergei  Sergeyevich  Prokofiev. \n'),
(51128,7589,'Ecrits','\n'),
(51129,7589,'_product_image_gallery',''),
(51130,7590,'_pingme','1'),
(51131,7590,'_encloseme','1'),
(51132,7590,'Index','3830'),
(51133,7590,'Minutage','45’28 \n'),
(51134,7590,'Images','Noir. \n'),
(51135,7590,'VoixOffIn','\n'),
(51136,7590,'BandeSon','Id. \n'),
(51137,7590,'Ecrits','\n'),
(51138,7590,'_product_image_gallery',''),
(51139,7591,'_pingme','1'),
(51140,7591,'_encloseme','1'),
(51141,7591,'Index','3840'),
(51142,7591,'Minutage','45’30 \n'),
(51143,7591,'Images','Couverture  du  livre  de  science - fiction. \n *La* *fin* *du* *A* (1984), A.  E.  Van  Vogt. \n'),
(51144,7591,'VoixOffIn','\n'),
(51145,7591,'BandeSon','Id. \n'),
(51146,7591,'Ecrits','\n'),
(51147,7591,'_product_image_gallery',''),
(51148,7592,'_pingme','1'),
(51149,7592,'_encloseme','1'),
(51150,7592,'Index','3850'),
(51151,7592,'Minutage','45’37 \n'),
(51152,7592,'Images','Écoliers  aux  bras  croisés,  l\'air  sérieux.  \n Luis  Buñuel  (1932), *Las* *Hurdes*. *Liberté* *et* *Patrie* (2002),  Jean-Luc  Godard  et  Anne - Marie  Miéville. \n'),
(51153,7592,'VoixOffIn','-  Vous  êtes  un  drôle  de  pistolet,  c\'est  ça  que  vous  vouliez  dire  à  la  tribune,  pourquoi  vous  ne  l’avez  pas  dit  ?  \n'),
(51154,7592,'BandeSon','Id. \n'),
(51155,7592,'Ecrits','\n'),
(51156,7592,'_product_image_gallery',''),
(51157,7593,'_pingme','1'),
(51158,7593,'_encloseme','1'),
(51159,7593,'Index','3860'),
(51160,7593,'Minutage','45’46 \n'),
(51161,7593,'Images','Fragment  de  texte. \n'),
(51162,7593,'VoixOffIn','-  Je  l\'ai  dit  mais  je  n\'ai  pas  su  me  faire  entendre. \n \n En  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'),
(51163,7593,'BandeSon','Silence. \n'),
(51164,7593,'Ecrits','plus  la  pein  la  la \n dans  la  boue  j \n plus  soif  la  lang \n se  referme  elle \n droite  à  présent  c’ \n l’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'),
(51165,7593,'_product_image_gallery',''),
(51166,7594,'_pingme','1'),
(51167,7594,'_encloseme','1'),
(51168,7594,'Index','3870'),
(51169,7594,'Minutage','45’51 \n'),
(51170,7594,'Images','Au  ralenti  :  foule  se  pressant  et  tendant  les  mains.  \n *Metropolis* (1927),  Fritz  Lang. *Histoire* *(**s**)* *du* *cinéma* *4b* (1988 - 98), Jean-Luc  Godard. \n'),
(51171,7594,'VoixOffIn','C’est  également  une  certaine  interférence  des  événements  qui  embrouille  tout.  (Jean-Luc  Godard).  \n *Guerre* *et* *Paix* (1867), Léon  Tolstoï. \n   \n Les  phares,  éteignez  les  phares !  \n *Nuit* *du* *carrefour* (1932), Jean  Renoir. \n'),
(51172,7594,'BandeSon','Id. \n'),
(51173,7594,'Ecrits','\n'),
(51174,7594,'_product_image_gallery',''),
(51175,7595,'_pingme','1'),
(51176,7595,'_encloseme','1'),
(51177,7595,'Index','3880'),
(51178,7595,'Minutage','46’00 \n'),
(51179,7595,'Images','Noir. \n'),
(51180,7595,'VoixOffIn','\n'),
(51181,7595,'BandeSon','Id. \n'),
(51182,7595,'Ecrits','\n'),
(51183,7595,'_product_image_gallery',''),
(51184,7596,'_pingme','1'),
(51185,7596,'_encloseme','1'),
(51186,7596,'Index','3890'),
(51187,7596,'Minutage','46’02 \n'),
(51188,7596,'Images','Femme  au  nez  en  sang  se  faisant  pousser  par  des  policiers  et  juge  parlant  animeusement.  \n *Vladimir* *et* *Rosa* (1971), Jean-Luc  Godard. \n'),
(51189,7596,'VoixOffIn','Politique,  ça  veut  dire  quoi  politique ?! \n'),
(51190,7596,'BandeSon','Id. \n'),
(51191,7596,'Ecrits','\n'),
(51192,7596,'_product_image_gallery',''),
(51193,7597,'_pingme','1'),
(51194,7597,'_encloseme','1'),
(51195,7597,'Index','3900'),
(51196,7597,'Minutage','46’03 \n'),
(51197,7597,'Images','Juge  parlant  animeusement. *\n* *Vent* *d’est* (1969),  Jean-Luc  Godard  et  Jean - Pierre  Gorin. \n'),
(51198,7597,'VoixOffIn','\n'),
(51199,7597,'BandeSon','Id. \n'),
(51200,7597,'Ecrits','\n'),
(51201,7597,'_product_image_gallery',''),
(51202,7598,'_pingme','1'),
(51203,7598,'_encloseme','1'),
(51204,7598,'Index','3910'),
(51205,7598,'Minutage','46’06 \n'),
(51206,7598,'Images','Juge  en  hauteur,  derrière  le  banc,  dans  une  salle  d\'audience. \n *La* *terreur* *et* *la* *vertu* (1964), Stellio  Lorenzi. \n'),
(51207,7598,'VoixOffIn','Deux  discours  solennels  prononcés  par  un  homme  se  chevauchent.  \n \n Le  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,  \n car  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'),
(51208,7598,'BandeSon','Applaudissements*.* \n'),
(51209,7598,'Ecrits','\n'),
(51210,7598,'_product_image_gallery',''),
(51211,7599,'_pingme','1'),
(51212,7599,'_encloseme','1'),
(51213,7599,'Index','3920'),
(51214,7599,'Minutage','46’24 \n'),
(51215,7599,'Images','Couverture  d’un  exemplaire  de *De* *l’Esprit* *des* *Lois* (1748), Montesquieu. \n'),
(51216,7599,'VoixOffIn','\n'),
(51217,7599,'BandeSon','Applaudissements*.* \n'),
(51218,7599,'Ecrits','\n'),
(51219,7599,'_product_image_gallery',''),
(51220,7600,'_pingme','1'),
(51221,7600,'_encloseme','1'),
(51222,7600,'Index','3930'),
(51223,7600,'Minutage','46’27 \n'),
(51224,7600,'Images','Surexposé  et  saturé  en  tons  rouge  :  photographie  des  manifestations  en  Grèce  (2015), *Alkis* *Konstantinidis*. \n'),
(51225,7600,'VoixOffIn','\n'),
(51226,7600,'BandeSon','*Klavierquintett**,* *Op**.* *18*,  *Moderato* *con* *moto* (1946), Mieczysław  Weinberg. \n'),
(51227,7600,'Ecrits','\n'),
(51228,7600,'_product_image_gallery',''),
(51229,7601,'_pingme','1'),
(51230,7601,'_encloseme','1'),
(51231,7601,'Index','3940'),
(51232,7601,'Minutage','46’42 \n'),
(51233,7601,'Images','Surexposée  et  saturé  en  tons  rouges  et  jaunes  :  presque  illisible. \n'),
(51234,7601,'VoixOffIn','-  Qu’est - ce  qu’elle  dit  ?  J’entends  rien  ! \n \n'),
(51235,7601,'BandeSon','Id. et  vagues \n'),
(51236,7601,'Ecrits','\n'),
(51237,7601,'_product_image_gallery',''),
(51238,7602,'_pingme','1'),
(51239,7602,'_encloseme','1'),
(51240,7602,'Index','3950'),
(51241,7602,'Minutage','46’52 \n'),
(51242,7602,'Images','En  surimpression  :  défilement  d’une  pellicule  dans  un  iris.  Couple  au  projecteur.  \n *La* *Prison* (1949), Ingmar  Bergman. *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98), Jean-Luc  Godard. \n'),
(51243,7602,'VoixOffIn','-  Elle  dit  que  les  pauvres  sauveront  le  monde  \n *Notre* *Musique* (2004), Jean-Luc  Godard. \n'),
(51244,7602,'BandeSon','*Klavierquintett**,* *Op**.* *18*,  *Moderato* *con* *moto* (1946), Mieczysław  Weinberg. \n'),
(51245,7602,'Ecrits','\n'),
(51246,7602,'_product_image_gallery',''),
(51247,7603,'_pingme','1'),
(51248,7603,'_encloseme','1'),
(51249,7603,'Index','3960'),
(51250,7603,'Minutage','46’59 \n'),
(51251,7603,'Images','Noir. \n'),
(51252,7603,'VoixOffIn','\n'),
(51253,7603,'BandeSon','Id. *\n*'),
(51254,7603,'Ecrits','\n'),
(51255,7603,'_product_image_gallery',''),
(51256,7604,'_pingme','1'),
(51257,7604,'_encloseme','1'),
(51258,7604,'Index','3970'),
(51259,7604,'Minutage','47’01 \n'),
(51260,7604,'Images','Femme  mourant  dans  les  bras  d\'une  autre  femme  essayant  de  parler  à  un  homme  devant  elle  répétant  à  haute  voix  ce  qu\'il  entend*.* *\n* *Notre* *Musique* (2004), Jean-Luc  Godard. \n'),
(51261,7604,'VoixOffIn','Ils  ne  demanderont  rien  en  échange.  Ils  ne  savent  pas  le  prix  du  service  rendu.  Ils  feront  cette  colossale  affaire. \n \n'),
(51262,7604,'BandeSon','Brusquement  :  silence. \n'),
(51263,7604,'Ecrits','\n'),
(51264,7604,'_product_image_gallery',''),
(51265,7605,'_pingme','1'),
(51266,7605,'_encloseme','1'),
(51267,7605,'Index','3980'),
(51268,7605,'Minutage','47’46 \n'),
(51269,7605,'Images','Noir. \n'),
(51270,7605,'VoixOffIn','Et … \n'),
(51271,7605,'BandeSon','Id. \n'),
(51272,7605,'Ecrits','\n'),
(51273,7605,'_product_image_gallery',''),
(51274,7606,'_pingme','1'),
(51275,7606,'_encloseme','1'),
(51276,7606,'Index','3990'),
(51277,7606,'Minutage','47’50 \n'),
(51278,7606,'Images','Femme  effrayée  à  la  vue  d\'un  monstre,  puis  s’évanuissant.  \n *La* *belle* *et* *la* *bête* (1946), Jean  Cocteau. *Histoire* *(**s**)* *du* *cinéma* *2b* (1988 - 98), Jean-Luc  Godard. \n'),
(51279,7606,'VoixOffIn','Où  allez - vous  ? \n'),
(51280,7606,'BandeSon','Bande  son  du  film *La* *belle* *et* *la* *bête* (1946), Jean  Cocteau. \n'),
(51281,7606,'Ecrits','\n'),
(51282,7606,'_product_image_gallery',''),
(51283,7607,'_pingme','1'),
(51284,7607,'_encloseme','1'),
(51285,7607,'Index','4000'),
(51286,7607,'Minutage','47’58 \n'),
(51287,7607,'Images','Femme  avec  bâton  à  la  main  et  policier  avec  un  chapeau  saluant  le  publique.  \n *Un* *drame* *chez* *les* *fantoches* (1908),  Emile  Cohl. \n'),
(51288,7607,'VoixOffIn','\n'),
(51289,7607,'BandeSon','Silence. \n'),
(51290,7607,'Ecrits','\n'),
(51291,7607,'_product_image_gallery',''),
(51292,7608,'_pingme','1'),
(51293,7608,'_encloseme','1'),
(51294,7608,'Index','4010'),
(51295,7608,'Minutage','48’00 \n'),
(51296,7608,'Images','Noir. \n'),
(51297,7608,'VoixOffIn','\n'),
(51298,7608,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n \n'),
(51299,7608,'Ecrits','\n'),
(51300,7608,'_product_image_gallery',''),
(51301,7609,'_pingme','1'),
(51302,7609,'_encloseme','1'),
(51303,7609,'Index','4020'),
(51304,7609,'Minutage','48’02 \n'),
(51305,7609,'Images','Noir. \n'),
(51306,7609,'VoixOffIn','\n'),
(51307,7609,'BandeSon','Id. \n'),
(51308,7609,'Ecrits','5 \n LA  RÉGION  CENTRALE  \n (Michael  Snow,  1971) \n'),
(51309,7609,'_product_image_gallery',''),
(51310,7610,'_pingme','1'),
(51311,7610,'_encloseme','1'),
(51312,7610,'Index','4030'),
(51313,7610,'Minutage','48’16 \n'),
(51314,7610,'Images','Saturé  et  au  ralenti :  chemin  avec  des  pierres.  \n *La* *Région* *Centrale* (1971),  Michael  Snow. \n'),
(51315,7610,'VoixOffIn','C’est  une  brève  histoire,  que  celle  de  l’extinction  en  masse  des  espèces.  \n En  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. \n *Une* *brève* *histoire* *de* *l\'extinction* *en* *masse* *des* *espèces* (2010),  Franz  J. \n Broswimmer. \n'),
(51316,7610,'BandeSon','Silence. \n'),
(51317,7610,'Ecrits','\n'),
(51318,7610,'_product_image_gallery',''),
(51319,7611,'_pingme','1'),
(51320,7611,'_encloseme','1'),
(51321,7611,'Index','4040'),
(51322,7611,'Minutage','48’58 \n'),
(51323,7611,'Images','Saturé  et  surexposé  en  tons  rouges  et  jaunes  :  homme  assis. \n'),
(51324,7611,'VoixOffIn','\n'),
(51325,7611,'BandeSon','Id. \n'),
(51326,7611,'Ecrits','\n'),
(51327,7611,'_product_image_gallery',''),
(51328,7612,'_pingme','1'),
(51329,7612,'_encloseme','1'),
(51330,7612,'Index','4050'),
(51331,7612,'Minutage','49’00 \n'),
(51332,7612,'Images','Saturé  et  surexposé  en  tons  bleus  :  presque  illisible. \n'),
(51333,7612,'VoixOffIn','\n'),
(51334,7612,'BandeSon','*Klavierquintett**,* *Op**.* *18*,  *Moderato* *con* *moto* (1946), Mieczysław  Weinberg. \n'),
(51335,7612,'Ecrits','\n'),
(51336,7612,'_product_image_gallery',''),
(51337,7613,'_pingme','1'),
(51338,7613,'_encloseme','1'),
(51339,7613,'Index','4060'),
(51340,7613,'Minutage','49’03 \n'),
(51341,7613,'Images','Homme  portant  un  chapeau  haut  de  forme  et  tenant  une  loupe  devant  son  œil.  \n *Dossier* *Secret* *[**Mr* *Arkadin**]*  (1955), Orson  Welles. \n'),
(51342,7613,'VoixOffIn','\n'),
(51343,7613,'BandeSon','Bande  son  de *Dossier* *Secret* *[**Mr* *Arkadin**]*  (1955), Orson  Welles. \n'),
(51344,7613,'Ecrits','\n'),
(51345,7613,'_product_image_gallery',''),
(51346,7614,'_pingme','1'),
(51347,7614,'_encloseme','1'),
(51348,7614,'Index','4070'),
(51349,7614,'Minutage','49’15 \n'),
(51350,7614,'Images','Noir. \n'),
(51351,7614,'VoixOffIn','\n'),
(51352,7614,'BandeSon','*Klavierquintett**,* *Op**.* *18*,  *Moderato* *con* *moto* (1946), Mieczysław  Weinberg. \n'),
(51353,7614,'Ecrits','Hommage \n A  la  Catalogne \n'),
(51354,7614,'_product_image_gallery',''),
(51355,7615,'_pingme','1'),
(51356,7615,'_encloseme','1'),
(51357,7615,'Index','4080'),
(51358,7615,'Minutage','49’18 \n'),
(51359,7615,'Images','Noir. \n'),
(51360,7615,'VoixOffIn','\n'),
(51361,7615,'BandeSon','Id. \n'),
(51362,7615,'Ecrits','\n'),
(51363,7615,'_product_image_gallery',''),
(51364,7616,'_pingme','1'),
(51365,7616,'_encloseme','1'),
(51366,7616,'Index','4090'),
(51367,7616,'Minutage','49’24 \n'),
(51368,7616,'Images','Homme  tenant  d\'une  main  le  revers  de  sa  veste,  remonté  jusqu\'au  cou.  \n *La* *terre* (1930), Alexandre  Dovjenko. \n *Liberté* *et* *patrie* (2002), Jean-Luc  Godard  et  Anne - Marie  Miéville. \n'),
(51369,7616,'VoixOffIn','Et  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'),
(51370,7616,'BandeSon','Id. \n'),
(51371,7616,'Ecrits','\n'),
(51372,7616,'_product_image_gallery',''),
(51373,7617,'_pingme','1'),
(51374,7617,'_encloseme','1'),
(51375,7617,'Index','4100'),
(51376,7617,'Minutage','50’03 \n'),
(51377,7617,'Images','Femme  se  tenant  la  main  devant  la  bouche,  l\'air  perdu  et  pensif.  \n *La* *terre* (1930), Alexandre  Dovjenko. *Liberté* *et* *patrie* (2002), Jean-Luc  Godard  et  Anne - Marie  Miéville. \n'),
(51378,7617,'VoixOffIn','Mais  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). \n *L’attente**,* *l’oubli* (1962),  Maurice  Blanchot.  \n'),
(51379,7617,'BandeSon','Silence. \n'),
(51380,7617,'Ecrits','\n'),
(51381,7617,'_product_image_gallery',''),
(51382,7618,'_pingme','1'),
(51383,7618,'_encloseme','1'),
(51384,7618,'Index','4110'),
(51385,7618,'Minutage','50’58 \n'),
(51386,7618,'Images','Noir. \n'),
(51387,7618,'VoixOffIn','He  oui  Ninon,  c’est  une  fille \n'),
(51388,7618,'BandeSon','Id. \n'),
(51389,7618,'Ecrits','\n'),
(51390,7618,'_product_image_gallery',''),
(51391,7619,'_pingme','1'),
(51392,7619,'_encloseme','1'),
(51393,7619,'Index','4120'),
(51394,7619,'Minutage','51’00 \n'),
(51395,7619,'Images','Mains  d\'un  vieil  homme  tournées  vers  le  haut. \n *Histoire* *(**s**)* *du* *cinéma* *1b* */* *4b* (1988 - 98), Jean-Luc  Godard. \n'),
(51396,7619,'VoixOffIn','Il  y  a  les  cinq  doigts.  On  accomplirait  l’acte  rédempteur.  \n La  main.  (Jean-Luc  Godard). \n'),
(51397,7619,'BandeSon','Id. \n'),
(51398,7619,'Ecrits','\n'),
(51399,7619,'_product_image_gallery',''),
(51400,7620,'_pingme','1'),
(51401,7620,'_encloseme','1'),
(51402,7620,'Index','4130'),
(51403,7620,'Minutage','51’09 \n'),
(51404,7620,'Images','Dessin  de  main  tournée  vers  le  bas.  \n *Liberté* *et* *patrie**,* Jean-Luc  Godard  et  Anne - Marie  Miéville  (2002). \n'),
(51405,7620,'VoixOffIn','\n'),
(51406,7620,'BandeSon','Id. \n'),
(51407,7620,'Ecrits','\n'),
(51408,7620,'_product_image_gallery',''),
(51409,7621,'_pingme','1'),
(51410,7621,'_encloseme','1'),
(51411,7621,'Index','4140'),
(51412,7621,'Minutage','51’12 \n'),
(51413,7621,'Images','Main  d\'homme  reposant  sur  une  main  de  femme.  La  main  de  femme  repose  sur  une  épaule. \n'),
(51414,7621,'VoixOffIn','\n'),
(51415,7621,'BandeSon','Id. \n'),
(51416,7621,'Ecrits','\n'),
(51417,7621,'_product_image_gallery',''),
(51418,7622,'_pingme','1'),
(51419,7622,'_encloseme','1'),
(51420,7622,'Index','4150'),
(51421,7622,'Minutage','51’16 \n'),
(51422,7622,'Images','Noir. \n'),
(51423,7622,'VoixOffIn','Et  un  long  moment  après \n'),
(51424,7622,'BandeSon','Id. \n'),
(51425,7622,'Ecrits','\n'),
(51426,7622,'_product_image_gallery',''),
(51427,7623,'_pingme','1'),
(51428,7623,'_encloseme','1'),
(51429,7623,'Index','4160'),
(51430,7623,'Minutage','51’20 \n'),
(51431,7623,'Images','Dessin  de  Bécassine.  Caumery  et  Pinchon. \n'),
(51432,7623,'VoixOffIn','Parce  que  les  histoires  que  l\'on  raconte  vont  moins  vite  que  les  actions  \n'),
(51433,7623,'BandeSon','Id. \n'),
(51434,7623,'Ecrits','\n'),
(51435,7623,'_product_image_gallery',''),
(51436,7624,'_pingme','1'),
(51437,7624,'_encloseme','1'),
(51438,7624,'Index','4170'),
(51439,7624,'Minutage','51’29 \n'),
(51440,7624,'Images','Noir. \n'),
(51441,7624,'VoixOffIn','ne  s\'accomplissent  (Jean-Luc  Godard). \n'),
(51442,7624,'BandeSon','Id. \n'),
(51443,7624,'Ecrits','\n'),
(51444,7624,'_product_image_gallery',''),
(51445,7625,'_pingme','1'),
(51446,7625,'_encloseme','1'),
(51447,7625,'Index','4180'),
(51448,7625,'Minutage','51’32 \n'),
(51449,7625,'Images','Noir. \n'),
(51450,7625,'VoixOffIn','\n'),
(51451,7625,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n \n'),
(51452,7625,'Ecrits','\n'),
(51453,7625,'_product_image_gallery',''),
(51454,7626,'_pingme','1'),
(51455,7626,'_encloseme','1'),
(51456,7626,'Index','4190'),
(51457,7626,'Minutage','51’35 \n'),
(51458,7626,'Images','Femme  tenant  un  trousseau  de  clés  à  la  main  et  touchant  une  clé  sur  laquelle  est  écrit  «  unica  ». \n *Les* *Enchaînés**,* *[**Notorious**]*  (1946),  Alfred  Hitchcock. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(51459,7626,'VoixOffIn','\n'),
(51460,7626,'BandeSon','Id. \n'),
(51461,7626,'Ecrits','\n'),
(51462,7626,'_product_image_gallery',''),
(51463,7627,'_pingme','1'),
(51464,7627,'_encloseme','1'),
(51465,7627,'Index','4200'),
(51466,7627,'Minutage','51’51 \n'),
(51467,7627,'Images','La  femme  serrant  dans  ses  bras  un  homme  et,  derrière  sa  tête,  dérobant  une  clé  d’un  trousseau. \n *Les* *Enchaînés**,* *[**Notorious**]*  (1946),  Alfred  Hitchcock. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(51468,7627,'VoixOffIn','\n'),
(51469,7627,'BandeSon','Id. \n'),
(51470,7627,'Ecrits','\n'),
(51471,7627,'_product_image_gallery',''),
(51472,7628,'_pingme','1'),
(51473,7628,'_encloseme','1'),
(51474,7628,'Index','4210'),
(51475,7628,'Minutage','51’57 \n'),
(51476,7628,'Images','Noir. \n'),
(51477,7628,'VoixOffIn','\n'),
(51478,7628,'BandeSon','Silence. \n'),
(51479,7628,'Ecrits','SOUS  LES  YEUX \n DE  L’OCCIDENT \n'),
(51480,7628,'_product_image_gallery',''),
(51481,7629,'_pingme','1'),
(51482,7629,'_encloseme','1'),
(51483,7629,'Index','4220'),
(51484,7629,'Minutage','51’59 \n'),
(51485,7629,'Images','Homme  poussé  les  mains  derrière  le  dos  par  d\'autres  hommes.  Images  retransmises  dans  le  documentaire  \n *Shoah**,* *les* *oubliés* *de* *l’histoire* (2014), Véronique  Lagoarde - Ségot,  par  la  chaîne  de  télévision *Histoire*. \n'),
(51486,7629,'VoixOffIn','\n'),
(51487,7629,'BandeSon','Cris \n'),
(51488,7629,'Ecrits','\n'),
(51489,7629,'_product_image_gallery',''),
(51490,7630,'_pingme','1'),
(51491,7630,'_encloseme','1'),
(51492,7630,'Index','4230'),
(51493,7630,'Minutage','52’01 \n'),
(51494,7630,'Images','Petite  fille  portant  un  nourrisson  sur  l\'épaule  et,  à  côté  d\'elle,  trois  autres  enfants,  habillés  de  haillons.  \n *De* *l’origine* *du* *XXI* *siècle* (2000), Jean-Luc  Godard. \n'),
(51495,7630,'VoixOffIn','\n'),
(51496,7630,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n'),
(51497,7630,'Ecrits','\n'),
(51498,7630,'_product_image_gallery',''),
(51499,7631,'_pingme','1'),
(51500,7631,'_encloseme','1'),
(51501,7631,'Index','4240'),
(51502,7631,'Minutage','52’06 \n'),
(51503,7631,'Images','Noir. \n'),
(51504,7631,'VoixOffIn','\n'),
(51505,7631,'BandeSon','Id. \n'),
(51506,7631,'Ecrits','\n'),
(51507,7631,'_product_image_gallery',''),
(51508,7632,'_pingme','1'),
(51509,7632,'_encloseme','1'),
(51510,7632,'Index','4250'),
(51511,7632,'Minutage','52’08 \n'),
(51512,7632,'Images','Noir. \n'),
(51513,7632,'VoixOffIn','Dans  un  roman, \n'),
(51514,7632,'BandeSon','Arpèges  à  la  guitare. *Raf* *Raf* (1991), Anouar  Brahem  \n. \n'),
(51515,7632,'Ecrits','HEUREUSE  ARABIE \n *L\'Arabie* *heureuse* *:* *souvenirs* *de* *voyages* *en* *Afrique* *et* *en* *Asie* (1860), Alexandre  Dumas. \n'),
(51516,7632,'_product_image_gallery',''),
(51517,7633,'_pingme','1'),
(51518,7633,'_encloseme','1'),
(51519,7633,'Index','4260'),
(51520,7633,'Minutage','52’10 \n'),
(51521,7633,'Images','Saturé  :  enfant  sur  le  toit  d\'une  maison,  vu  de  dos,  regardant  le  reste  de  la  ville. \n'),
(51522,7633,'VoixOffIn','Dans  un  roman  l\'intérêt,  dans  le  pire  des  cas,  vient  du  fait  que  \n'),
(51523,7633,'BandeSon','*Klavierquintett**,* *Op**.* *18*,  *Moderato* *con* *moto* (1946), Mieczysław  Weinberg. \n'),
(51524,7633,'Ecrits','\n'),
(51525,7633,'_product_image_gallery',''),
(51526,7634,'_pingme','1'),
(51527,7634,'_encloseme','1'),
(51528,7634,'Index','4270'),
(51529,7634,'Minutage','52’21 \n'),
(51530,7634,'Images','Noir. \n'),
(51531,7634,'VoixOffIn','très  souvent  les  situations  quelconques  \n'),
(51532,7634,'BandeSon','Id. \n'),
(51533,7634,'Ecrits','\n'),
(51534,7634,'_product_image_gallery',''),
(51535,7635,'_pingme','1'),
(51536,7635,'_encloseme','1'),
(51537,7635,'Index','4280'),
(51538,7635,'Minutage','52’23 \n'),
(51539,7635,'Images','Femme  tenant  à  la  main  une  clé.  \n *Meshes* *of* *afternoon* (1943), Maya  Deren,  Alexandr  Hackenschmied. \n \n'),
(51540,7635,'VoixOffIn','ont  un  comportement  assez  \n'),
(51541,7635,'BandeSon','Id. \n'),
(51542,7635,'Ecrits','\n'),
(51543,7635,'_product_image_gallery',''),
(51544,7636,'_pingme','1'),
(51545,7636,'_encloseme','1'),
(51546,7636,'Index','4290'),
(51547,7636,'Minutage','52’26 \n'),
(51548,7636,'Images','Noir. \n'),
(51549,7636,'VoixOffIn','proche  du  pire  des  cas. \n (Jean-Luc  Godard) \n'),
(51550,7636,'BandeSon','Silence. \n'),
(51551,7636,'Ecrits','LES  \n PARADIS \n PERDUS \n'),
(51552,7636,'_product_image_gallery',''),
(51553,7637,'_pingme','1'),
(51554,7637,'_encloseme','1'),
(51555,7637,'Index','4300'),
(51556,7637,'Minutage','52’33 \n'),
(51557,7637,'Images','Dessin  de  soldat  avec  une  épée  et  un  bouclier  orné  d\'un  croissant  et  d’une  étoile. \n'),
(51558,7637,'VoixOffIn','\n'),
(51559,7637,'BandeSon','Voix  féminine  chantant  en  arabe.  \n'),
(51560,7637,'Ecrits','\n'),
(51561,7637,'_product_image_gallery',''),
(51562,7638,'_pingme','1'),
(51563,7638,'_encloseme','1'),
(51564,7638,'Index','4310'),
(51565,7638,'Minutage','52’35 \n'),
(51566,7638,'Images','Armée  avec  des  lances,  des  épées  et  des  boucliers  en  marche.  \n *Constantinople**,* Faruk  Aksoy,  (2012). \n'),
(51567,7638,'VoixOffIn','\n'),
(51568,7638,'BandeSon','*Taabani* *Nibniou**,* Hedi  Jouini  (1993). \n'),
(51569,7638,'Ecrits','\n'),
(51570,7638,'_product_image_gallery',''),
(51571,7639,'_pingme','1'),
(51572,7639,'_encloseme','1'),
(51573,7639,'Index','4320'),
(51574,7639,'Minutage','52’41 \n'),
(51575,7639,'Images','Saturé  en  tons  rouge  :  homme  agenouillé  avec  un  drapeau  à  la  main. \n *Le* *visage* *de* *Dieu* (2014), Bahram  Aloui. \n'),
(51576,7639,'VoixOffIn','\n'),
(51577,7639,'BandeSon','Id. \n'),
(51578,7639,'Ecrits','\n'),
(51579,7639,'_product_image_gallery',''),
(51580,7640,'_pingme','1'),
(51581,7640,'_encloseme','1'),
(51582,7640,'Index','4330'),
(51583,7640,'Minutage','52’45 \n'),
(51584,7640,'Images','Tourné  en  noir  et  blanc  et  surexposé  :  photographie  de  Hosni  Moubarak,  ancien  Président  de  la  République  arabe  d\'Égypte. \n'),
(51585,7640,'VoixOffIn','Je  peux  mourir  tranquille \n (Albert  Cossery) \n'),
(51586,7640,'BandeSon','Silence. \n'),
(51587,7640,'Ecrits','\n'),
(51588,7640,'_product_image_gallery',''),
(51589,7641,'_pingme','1'),
(51590,7641,'_encloseme','1'),
(51591,7641,'Index','4340'),
(51592,7641,'Minutage','52’47 \n'),
(51593,7641,'Images','Homme  parlant  à  une  femme  vêtue  d\'une  tenue  traditionnelle  arabe.  \n *La* *bandera* (1935), Julien  Duvivier. \n'),
(51594,7641,'VoixOffIn','Te  souviens - tu  encore  comment  nous  entraînions  autrefois  notre  pensée.  Le  plus  souvent  nous  partions  d\'un  rêve.  (Jean-Luc  Godard) \n'),
(51595,7641,'BandeSon','Id. \n'),
(51596,7641,'Ecrits','\n'),
(51597,7641,'_product_image_gallery',''),
(51598,7642,'_pingme','1'),
(51599,7642,'_encloseme','1'),
(51600,7642,'Index','4350'),
(51601,7642,'Minutage','52’54 \n'),
(51602,7642,'Images','Jeune  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'),
(51603,7642,'VoixOffIn','Je  me  sens  toujours  très  bien  les  mains  dans  les  poches  même  si  j’ai  pas  un  sou. \n'),
(51604,7642,'BandeSon','Id. \n'),
(51605,7642,'Ecrits','\n'),
(51606,7642,'_product_image_gallery',''),
(51607,7643,'_pingme','1'),
(51608,7643,'_encloseme','1'),
(51609,7643,'Index','4360'),
(51610,7643,'Minutage','52’58 \n'),
(51611,7643,'Images','Photographie  en  noir  et  blanc  d’un  homme  âgé  assis  avec  à  côté  de  lui  un  âne  portant  une  télévision  sur  son  dos. \n'),
(51612,7643,'VoixOffIn','Je  me  suis  toujours  senti  un  fils  de  roi. \n'),
(51613,7643,'BandeSon','Id. \n'),
(51614,7643,'Ecrits','\n'),
(51615,7643,'_product_image_gallery',''),
(51616,7644,'_pingme','1'),
(51617,7644,'_encloseme','1'),
(51618,7644,'Index','4370'),
(51619,7644,'Minutage','53’01 \n'),
(51620,7644,'Images','Homme  âgé  assis  avec  à  côté  de  lui  un  âne  portant  une  télévision  sur  son  dos. \n'),
(51621,7644,'VoixOffIn','Mais  tous  les  égyptiens  se  sentent  un  peu  fils  de  roi. \n'),
(51622,7644,'BandeSon','Id. \n'),
(51623,7644,'Ecrits','\n'),
(51624,7644,'_product_image_gallery',''),
(51625,7645,'_pingme','1'),
(51626,7645,'_encloseme','1'),
(51627,7645,'Index','4380'),
(51628,7645,'Minutage','53’04 \n'),
(51629,7645,'Images','Saturé  en  tous  rouge  :  désert.  \n *The* *Thief* *of* *Baghdad* (1978),  Cline  Donner. \n'),
(51630,7645,'VoixOffIn','\n'),
(51631,7645,'BandeSon','Au  violon  :  musique  traditionnelle  arabe.  Personnes  discutant. \n'),
(51632,7645,'Ecrits','\n'),
(51633,7645,'_product_image_gallery',''),
(51634,7646,'_pingme','1'),
(51635,7646,'_encloseme','1'),
(51636,7646,'Index','4390'),
(51637,7646,'Minutage','53’07 \n'),
(51638,7646,'Images','Saturé  en  tons  rouge  :  homme  portant  de  l’encens  fumant. *\n* *Aladdin\'s* *magic* *lamp* (1967), Boris  Rytsarev. \n'),
(51639,7646,'VoixOffIn','L’orient  est  plus  philosophe  que  l’occident,  \n'),
(51640,7646,'BandeSon','Id. \n'),
(51641,7646,'Ecrits','\n'),
(51642,7646,'_product_image_gallery',''),
(51643,7647,'_pingme','1'),
(51644,7647,'_encloseme','1'),
(51645,7647,'Index','4400'),
(51646,7647,'Minutage','53’15 \n'),
(51647,7647,'Images','Jeune  homme  et  jeune  femme  ayant  des  rapports  sexuels  la  nuit  dans  une  chambre. *\n* *Il* *fiore* *delle* *mille* *e* *una* *notte* (1974), Pier  Paolo  Pasolini. \n'),
(51648,7647,'VoixOffIn','et  le  moindre  vanupieds  vous  dira  de  choses  extraordinaires \n'),
(51649,7647,'BandeSon','Id. \n'),
(51650,7647,'Ecrits','\n'),
(51651,7647,'_product_image_gallery',''),
(51652,7648,'_pingme','1'),
(51653,7648,'_encloseme','1'),
(51654,7648,'Index','4410'),
(51655,7648,'Minutage','53’18 \n'),
(51656,7648,'Images','Noir. \n'),
(51657,7648,'VoixOffIn','Sur  la  vie,  sur  le  monde.  Et  vous  entendez  chacun  est  philosophe \n'),
(51658,7648,'BandeSon','Id. \n'),
(51659,7648,'Ecrits','\n'),
(51660,7648,'_product_image_gallery',''),
(51661,7649,'_pingme','1'),
(51662,7649,'_encloseme','1'),
(51663,7649,'Index','4420'),
(51664,7649,'Minutage','53’26 \n'),
(51665,7649,'Images','Trois  personnes  sur  un  tapis  volant.  \n *Le* *voleur* *de* *Bagdad* (1924), Raoul  Walsh. \n'),
(51666,7649,'VoixOffIn','Parce  que  il  a  le  temps  de  réfléchir,  de  penser,  de  voir  le  monde  passer \n'),
(51667,7649,'BandeSon','Id. \n'),
(51668,7649,'Ecrits','\n'),
(51669,7649,'_product_image_gallery',''),
(51670,7650,'_pingme','1'),
(51671,7650,'_encloseme','1'),
(51672,7650,'Index','4430'),
(51673,7650,'Minutage','53’29 \n'),
(51674,7650,'Images','Armée  romaine  devant  les  murs  d\'une  ville  du  Moyen - Orient.  \n *Il* *Messia* (1975), Roberto  Rossellini. \n'),
(51675,7650,'VoixOffIn','En  occident \n (Albert  Cossery) \n'),
(51676,7650,'BandeSon','Id. \n'),
(51677,7650,'Ecrits','\n'),
(51678,7650,'_product_image_gallery',''),
(51679,7651,'_pingme','1'),
(51680,7651,'_encloseme','1'),
(51681,7651,'Index','4440'),
(51682,7651,'Minutage','53’33 \n'),
(51683,7651,'Images','Croisés  à  cheval  avec  des  armures  et  des  drapeaux  passant  sous  les  acclamations  de  la  foule.  \n *The* *Crusades* (1935),  Cecil  B  DeMille. \n'),
(51684,7651,'VoixOffIn','\n'),
(51685,7651,'BandeSon','Silence,  puis  cris  d’acclamation*.* \n'),
(51686,7651,'Ecrits','\n'),
(51687,7651,'_product_image_gallery',''),
(51688,7652,'_pingme','1'),
(51689,7652,'_encloseme','1'),
(51690,7652,'Index','4450'),
(51691,7652,'Minutage','53’38 \n'),
(51692,7652,'Images','Noir. \n'),
(51693,7652,'VoixOffIn','\n'),
(51694,7652,'BandeSon','Id. \n'),
(51695,7652,'Ecrits','\n'),
(51696,7652,'_product_image_gallery',''),
(51697,7653,'_pingme','1'),
(51698,7653,'_encloseme','1'),
(51699,7653,'Index','4460'),
(51700,7653,'Minutage','53’41 \n'),
(51701,7653,'Images','Saturé  :  soldats  en  guerre.  \n *Adieu* *Bonaparte* (1985), Youssef  Chahine. \n'),
(51702,7653,'VoixOffIn','Arrêtez  !  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.  \n *Détective* (1985), Jean-Luc  Godard. \n'),
(51703,7653,'BandeSon','Tirs  au  pistolet,  puis  klaxon. \n'),
(51704,7653,'Ecrits','\n'),
(51705,7653,'_product_image_gallery',''),
(51706,7654,'_pingme','1'),
(51707,7654,'_encloseme','1'),
(51708,7654,'Index','4470'),
(51709,7654,'Minutage','53’57 \n'),
(51710,7654,'Images','Inscriptions  en  arabe  sur  fond  noir  du  film *Socialisme* (2010),  Jean-Luc  Godard. \n'),
(51711,7654,'VoixOffIn','Silence  je  vous  ai  dit. \n'),
(51712,7654,'BandeSon','Silence. \n'),
(51713,7654,'Ecrits','\n'),
(51714,7654,'_product_image_gallery',''),
(51715,7655,'_pingme','1'),
(51716,7655,'_encloseme','1'),
(51717,7655,'Index','4480'),
(51718,7655,'Minutage','54’03 \n'),
(51719,7655,'Images','Au  ralenti  :  femme  se  précipitant  pour  ramasser  un  tissu  et  s’en  couvrant  jusqu\'au  nez. \n'),
(51720,7655,'VoixOffIn','Tout  à  coup,  il  aperçut  à  l’horizon  derrière  Tunis,  comme  des  brouillards  légers,  qui  se  traînaient  contre  le  sol  @  \n'),
(51721,7655,'BandeSon','Id. \n'),
(51722,7655,'Ecrits','\n'),
(51723,7655,'_product_image_gallery',''),
(51724,7656,'_pingme','1'),
(51725,7656,'_encloseme','1'),
(51726,7656,'Index','4490'),
(51727,7656,'Minutage','54’15 \n'),
(51728,7656,'Images','Saturé  et  surexposé  :  personnages  presque  invisibles. \n'),
(51729,7656,'VoixOffIn','puis  ce  fut  un  grand  rideau  de  poudre  grise  perpendiculairement  étalé,  et,  dans  les  tourbillons  \n'),
(51730,7656,'BandeSon','Id. \n'),
(51731,7656,'Ecrits','\n'),
(51732,7656,'_product_image_gallery',''),
(51733,7657,'_pingme','1'),
(51734,7657,'_encloseme','1'),
(51735,7657,'Index','4500'),
(51736,7657,'Minutage','54’24 \n'),
(51737,7657,'Images','Surexposé,  et  saturé  en  tons  bleu  clair,  rouges  et  verts  :  navire  voguant  dans  la  mer  et  drapeaux  qui  flottent  dans  le  vent. \n'),
(51738,7657,'VoixOffIn','de  cette  masse  nombreuse,  \n des  têtes  de  dromadaires,  des  lances,  \n'),
(51739,7657,'BandeSon','Id. *\n*'),
(51740,7657,'Ecrits','\n'),
(51741,7657,'_product_image_gallery',''),
(51742,7658,'_pingme','1'),
(51743,7658,'_encloseme','1'),
(51744,7658,'Index','4510'),
(51745,7658,'Minutage','54’30 \n'),
(51746,7658,'Images','Surexposé,  en  noir  et  blanc  :  mer  avec  de  la  vapeur  flottant  au  loin  dans  l’air. \n'),
(51747,7658,'VoixOffIn','des  boucliers  parurent.  C’était  l’armée  des  Barbares  qui  s’avançait  sur  Carthage.  \n'),
(51748,7658,'BandeSon','Id. \n'),
(51749,7658,'Ecrits','\n'),
(51750,7658,'_product_image_gallery',''),
(51751,7659,'_pingme','1'),
(51752,7659,'_encloseme','1'),
(51753,7659,'Index','4520'),
(51754,7659,'Minutage','54’37 \n'),
(51755,7659,'Images','Caravane  dans  le  désert.  \n *Il* *Messia* (1975), Roberto  Rossellini. \n'),
(51756,7659,'VoixOffIn','Oh  Salammbô.(Jean-Luc  Godard). \n *Salammbô* (1862),  Gustave  Flaubert. \n'),
(51757,7659,'BandeSon','*Aube* *rouge* *à* *Grozny* (2000*), * Anouar  Trio  Brahem. \n'),
(51758,7659,'Ecrits','\n'),
(51759,7659,'_product_image_gallery',''),
(51760,7660,'_pingme','1'),
(51761,7660,'_encloseme','1'),
(51762,7660,'Index','4530'),
(51763,7660,'Minutage','55’07 \n'),
(51764,7660,'Images','Noir. \n'),
(51765,7660,'VoixOffIn','\n'),
(51766,7660,'BandeSon','Id. \n'),
(51767,7660,'Ecrits','\n'),
(51768,7660,'_product_image_gallery',''),
(51769,7661,'_pingme','1'),
(51770,7661,'_encloseme','1'),
(51771,7661,'Index','4540'),
(51772,7661,'Minutage','55’11 \n'),
(51773,7661,'Images','Saturé,  au  ralenti  :  deux  mains  déboutonnant  une  robe  bleue.  \n *Méditerranée* (1963),  Jean  Daniel  Pollet. \n'),
(51774,7661,'VoixOffIn','\n'),
(51775,7661,'BandeSon','Id. \n'),
(51776,7661,'Ecrits','\n'),
(51777,7661,'_product_image_gallery',''),
(51778,7662,'_pingme','1'),
(51779,7662,'_encloseme','1'),
(51780,7662,'Index','4550'),
(51781,7662,'Minutage','55’33 \n'),
(51782,7662,'Images','Noir. \n'),
(51783,7662,'VoixOffIn','Dans  l’ombre  de  l’Occident. \n \n'),
(51784,7662,'BandeSon','Id. \n'),
(51785,7662,'Ecrits','CES  FLEURS \n                          PERDUES \n DANS  LE  VENT \n'),
(51786,7662,'_product_image_gallery',''),
(51787,7663,'_pingme','1'),
(51788,7663,'_encloseme','1'),
(51789,7663,'Index','4560'),
(51790,7663,'Minutage','55’35 \n'),
(51791,7663,'Images','Saturé  en  tons  jaunes  et  rouges  :  hommes  creusant  avec  des  pelles  dans  le  desert.  Groupe  d\'arabophones  essayant  d\'embarquer  sur  un  bateau  en  plein  désert.  \n *Les* *Baliseurs* *du* *désert* (1984), Nacer  Khémir.  \n'),
(51792,7663,'VoixOffIn','Il  est  certain  que  la  représentation,  plus  particulièrement  l’acte  de  représenter  (et  donc  de  réduire)  implique  presque  toujours \n'),
(51793,7663,'BandeSon','Id. \n'),
(51794,7663,'Ecrits','\n'),
(51795,7663,'_product_image_gallery',''),
(51796,7664,'_pingme','1'),
(51797,7664,'_encloseme','1'),
(51798,7664,'Index','4570'),
(51799,7664,'Minutage','55’59 \n'),
(51800,7664,'Images','Femme  nue  dans  dans  une  réplique  miniature  de  ville  du  Moyen - Orient,  puis  capturée  par  un  homme  à  cheval  déguisé  en  soldat  croisé.  \n *Passion* (1982), Jean-Luc  Godard. \n'),
(51801,7664,'VoixOffIn','implique  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'),
(51802,7664,'BandeSon','Id. \n'),
(51803,7664,'Ecrits','\n'),
(51804,7664,'_product_image_gallery',''),
(51805,7665,'_pingme','1'),
(51806,7665,'_encloseme','1'),
(51807,7665,'Index','4580'),
(51808,7665,'Minutage','56’02 \n'),
(51809,7665,'Images','Au  ralenti,  saturé  de  bleu  :  croisé  levant  l’épée  pour  frapper.  \n *Passion* (1982), Jean-Luc  Godard. \n'),
(51810,7665,'VoixOffIn','Il  y  a  \n'),
(51811,7665,'BandeSon','Id. \n'),
(51812,7665,'Ecrits','\n'),
(51813,7665,'_product_image_gallery',''),
(51814,7666,'_pingme','1'),
(51815,7666,'_encloseme','1'),
(51816,7666,'Index','4590'),
(51817,7666,'Minutage','56’10 \n'),
(51818,7666,'Images','Noir. \n'),
(51819,7666,'VoixOffIn','un  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'),
(51820,7666,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n \n'),
(51821,7666,'Ecrits','\n'),
(51822,7666,'_product_image_gallery',''),
(51823,7667,'_pingme','1'),
(51824,7667,'_encloseme','1'),
(51825,7667,'Index','4600'),
(51826,7667,'Minutage','56’22 \n'),
(51827,7667,'Images','Saturé  :  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'),
(51828,7667,'VoixOffIn','\n'),
(51829,7667,'BandeSon','Silence,  et  vagues. \n'),
(51830,7667,'Ecrits','\n'),
(51831,7667,'_product_image_gallery',''),
(51832,7668,'_pingme','1'),
(51833,7668,'_encloseme','1'),
(51834,7668,'Index','4610'),
(51835,7668,'Minutage','56’40 \n'),
(51836,7668,'Images','Foule  de  personnes  se  bousculant  dans  la  rue.  \n *De* *l’origine* *du* *XX* *siècle* (2000), Jean. Luc  Godard. \n'),
(51837,7668,'VoixOffIn','Ils  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'),
(51838,7668,'BandeSon','Silence. \n'),
(51839,7668,'Ecrits','\n'),
(51840,7668,'_product_image_gallery',''),
(51841,7669,'_pingme','1'),
(51842,7669,'_encloseme','1'),
(51843,7669,'Index','4620'),
(51844,7669,'Minutage','57’09 \n'),
(51845,7669,'Images','Deux  soldats  intimant  à  une  personne  de  lever  les  mains  et  de  faire  face  au  mur. \n'),
(51846,7669,'VoixOffIn','Le  monde  arabe  s\'il  existe  en  tant  que  monde  n\'est  jamais  regardé  en  tant  que  tel.  \n'),
(51847,7669,'BandeSon','Id. \n'),
(51848,7669,'Ecrits','\n'),
(51849,7669,'_product_image_gallery',''),
(51850,7670,'_pingme','1'),
(51851,7670,'_encloseme','1'),
(51852,7670,'Index','4630'),
(51853,7670,'Minutage','57’17 \n'),
(51854,7670,'Images','De  nouveau,  petite  fille  portant  un  bébé  sur  les  épaules,  trois  autres  enfants  habillés  de  haillons  à  ses  côtés.  \n *De* *l’origine* *du* *XXI* *siècle* (2000), Jean-Luc  Godard. \n'),
(51855,7670,'VoixOffIn','Il  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'),
(51856,7670,'BandeSon','Id. \n'),
(51857,7670,'Ecrits','\n'),
(51858,7670,'_product_image_gallery',''),
(51859,7671,'_pingme','1'),
(51860,7671,'_encloseme','1'),
(51861,7671,'Index','4640'),
(51862,7671,'Minutage','57’19 \n'),
(51863,7671,'Images','Noir. \n'),
(51864,7671,'VoixOffIn','\n'),
(51865,7671,'BandeSon','Id. \n'),
(51866,7671,'Ecrits','\n'),
(51867,7671,'_product_image_gallery',''),
(51868,7672,'_pingme','1'),
(51869,7672,'_encloseme','1'),
(51870,7672,'Index','4650'),
(51871,7672,'Minutage','57’23 \n'),
(51872,7672,'Images','Jeune  femme  ramant  sur  un  lac,  aidée  par  un  jeune  homme  assis  derrière  elle.  \n *Les* *Dernières* *vacances*,  (1947),  Roger  Leenhardt*.* *Histoire* *(**s**)* *du* *cinéma* *4b* (1988 - 98),  Jean-Luc  Godard. \n'),
(51873,7672,'VoixOffIn','Ces  citoyens,  ces  amants  de  la  patrie,  dans  l’excès  de  leur  passion,  auraient  voulu  mourir  pour  elle \n'),
(51874,7672,'BandeSon','Id. \n'),
(51875,7672,'Ecrits','\n'),
(51876,7672,'_product_image_gallery',''),
(51877,7673,'_pingme','1'),
(51878,7673,'_encloseme','1'),
(51879,7673,'Index','4660'),
(51880,7673,'Minutage','57’33 \n'),
(51881,7673,'Images','Saturé  en  tons  bleus  :  homme  à  cheval  au  milieu  d\'un  paysage  vallonné.  \n *Paysage* *et* *cavalier**,* aquarelle  réalisée  au  cours  du  trajet  Tanger - Meknès  (1832), Eugène  Delacroix. \n'),
(51882,7673,'VoixOffIn','et  ils  allaient  la  tuer.  \n *Histoire* *de* *la* *Révolution* *française* (1847 - 1853),  Jules  Michelet. \n \n Les  défauts \n \n \n'),
(51883,7673,'BandeSon','Id. \n'),
(51884,7673,'Ecrits','\n'),
(51885,7673,'_product_image_gallery',''),
(51886,7674,'_pingme','1'),
(51887,7674,'_encloseme','1'),
(51888,7674,'Index','4670'),
(51889,7674,'Minutage','57’39 \n'),
(51890,7674,'Images','Surexposé  :  autre  aquarelle  d’homme  au  turban  à  cheval  de  Eugène  Delacroix. \n'),
(51891,7674,'VoixOffIn','Et  les  enjeux \n'),
(51892,7674,'BandeSon','Id. \n'),
(51893,7674,'Ecrits','\n'),
(51894,7674,'_product_image_gallery',''),
(51895,7675,'_pingme','1'),
(51896,7675,'_encloseme','1'),
(51897,7675,'Index','4680'),
(51898,7675,'Minutage','57’42 \n \n \n'),
(51899,7675,'Images','Femme  étendant  du  linge,  autre  femme  se  lavant  au  bord  d\'un  ruisseau*.* *\n* *Femme* *qui* *se* *lave* *et* *sa* *servante* *Maures* (1854),  Eugene  Delacroix \n Peinture. \n'),
(51900,7675,'VoixOffIn','Les  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'),
(51901,7675,'BandeSon','Id. \n'),
(51902,7675,'Ecrits','\n'),
(51903,7675,'_product_image_gallery',''),
(51904,7676,'_pingme','1'),
(51905,7676,'_encloseme','1'),
(51906,7676,'Index','4690'),
(51907,7676,'Minutage','57’52 \n \n'),
(51908,7676,'Images','Femme  interpellée  bruyamment  alors  qu\'elle  traverse  une  rue  dans  une  ville  du  Moyen - Orient,  puis  se  retournant.  \n *Djamila* (1958),  Youssef  Chahine. \n'),
(51909,7676,'VoixOffIn','Djamila,  Djamila ! \n'),
(51910,7676,'BandeSon','Id. \n'),
(51911,7676,'Ecrits','\n'),
(51912,7676,'_product_image_gallery',''),
(51913,7677,'_pingme','1'),
(51914,7677,'_encloseme','1'),
(51915,7677,'Index','4700'),
(51916,7677,'Minutage','57’58 \n'),
(51917,7677,'Images','Jeune  homme  levant  les  mains  et  montrant  les  paumes,  puis  plaçant  d’un  geste  lent  la  main  droite  sur  la  paume  gauche. \n *Les* *Baliseurs* *du* *désert**,* Nacer  Khémir  (1984),  cité  dans *Voyage* *à* *Tunis* (2007), Bruno  Moll. \n \n'),
(51918,7677,'VoixOffIn','Les  arabes  peuvent - ils  parler.  (Jean-Luc  Godard).  \n *Dans* *l\'ombre* *de* *l\'Occident* *@* *les* *Arabes* *peuvent* *-* *ils* *parler* *?* (2014),  Edward  W.  Saïd  et  Seloua  Luste  Boulbina. \n \n À  demi - voix,  d’une  voix  douce  et  faible  disant  de  grandes  choses  :  d’importantes,  d’étonnantes,  de  profondes  et  justes  choses,  \n'),
(51919,7677,'BandeSon','Id. \n'),
(51920,7677,'Ecrits','\n'),
(51921,7677,'_product_image_gallery',''),
(51922,7678,'_pingme','1'),
(51923,7678,'_encloseme','1'),
(51924,7678,'Index','4710'),
(51925,7678,'Minutage','58’16 \n'),
(51926,7678,'Images','Homme  attrapant  une  colombe  et  la  sortant  de  sa  petite  maison  accrochée  au  mur. \n *Le* *collier* *perdu* *de* *la* *colombe* (1991),  Nacer  Khémir. \n \n'),
(51927,7678,'VoixOffIn','d’une  voix  douce  et  faible.  La  menace  du  tonnerre,  la  présence  d’absolus  dans  une  voix  de  rougegorge \n'),
(51928,7678,'BandeSon','Id. \n'),
(51929,7678,'Ecrits','\n'),
(51930,7678,'_product_image_gallery',''),
(51931,7679,'_pingme','1'),
(51932,7679,'_encloseme','1'),
(51933,7679,'Index','4720'),
(51934,7679,'Minutage','58’27 \n'),
(51935,7679,'Images','Saturé  :  homme  et  enfant  marchant  dans  le  désert.  \n *Bab\'Aziz**,* *le* *prince* *qui* *contemplait* *son* *âme* (2005), Nacer  Khémir,  cité  dans *Voyage* *à* *Tunis* (2007), Bruno  Moll. \n'),
(51936,7679,'VoixOffIn','dans  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'),
(51937,7679,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n'),
(51938,7679,'Ecrits','\n'),
(51939,7679,'_product_image_gallery',''),
(51940,7680,'_pingme','1'),
(51941,7680,'_encloseme','1'),
(51942,7680,'Index','4730'),
(51943,7680,'Minutage','58’36 \n'),
(51944,7680,'Images','Homme  se  jetant  sur  une  robe  posée  sur  le  toit  d\'une  maison  de  terre  cuite  dans  une  ville  du  Moyen - Orient. \n *Il* *fiore* *delle* *mille* *e* *una* *notte* (1974), Pier  Paolo  Pasolini. \n'),
(51945,7680,'VoixOffIn','\n'),
(51946,7680,'BandeSon','Id. \n'),
(51947,7680,'Ecrits','\n'),
(51948,7680,'_product_image_gallery',''),
(51949,7681,'_pingme','1'),
(51950,7681,'_encloseme','1'),
(51951,7681,'Index','4740'),
(51952,7681,'Minutage','58’44 \n'),
(51953,7681,'Images','Saturé  :  maisons  se  reflétant  dans  l\'eau. \n'),
(51954,7681,'VoixOffIn','Et  d’une  sorte  de  murmure  en  français  infiniment  pur. \n'),
(51955,7681,'BandeSon','Id. \n'),
(51956,7681,'Ecrits','\n'),
(51957,7681,'_product_image_gallery',''),
(51958,7682,'_pingme','1'),
(51959,7682,'_encloseme','1'),
(51960,7682,'Index','4750'),
(51961,7682,'Minutage','58’55 \n \n'),
(51962,7682,'Images','Au  ralenti  :  enfant  poussant  une  roue  de  voiture. \n'),
(51963,7682,'VoixOffIn','Qui  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).  \n *A* *propos* *de* *Stéphane* *Mallarmé**.* *A* *demi* *-* *voix* (1939), Paul  Valery. \n \n'),
(51964,7682,'BandeSon','Id. \n'),
(51965,7682,'Ecrits','\n'),
(51966,7682,'_product_image_gallery',''),
(51967,7683,'_pingme','1'),
(51968,7683,'_encloseme','1'),
(51969,7683,'Index','4760'),
(51970,7683,'Minutage','59’04 \n'),
(51971,7683,'Images','Tremblant  de  droite  à  gauche  :  ville  en  ruines  avec  des  soldats  cachés,  armes  à  la  main. \n'),
(51972,7683,'VoixOffIn','\n'),
(51973,7683,'BandeSon','Id. *\n*'),
(51974,7683,'Ecrits','\n'),
(51975,7683,'_product_image_gallery',''),
(51976,7684,'_pingme','1'),
(51977,7684,'_encloseme','1'),
(51978,7684,'Index','4770'),
(51979,7684,'Minutage','59’10 \n'),
(51980,7684,'Images','Surexposé  :  pinceau  projetant  de  l\'aquarelle  sur  une  feuille  de  papier. \n'),
(51981,7684,'VoixOffIn','Mais  ce  contraste  et  cette  musique  cette  voix  ridant  l’air  à  peine  cette  puissance  chuchotée  ces  perspectives, \n'),
(51982,7684,'BandeSon','Id. \n'),
(51983,7684,'Ecrits','\n'),
(51984,7684,'_product_image_gallery',''),
(51985,7685,'_pingme','1'),
(51986,7685,'_encloseme','1'),
(51987,7685,'Index','4780'),
(51988,7685,'Minutage','59’22 \n'),
(51989,7685,'Images','Enfants  jouant  dans  la  rue,  autres  enfants  avec  un  scooter  et  un  chat. \n'),
(51990,7685,'VoixOffIn','ces  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'),
(51991,7685,'BandeSon','Voix  d’enfants. \n'),
(51992,7685,'Ecrits','\n'),
(51993,7685,'_product_image_gallery',''),
(51994,7686,'_pingme','1'),
(51995,7686,'_encloseme','1'),
(51996,7686,'Index','4790'),
(51997,7686,'Minutage','59’36 \n'),
(51998,7686,'Images','Jeune  femme  parlant  au  téléphone  en  arabe,  observée  par  un  homme  au  chapeau  de  prière  musulman  situé  derrière  la  vitre  d’une  cabine  téléphonique. \n *Gare* *Centrale* (1958), Youssef  Chahine. \n'),
(51999,7686,'VoixOffIn','Jeune  femme  [traduction  du  dialecte  égyptien]: \n Il  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'),
(52000,7686,'BandeSon','Silence. \n'),
(52001,7686,'Ecrits','\n'),
(52002,7686,'_product_image_gallery',''),
(52003,7687,'_pingme','1'),
(52004,7687,'_encloseme','1'),
(52005,7687,'Index','4800'),
(52006,7687,'Minutage','59’57 \n'),
(52007,7687,'Images','Noir. \n'),
(52008,7687,'VoixOffIn','Voix  d\'un  enfant  criant  [traduction  du  dialecte  palestinien]:  \n Monsieur  le  juge,  la  guerre  a  brûlé  mes  livres  ! \n *Histoires* *du* *cinéma* *4b* (1989 - 99), Jean-Luc  Godard. \n \n Voix  d’homme  recitant  un  poème  du  poète  palestinien  Mahmoud  Darwich  en  arabe  [traduction  de  l’arabe  classique]:  \n Je  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'),
(52009,7687,'BandeSon','Id. \n'),
(52010,7687,'Ecrits','\n'),
(52011,7687,'_product_image_gallery',''),
(52012,7688,'_pingme','1'),
(52013,7688,'_encloseme','1'),
(52014,7688,'Index','4810'),
(52015,7688,'Minutage','1h00’03 \n'),
(52016,7688,'Images','Noir. \n'),
(52017,7688,'VoixOffIn','\n'),
(52018,7688,'BandeSon','Id. \n'),
(52019,7688,'Ecrits','Peut - être \n Que  \n Dans \n Mille  et  un \n Jours \n \n Racontera  \n cela \n'),
(52020,7688,'_product_image_gallery',''),
(52021,7689,'_pingme','1'),
(52022,7689,'_encloseme','1'),
(52023,7689,'Index','4820'),
(52024,7689,'Minutage','1h00’04 \n'),
(52025,7689,'Images','Clignotant  :  deux  nouveaux  mots  s’ajoutent  au  texte  précédemment  affiché. \n *Ici* *et* *ailleurs* (1976), Jean-Luc  Godard / Groupe  Dziga  Vertov. \n'),
(52026,7689,'VoixOffIn','\n'),
(52027,7689,'BandeSon','Id. \n'),
(52028,7689,'Ecrits','Peut - être \n Que  \n Dans \n Mille  et  un \n Jours \n Scheherazade \n Racontera  \n Cela \n autrement \n'),
(52029,7689,'_product_image_gallery',''),
(52030,7690,'_pingme','1'),
(52031,7690,'_encloseme','1'),
(52032,7690,'Index','4830'),
(52033,7690,'Minutage','1h00’09 \n'),
(52034,7690,'Images','Photographie  d\'une  personne  morte  et  défigurée,  au  crâne  fendu.  \n *Ici* *et* *ailleurs* (1976), Jean-Luc  Godard / Groupe  Dziga  Vertov. \n'),
(52035,7690,'VoixOffIn','\n'),
(52036,7690,'BandeSon','Id. \n'),
(52037,7690,'Ecrits','\n'),
(52038,7690,'_product_image_gallery',''),
(52039,7691,'_pingme','1'),
(52040,7691,'_encloseme','1'),
(52041,7691,'Index','4840'),
(52042,7691,'Minutage','1h00’13 \n'),
(52043,7691,'Images','Femme  parlant  devant  un  brasier.  Main  d\'une  autre  personne  s\'approchant  et  posant  l\'index  sur  sa  lèvre  inférieure.  \n *Les* *silences* *du* *passé* (1994), Moufida  Tlatli. \n'),
(52044,7691,'VoixOffIn','Voix  d\'un  homme  parlant  en  arabe. *Ici* *et* *ailleurs* (1976), Jean-Luc  Godard / Groupe  Dziga  Vertov. \n'),
(52045,7691,'BandeSon','Coups  de  mitraillette. *Ici* *et* *ailleurs* (1976), Jean-Luc  Godard / Groupe  Dziga  Vertov. \n'),
(52046,7691,'Ecrits','\n'),
(52047,7691,'_product_image_gallery',''),
(52048,7692,'_pingme','1'),
(52049,7692,'_encloseme','1'),
(52050,7692,'Index','4850'),
(52051,7692,'Minutage','1h00’22 \n'),
(52052,7692,'Images','De  nouveau,  personne  morte  et  défigurée  au  crâne  fendu.  \n *Ici* *et* *ailleurs* (1976), Jean-Luc  Godard / Groupe  Dziga  Vertov. \n'),
(52053,7692,'VoixOffIn','Id. \n'),
(52054,7692,'BandeSon','Id. \n'),
(52055,7692,'Ecrits','\n'),
(52056,7692,'_product_image_gallery',''),
(52057,7693,'_pingme','1'),
(52058,7693,'_encloseme','1'),
(52059,7693,'Index','4860'),
(52060,7693,'Minutage','1h00’31 \n'),
(52061,7693,'Images','Saturé  :  cadavres  dans  un  paysage  désertique. \n'),
(52062,7693,'VoixOffIn','Id. \n'),
(52063,7693,'BandeSon','Id. \n'),
(52064,7693,'Ecrits','\n'),
(52065,7693,'_product_image_gallery',''),
(52066,7694,'_pingme','1'),
(52067,7694,'_encloseme','1'),
(52068,7694,'Index','4870'),
(52069,7694,'Minutage','1h00’41 \n'),
(52070,7694,'Images','Saturé  en  tons  bleus  :  personne  nageant  dans  l\'eau. \n'),
(52071,7694,'VoixOffIn','Id. \n'),
(52072,7694,'BandeSon','Id. \n'),
(52073,7694,'Ecrits','\n'),
(52074,7694,'_product_image_gallery',''),
(52075,7695,'_pingme','1'),
(52076,7695,'_encloseme','1'),
(52077,7695,'Index','4880'),
(52078,7695,'Minutage','1h00’47 \n'),
(52079,7695,'Images','Saturée  en  tons  verts  et  rouges  :  femmes  habillées  plongeant  dans  un  fleuve.  \n *La* *saison* *des* *hommes* (2002),  Moufida  Tlatli. \n'),
(52080,7695,'VoixOffIn','Id. \n'),
(52081,7695,'BandeSon','Id. \n'),
(52082,7695,'Ecrits','\n'),
(52083,7695,'_product_image_gallery',''),
(52084,7696,'_pingme','1'),
(52085,7696,'_encloseme','1'),
(52086,7696,'Index','4890'),
(52087,7696,'Minutage','1h00’54 \n'),
(52088,7696,'Images','Livre  feuilleté  \n *L\'Arabie* *heureuse**.* *Souvenirs* *de* *voyages* *en* *Afrique* *et* *en* *Asie* (1860), Hadji - Abd - El - Hamid  Bey,  publié  par  Alexandre  Dumas. \n'),
(52089,7696,'VoixOffIn','Que  n’a - t - on  pas  écrit  la  nuit  ?  pourtant  de  ce  qui  fut  écrit  à  partir  de  ces  visions  par  Holderlin,  Rimbaud.  \n \n \n'),
(52090,7696,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n \n'),
(52091,7696,'Ecrits','\n'),
(52092,7696,'_product_image_gallery',''),
(52093,7697,'_pingme','1'),
(52094,7697,'_encloseme','1'),
(52095,7697,'Index','4900'),
(52096,7697,'Minutage','1h01’06 \n'),
(52097,7697,'Images','Noir. \n'),
(52098,7697,'VoixOffIn','Nous  parlions  de  ce  qu’on  voit  dans  un  rêve \n Nous  nous  demandions  comment,  dans  l’obscurité  totale  peuvent  surgir  parmi  nous  \n'),
(52099,7697,'BandeSon','Voix  masculine  d’un  muezzin,  en  arabe.  \n Puis,  après  à  la  guitare. *Thimar**,* *6**.* *Uns* (1998),  Anouar  Brahem,  John  Surman,  Dave  Holland.  \n'),
(52100,7697,'Ecrits','\n'),
(52101,7697,'_product_image_gallery',''),
(52102,7698,'_pingme','1'),
(52103,7698,'_encloseme','1'),
(52104,7698,'Index','4910'),
(52105,7698,'Minutage','1h01’18  \n'),
(52106,7698,'Images','Saturé  :  aquarelle  représentant  un  homme  marchant  entre  des  maisons.  \n *Vue* *dans* *une* *ruelle* (1914),  August  Macke. \n'),
(52107,7698,'VoixOffIn','de  couleurs  de  telle  intensité \n'),
(52108,7698,'BandeSon','Id. \n'),
(52109,7698,'Ecrits','\n'),
(52110,7698,'_product_image_gallery',''),
(52111,7699,'_pingme','1'),
(52112,7699,'_encloseme','1'),
(52113,7699,'Index','4920'),
(52114,7699,'Minutage','1h01’20 \n'),
(52115,7699,'Images','Mains  de  Godard  feuilletant  des  images,  dont  un  dessin  stylisé  d’une  femme  en  robe  bleue.  \n *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98),  Jean-Luc  Godard. \n'),
(52116,7699,'VoixOffIn','Elles  sont  le  produit  de  notre  savoir  \n'),
(52117,7699,'BandeSon','Id. \n'),
(52118,7699,'Ecrits','\n'),
(52119,7699,'_product_image_gallery',''),
(52120,7700,'_pingme','1'),
(52121,7700,'_encloseme','1'),
(52122,7700,'Index','4930'),
(52123,7700,'Minutage','1h01’23 \n'),
(52124,7700,'Images','Aquarelle  de  femme  en  robe.  \n *Histoire* *(**s**)* *du* *cinéma* *1b* (1988 - 98),  Jean-Luc  Godard. \n'),
(52125,7700,'VoixOffIn','concernant  la  lumière \n'),
(52126,7700,'BandeSon','Id. \n'),
(52127,7700,'Ecrits','\n'),
(52128,7700,'_product_image_gallery',''),
(52129,7701,'_pingme','1'),
(52130,7701,'_encloseme','1'),
(52131,7701,'Index','4940'),
(52132,7701,'Minutage','1h01’25 \n'),
(52133,7701,'Images','Homme  allongé  sur  un  lit  regardant  au  plafond  où  des  images  semblent  être  projetées. \n'),
(52134,7701,'VoixOffIn','Le  savoir  voit  !  \n \n Le  contrepoint  est  une  discipline  de  la  superposition  des  lignes  mélodiques. \n'),
(52135,7701,'BandeSon','*Concerto* *pour* *violon * *no * *2* *en * *mi* *mineur*,  *Op**. * *64* *(**MWV * *O* *14**)* (1844),  Félix  Mendelssohn. \n'),
(52136,7701,'Ecrits','PASSEPORT \n VERS \n      LE  RÉEL \n'),
(52137,7701,'_product_image_gallery',''),
(52138,7702,'_pingme','1'),
(52139,7702,'_encloseme','1'),
(52140,7702,'Index','4950'),
(52141,7702,'Minutage','1h01’35 \n'),
(52142,7702,'Images','Noir. \n'),
(52143,7702,'VoixOffIn','Les  mélodies  n’ont  pas  besoin  d’être  identiques \n'),
(52144,7702,'BandeSon','Id. \n'),
(52145,7702,'Ecrits','\n'),
(52146,7702,'_product_image_gallery',''),
(52147,7703,'_pingme','1'),
(52148,7703,'_encloseme','1'),
(52149,7703,'Index','4960'),
(52150,7703,'Minutage','1h01’44 \n'),
(52151,7703,'Images','Aquarelle  d\'un  âne  au  milieu  des  maisons.  \n *Vue* *sur* *une* *mosquée* (1914),  August  Macke. \n'),
(52152,7703,'VoixOffIn','non  plus  que  parentes,  étrangères  l\'une  à  l\'autre.  Elles  ne  font  pas  obstacle  à  la  composition  \n'),
(52153,7703,'BandeSon','Id. \n'),
(52154,7703,'Ecrits','\n'),
(52155,7703,'_product_image_gallery',''),
(52156,7704,'_pingme','1'),
(52157,7704,'_encloseme','1'),
(52158,7704,'Index','4970'),
(52159,7704,'Minutage','1h01’49 \n'),
(52160,7704,'Images','Noir. \n'),
(52161,7704,'VoixOffIn','mais  il  faut  les  tenir  \n'),
(52162,7704,'BandeSon','Id. \n'),
(52163,7704,'Ecrits','\n'),
(52164,7704,'_product_image_gallery',''),
(52165,7705,'_pingme','1'),
(52166,7705,'_encloseme','1'),
(52167,7705,'Index','4980'),
(52168,7705,'Minutage','1h01’53 \n'),
(52169,7705,'Images','Photographie  d\'un  pinceau  posé  sur  une  feuille  peinte. \n'),
(52170,7705,'VoixOffIn','toutes  les  deux  ensemble  et  en  même  temps.  Dans  l\'harmonie  les  accords  produisent  les  mélodies.  \n'),
(52171,7705,'BandeSon','Id. et  silence. \n'),
(52172,7705,'Ecrits','\n'),
(52173,7705,'_product_image_gallery',''),
(52174,7706,'_pingme','1'),
(52175,7706,'_encloseme','1'),
(52176,7706,'Index','4990'),
(52177,7706,'Minutage','1h02’07 \n'),
(52178,7706,'Images','Surexposé  et  en  tons  jaunes  :  trois  femmes  faisant  la  vaisselle  dans  des  bacs  de  fer  posés  à  même  le  sol.  \n *Tamaout* (1970), Marc’o. \n'),
(52179,7706,'VoixOffIn','Dans  le  contrepoint  ce  sont  des  mélodies  elles - mêmes  dont  dont  à  l\'inverse  résultent  les  accords.  (Jean -  Luc  Godard). \n'),
(52180,7706,'BandeSon','Id. \n'),
(52181,7706,'Ecrits','\n'),
(52182,7706,'_product_image_gallery',''),
(52183,7707,'_pingme','1'),
(52184,7707,'_encloseme','1'),
(52185,7707,'Index','5000'),
(52186,7707,'Minutage','1h02’16 \n'),
(52187,7707,'Images','Noir. \n'),
(52188,7707,'VoixOffIn','\n'),
(52189,7707,'BandeSon','*Klavierquintett**,* *Op**.* *18*,  *Moderato* *con* *moto* (1946),  Mieczysław  Weinberg. \n'),
(52190,7707,'Ecrits','\n'),
(52191,7707,'_product_image_gallery',''),
(52192,7708,'_pingme','1'),
(52193,7708,'_encloseme','1'),
(52194,7708,'Index','5010'),
(52195,7708,'Minutage','1h02’21 \n'),
(52196,7708,'Images','Trois  filles  et  un  garçon  jouant  dans  une  piscine. *\n* *Il* *fiore* *delle* *mille* *e* *una* *notte* (1974), Pier  Paolo  Pasolini. \n'),
(52197,7708,'VoixOffIn','\n'),
(52198,7708,'BandeSon','Id. \n'),
(52199,7708,'Ecrits','\n'),
(52200,7708,'_product_image_gallery',''),
(52201,7709,'_pingme','1'),
(52202,7709,'_encloseme','1'),
(52203,7709,'Index','5020'),
(52204,7709,'Minutage','1h02’39 \n'),
(52205,7709,'Images','Saturé  :  soleil  couchant  sur  la  mer. \n'),
(52206,7709,'VoixOffIn','\n'),
(52207,7709,'BandeSon','Id. \n'),
(52208,7709,'Ecrits','\n'),
(52209,7709,'_product_image_gallery',''),
(52210,7710,'_pingme','1'),
(52211,7710,'_encloseme','1'),
(52212,7710,'Index','5030'),
(52213,7710,'Minutage','1h02’48 \n'),
(52214,7710,'Images','Noir. \n'),
(52215,7710,'VoixOffIn','\n'),
(52216,7710,'BandeSon','*Piano* *Quintet**,* *Op**.* *18* *-* *4**.* *Largo* (1944), Mieczysław  Weinberg. \n \n'),
(52217,7710,'Ecrits','HEUREUSE \n ARABIE \n \n *Hasards* *de* *l\'Arabie* *heureuse* (2005),  Frederic  Prokosch. \n'),
(52218,7710,'_product_image_gallery',''),
(52219,7711,'_pingme','1'),
(52220,7711,'_encloseme','1'),
(52221,7711,'Index','5040'),
(52222,7711,'Minutage','1h02’55 \n'),
(52223,7711,'Images','Saturé  et  surexposé  :  bateau  au  milieu  de  la  mer  et  pêcheurs. \n'),
(52224,7711,'VoixOffIn','\n'),
(52225,7711,'BandeSon','Id. \n'),
(52226,7711,'Ecrits','\n'),
(52227,7711,'_product_image_gallery',''),
(52228,7712,'_pingme','1'),
(52229,7712,'_encloseme','1'),
(52230,7712,'Index','5050'),
(52231,7712,'Minutage','1h03’08 \n'),
(52232,7712,'Images','Femme  se  peingnant  les  mains  de  symboles  géométriques. \n'),
(52233,7712,'VoixOffIn','\n'),
(52234,7712,'BandeSon','Id. \n'),
(52235,7712,'Ecrits','\n'),
(52236,7712,'_product_image_gallery',''),
(52237,7713,'_pingme','1'),
(52238,7713,'_encloseme','1'),
(52239,7713,'Index','5060'),
(52240,7713,'Minutage','1h03’09 \n'),
(52241,7713,'Images','Saturé  :  mer  ondulante  vue  d\'un  golfe. \n'),
(52242,7713,'VoixOffIn','\n'),
(52243,7713,'BandeSon','Silence,  puis  vagues. \n'),
(52244,7713,'Ecrits','\n'),
(52245,7713,'_product_image_gallery',''),
(52246,7714,'_pingme','1'),
(52247,7714,'_encloseme','1'),
(52248,7714,'Index','5070'),
(52249,7714,'Minutage','1h03’41 \n'),
(52250,7714,'Images','Noir. \n'),
(52251,7714,'VoixOffIn','\n'),
(52252,7714,'BandeSon','Id. et  silence. \n'),
(52253,7714,'Ecrits','\n'),
(52254,7714,'_product_image_gallery',''),
(52255,7715,'_pingme','1'),
(52256,7715,'_encloseme','1'),
(52257,7715,'Index','5080'),
(52258,7715,'Minutage','1h03’47 \n'),
(52259,7715,'Images','Jeune  femme  pleurant  sur  une  plage,  hommes  chantant  en  arabe  en  arrière - plan. *La* *fièvre* (2014),  Safia  Benhaïm. \n'),
(52260,7715,'VoixOffIn','\n'),
(52261,7715,'BandeSon','Voix  masculines  accompagnées  d’instruments  à  percussions. \n'),
(52262,7715,'Ecrits','\n'),
(52263,7715,'_product_image_gallery',''),
(52264,7716,'_pingme','1'),
(52265,7716,'_encloseme','1'),
(52266,7716,'Index','5090'),
(52267,7716,'Minutage','1h03’57 \n'),
(52268,7716,'Images','Noir. \n'),
(52269,7716,'VoixOffIn','\n'),
(52270,7716,'BandeSon','Id. \n'),
(52271,7716,'Ecrits','\n'),
(52272,7716,'_product_image_gallery',''),
(52273,7717,'_pingme','1'),
(52274,7717,'_encloseme','1'),
(52275,7717,'Index','5100'),
(52276,7717,'Minutage','1h03’58 \n'),
(52277,7717,'Images','En  noir  et  blanc  :  bris  de  vitres  de  voitures.  \n *Djamila* (1958),  Youssef  Chahine. \n'),
(52278,7717,'VoixOffIn','\n'),
(52279,7717,'BandeSon','Explosion  et  vitres  cassées. \n'),
(52280,7717,'Ecrits','\n'),
(52281,7717,'_product_image_gallery',''),
(52282,7718,'_pingme','1'),
(52283,7718,'_encloseme','1'),
(52284,7718,'Index','5110'),
(52285,7718,'Minutage','1h04’00 \n'),
(52286,7718,'Images','Femme  nue  s’alongeant  sur  un  homme  nu  sur  un  lit. *\n* *Il* *fiore* *delle* *mille* *e* *una* *notte* (1974), Pier  Paolo  Pasolini. \n'),
(52287,7718,'VoixOffIn','\n'),
(52288,7718,'BandeSon','Silence. \n'),
(52289,7718,'Ecrits','\n'),
(52290,7718,'_product_image_gallery',''),
(52291,7719,'_pingme','1'),
(52292,7719,'_encloseme','1'),
(52293,7719,'Index','5120'),
(52294,7719,'Minutage','1h04’05 \n'),
(52295,7719,'Images','Femme  embrassant  les  pieds  d\'un  homme. \n'),
(52296,7719,'VoixOffIn','\n'),
(52297,7719,'BandeSon','Id. \n'),
(52298,7719,'Ecrits','\n'),
(52299,7719,'_product_image_gallery',''),
(52300,7720,'_pingme','1'),
(52301,7720,'_encloseme','1'),
(52302,7720,'Index','5130'),
(52303,7720,'Minutage','1h04’07 \n'),
(52304,7720,'Images','Homme  marchant  sur  des  toits  de  maisons  au  moyen - orient.  \n *Il* *fiore* *delle* *mille* *e* *una* *notte* (1974), Pier  Paolo  Pasolini. \n'),
(52305,7720,'VoixOffIn','Très  loin,  très  bas,  l’océan  …  cent  millions  de  vagues. \n Elles  rampaient  vers  les  côtes  invisibles  de  Dofa, \n'),
(52306,7720,'BandeSon','Id. puis  coups  de  mitraillette. \n'),
(52307,7720,'Ecrits','\n'),
(52308,7720,'_product_image_gallery',''),
(52309,7721,'_pingme','1'),
(52310,7721,'_encloseme','1'),
(52311,7721,'Index','5140'),
(52312,7721,'Minutage','1h04’24 \n'),
(52313,7721,'Images','Lac  et  ciel  entourés  de  montagnes. \n'),
(52314,7721,'VoixOffIn','si  lentes  que,  vues  d’en  haut,  d’en  plein  ciel  en  ciel,  elles  ne  donnaient  qu’à  peine  l’impression  de  bouger \n'),
(52315,7721,'BandeSon','Silence. \n'),
(52316,7721,'Ecrits','\n'),
(52317,7721,'_product_image_gallery',''),
(52318,7722,'_pingme','1'),
(52319,7722,'_encloseme','1'),
(52320,7722,'Index','5150'),
(52321,7722,'Minutage','1h04’35 \n'),
(52322,7722,'Images','Saturé  :  hommes  et  femmes  sur  une  plage,  bateau. \n'),
(52323,7722,'VoixOffIn','Elles  glissaient  sur  la  mer  avec  l’indolente  précision  d\'un  dessin  de  Damas  \n'),
(52324,7722,'BandeSon','Id. \n'),
(52325,7722,'Ecrits','\n'),
(52326,7722,'_product_image_gallery',''),
(52327,7723,'_pingme','1'),
(52328,7723,'_encloseme','1'),
(52329,7723,'Index','5160'),
(52330,7723,'Minutage','1h04’42 \n'),
(52331,7723,'Images','Noir. \n'),
(52332,7723,'VoixOffIn','qui  semble  comme  un  grand  réseau  blanc  sur  une  feuille  \n'),
(52333,7723,'BandeSon','Arpèges  à  la  guitare. *Raf* *Raf* (1991), Anouar  Brahem.  \n'),
(52334,7723,'Ecrits','ARCHÉOLOGIE \n ET        PIRATES \n'),
(52335,7723,'_product_image_gallery',''),
(52336,7724,'_pingme','1'),
(52337,7724,'_encloseme','1'),
(52338,7724,'Index','5170'),
(52339,7724,'Minutage','1h04’45 \n'),
(52340,7724,'Images','Surexposé  et  saturé  :  quatre  enfants  au  milieu  de  la  mer. \n'),
(52341,7724,'VoixOffIn','de  verre  bleu.  De  place  en  place, \n'),
(52342,7724,'BandeSon','Id. \n'),
(52343,7724,'Ecrits','\n'),
(52344,7724,'_product_image_gallery',''),
(52345,7725,'_pingme','1'),
(52346,7725,'_encloseme','1'),
(52347,7725,'Index','5180'),
(52348,7725,'Minutage','1h04’52 \n'),
(52349,7725,'Images','Photo  d\'un  coucher  de  soleil  sur  la  mer. \n'),
(52350,7725,'VoixOffIn','dans  cette  transparence,  la  forme  d\'un  poisson  frémissait  puis  s\'éclipsait,  raie  géant  peut - être, \n'),
(52351,7725,'BandeSon','Id. \n'),
(52352,7725,'Ecrits','\n'),
(52353,7725,'_product_image_gallery',''),
(52354,7726,'_pingme','1'),
(52355,7726,'_encloseme','1'),
(52356,7726,'Index','5190'),
(52357,7726,'Minutage','1h05’00 \n'),
(52358,7726,'Images','Coucher  de  soleil  sur  la  mer. \n'),
(52359,7726,'VoixOffIn','où  requin  sur  la  voie  d\'eau  plus  froide.  Vers  le  nord.  S’aplatissait  un  archipel  \n'),
(52360,7726,'BandeSon','Id. \n'),
(52361,7726,'Ecrits','\n'),
(52362,7726,'_product_image_gallery',''),
(52363,7727,'_pingme','1'),
(52364,7727,'_encloseme','1'),
(52365,7727,'Index','5200'),
(52366,7727,'Minutage','1h05’09 \n'),
(52367,7727,'Images','Zoomé  :  coucher  de  soleil  sur  la  mer. \n'),
(52368,7727,'VoixOffIn','cortège  de  crocodiles,  \n'),
(52369,7727,'BandeSon','Silence. \n'),
(52370,7727,'Ecrits','\n'),
(52371,7727,'_product_image_gallery',''),
(52372,7728,'_pingme','1'),
(52373,7728,'_encloseme','1'),
(52374,7728,'Index','5210'),
(52375,7728,'Minutage','1h05’16 \n'),
(52376,7728,'Images','Surexposé  :  hommes  dans  un  bateau. \n'),
(52377,7728,'VoixOffIn','vers  les  jardins  du  sud,  vers  le  nord.  Les  pirogues  s\'aplatissaient.  Un  archipel  posé  sur  la  plaque  de  verre  comme  \n'),
(52378,7728,'BandeSon','Id. \n'),
(52379,7728,'Ecrits','\n'),
(52380,7728,'_product_image_gallery',''),
(52381,7729,'_pingme','1'),
(52382,7729,'_encloseme','1'),
(52383,7729,'Index','5220'),
(52384,7729,'Minutage','1h05’26 \n'),
(52385,7729,'Images','Noir. \n'),
(52386,7729,'VoixOffIn','des  moustiques.  \n *Une* *ambition* *dans* *le* *désert* (1984),  Albert  Cossery. \n'),
(52387,7729,'BandeSon','Id. \n'),
(52388,7729,'Ecrits','\n'),
(52389,7729,'_product_image_gallery',''),
(52390,7730,'_pingme','1'),
(52391,7730,'_encloseme','1'),
(52392,7730,'Index','5230'),
(52393,7730,'Minutage','1h05’27 \n'),
(52394,7730,'Images','Saturé  en  tons  rouge  :  désert,  dunes. \n'),
(52395,7730,'VoixOffIn','\n'),
(52396,7730,'BandeSon','Id. \n'),
(52397,7730,'Ecrits','\n'),
(52398,7730,'_product_image_gallery',''),
(52399,7731,'_pingme','1'),
(52400,7731,'_encloseme','1'),
(52401,7731,'Index','5240'),
(52402,7731,'Minutage','1h05’30 \n'),
(52403,7731,'Images','Vieil  homme  soufflant  sur  des  braises  placées  sur  une  brique,  et  posant  une  cafetière  dessus. \n'),
(52404,7731,'VoixOffIn','\n'),
(52405,7731,'BandeSon','Id. \n'),
(52406,7731,'Ecrits','\n'),
(52407,7731,'_product_image_gallery',''),
(52408,7732,'_pingme','1'),
(52409,7732,'_encloseme','1'),
(52410,7732,'Index','5250'),
(52411,7732,'Minutage','1h05’36 \n'),
(52412,7732,'Images','Palmiers  secoués  par  un  vent  fort. \n'),
(52413,7732,'VoixOffIn','\n'),
(52414,7732,'BandeSon','Vent \n'),
(52415,7732,'Ecrits','\n'),
(52416,7732,'_product_image_gallery',''),
(52417,7733,'_pingme','1'),
(52418,7733,'_encloseme','1'),
(52419,7733,'Index','5260'),
(52420,7733,'Minutage','1h05’41 \n'),
(52421,7733,'Images','Rue  bruyante  d\'une  ville  du  Moyen  Orient  vue  d’un  balcon.  \n'),
(52422,7733,'VoixOffIn','\n'),
(52423,7733,'BandeSon','Chanson  en  arabe  provenant  d’une  radio  résonnant  dans  la  ville.  \n'),
(52424,7733,'Ecrits','\n'),
(52425,7733,'_product_image_gallery',''),
(52426,7734,'_pingme','1'),
(52427,7734,'_encloseme','1'),
(52428,7734,'Index','5270'),
(52429,7734,'Minutage','1h05’45 \n'),
(52430,7734,'Images','Surexposé  et  déformé  :  masque  d’aigle  sur  un  homme  dont  on  voit  les  mains  au  bas  du  cadre. \n *Judex* (1964),  Georges  Franju. \n'),
(52431,7734,'VoixOffIn','\n'),
(52432,7734,'BandeSon','Silence. \n'),
(52433,7734,'Ecrits','\n'),
(52434,7734,'_product_image_gallery',''),
(52435,7735,'_pingme','1'),
(52436,7735,'_encloseme','1'),
(52437,7735,'Index','5280'),
(52438,7735,'Minutage','1h05’52 \n'),
(52439,7735,'Images','Au  ralenti  :  femme  au  balcon  vue  de  dos,  se  retournant.  \n *La* *mome* *vert* *de* *gris* (1953), Bernard  borderie. \n'),
(52440,7735,'VoixOffIn','\n'),
(52441,7735,'BandeSon','Id. \n'),
(52442,7735,'Ecrits','\n'),
(52443,7735,'_product_image_gallery',''),
(52444,7736,'_pingme','1'),
(52445,7736,'_encloseme','1'),
(52446,7736,'Index','5290'),
(52447,7736,'Minutage','1h05’55 \n'),
(52448,7736,'Images','Femme  dansant  en  regardant  la  caméra.  \n *La* *bandera* (1935), Julien  Duvivier. \n'),
(52449,7736,'VoixOffIn','\n'),
(52450,7736,'BandeSon','Id. \n'),
(52451,7736,'Ecrits','\n'),
(52452,7736,'_product_image_gallery',''),
(52453,7737,'_pingme','1'),
(52454,7737,'_encloseme','1'),
(52455,7737,'Index','5300'),
(52456,7737,'Minutage','1h06’00 \n'),
(52457,7737,'Images','Photo  d\'une  rue  d’une  ville  prise  avec  un  téléphone  portable  depuis  un  balcon. \n'),
(52458,7737,'VoixOffIn','\n'),
(52459,7737,'BandeSon','Explosions  et  cris. \n'),
(52460,7737,'Ecrits','\n'),
(52461,7737,'_product_image_gallery',''),
(52462,7738,'_pingme','1'),
(52463,7738,'_encloseme','1'),
(52464,7738,'Index','5310'),
(52465,7738,'Minutage','1h06’06 \n'),
(52466,7738,'Images','Au  ralenti  :  homme  enflammé  courant. \n'),
(52467,7738,'VoixOffIn','\n'),
(52468,7738,'BandeSon','Id. \n'),
(52469,7738,'Ecrits','\n'),
(52470,7738,'_product_image_gallery',''),
(52471,7739,'_pingme','1'),
(52472,7739,'_encloseme','1'),
(52473,7739,'Index','5320'),
(52474,7739,'Minutage','1h06’12 \n'),
(52475,7739,'Images','Deux  hommes  lisant  le  Coran  et  priant. \n'),
(52476,7739,'VoixOffIn','Le  livre.  Les  religions  du  livre  ont  forgé  nos  sociétés \n'),
(52477,7739,'BandeSon','Silence. \n'),
(52478,7739,'Ecrits','\n'),
(52479,7739,'_product_image_gallery',''),
(52480,7740,'_pingme','1'),
(52481,7740,'_encloseme','1'),
(52482,7740,'Index','5330'),
(52483,7740,'Minutage','1h06’19 \n'),
(52484,7740,'Images','Homme  sortant  d\'une  maison  en  pierre  et  en  saluant  d’autres  en  leur  tendant  la  main.  \n *Il* *fiore* *delle* *mille* *e* *una* *notte* (1974), Pier  Paolo  Pasolini. \n'),
(52485,7740,'VoixOffIn','et  nous  avons  sacralisé  les  textes. \n Tables  de  la  lois,  dix  commencements,  rouleaux  de  la   Torah,  Bible,  Coran  etc.  \n'),
(52486,7740,'BandeSon','Id. \n'),
(52487,7740,'Ecrits','\n'),
(52488,7740,'_product_image_gallery',''),
(52489,7741,'_pingme','1'),
(52490,7741,'_encloseme','1'),
(52491,7741,'Index','5340'),
(52492,7741,'Minutage','1h06’36 \n'),
(52493,7741,'Images','Noir. \n'),
(52494,7741,'VoixOffIn','Il  fallait  (Jean-Luc  Godard) \n'),
(52495,7741,'BandeSon','Id. \n'),
(52496,7741,'Ecrits','\n'),
(52497,7741,'_product_image_gallery',''),
(52498,7742,'_pingme','1'),
(52499,7742,'_encloseme','1'),
(52500,7742,'Index','5350'),
(52501,7742,'Minutage','1h06’38 \n'),
(52502,7742,'Images','Peinte  à  la  main  sur  un  fond  noir  :  «  Le  Livre  d’\'  »  écrit  en  rouge  et  «  Image  »  écrit  en  blanc. \n'),
(52503,7742,'VoixOffIn','\n'),
(52504,7742,'BandeSon','Id. \n'),
(52505,7742,'Ecrits','\n'),
(52506,7742,'_product_image_gallery',''),
(52507,7743,'_pingme','1'),
(52508,7743,'_encloseme','1'),
(52509,7743,'Index','5360'),
(52510,7743,'Minutage','1h06’41 \n'),
(52511,7743,'Images','Saturé  :  vidéo  prise  du  sommet  d\'une  montagne,  montrant  la  mer.  Le  bruit  du  vent  perturbe  le  microphone. \n'),
(52512,7743,'VoixOffIn','\n'),
(52513,7743,'BandeSon','Vent. \n'),
(52514,7743,'Ecrits','\n'),
(52515,7743,'_product_image_gallery',''),
(52516,7744,'_pingme','1'),
(52517,7744,'_encloseme','1'),
(52518,7744,'Index','5370'),
(52519,7744,'Minutage','1h06’50 \n'),
(52520,7744,'Images','En  noir  et  blanc  :  femme  dansant  tandis  que  des  hommes  et  des  femmes  assis  à  table  la  regardent.  \n *La* *mome* *vert* *de* *gris* (1953), Bernard  borderie. \n'),
(52521,7744,'VoixOffIn','Ici,  à  Dofa,  la  capitale  de  l\'Émirat,  il  était  inconcevable  qu’un  mouvement  subversif  se  soit  constitué \n'),
(52522,7744,'BandeSon','Silence. \n'),
(52523,7744,'Ecrits','\n'),
(52524,7744,'_product_image_gallery',''),
(52525,7745,'_pingme','1'),
(52526,7745,'_encloseme','1'),
(52527,7745,'Index','5380'),
(52528,7745,'Minutage','1h06’55 \n'),
(52529,7745,'Images','Homme  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'),
(52530,7745,'VoixOffIn','Vous  êtes  conscients  je  suppose  que  toutes  les  histoires  racontées  se  montrent  parties.  \n \n quelque  rumeur  autre  que  les  explosions \n'),
(52531,7745,'BandeSon','Id. puis  voix  humaines. \n'),
(52532,7745,'Ecrits','\n'),
(52533,7745,'_product_image_gallery',''),
(52534,7746,'_pingme','1'),
(52535,7746,'_encloseme','1'),
(52536,7746,'Index','5390'),
(52537,7746,'Minutage','1h07’28 \n'),
(52538,7746,'Images','Saturé  en  tons  jaunes  et  rouges,  et  sous - exposé  :  puit  de  pétrole  en  flammes. \n'),
(52539,7746,'VoixOffIn','En  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'),
(52540,7746,'BandeSon','Silence. \n'),
(52541,7746,'Ecrits','\n'),
(52542,7746,'_product_image_gallery',''),
(52543,7747,'_pingme','1'),
(52544,7747,'_encloseme','1'),
(52545,7747,'Index','5400'),
(52546,7747,'Minutage','1h07’50 \n'),
(52547,7747,'Images','Homme  tirant  de  nuit  sur  des  fêtards  réunis  autour  d\'un  feu.  Fêtards  s\'enfuyant  à  la  vue  de  l\'homme. \n'),
(52548,7747,'VoixOffIn','assez  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'),
(52549,7747,'BandeSon','Id. puis  chants,  coups  de  fusil  et  cris. \n'),
(52550,7747,'Ecrits','\n'),
(52551,7747,'_product_image_gallery',''),
(52552,7748,'_pingme','1'),
(52553,7748,'_encloseme','1'),
(52554,7748,'Index','5410'),
(52555,7748,'Minutage','1h08’13 \n'),
(52556,7748,'Images','Sous - exposé,  en  noir  et  blanc  :  personnes  autour  d\'un  feu. \n'),
(52557,7748,'VoixOffIn','la  considérant  comme  inadéquate  dans  cet  oasis  misérable  \n'),
(52558,7748,'BandeSon','Silence. \n'),
(52559,7748,'Ecrits','\n'),
(52560,7748,'_product_image_gallery',''),
(52561,7749,'_pingme','1'),
(52562,7749,'_encloseme','1'),
(52563,7749,'Index','5420'),
(52564,7749,'Minutage','1h08’21 \n'),
(52565,7749,'Images','Noir. \n'),
(52566,7749,'VoixOffIn','mais  où  régnait  une  paix  souveraine  \n'),
(52567,7749,'BandeSon','Id. \n'),
(52568,7749,'Ecrits','\n'),
(52569,7749,'_product_image_gallery',''),
(52570,7750,'_pingme','1'),
(52571,7750,'_encloseme','1'),
(52572,7750,'Index','5430'),
(52573,7750,'Minutage','1h08’24 \n'),
(52574,7750,'Images','Paysage  semi  désert,  vu  d\'une  route. \n'),
(52575,7750,'VoixOffIn','car,  là  où  il  n\'y  a  rien,  même  les  scélérats  se  résignent  à  l\'indigence.  (Jean-Luc  Godard).  \n *Une* *ambition* *dans* *le* *désert* (1984),  Albert  Cossery. \n'),
(52576,7750,'BandeSon','Id. \n'),
(52577,7750,'Ecrits','\n'),
(52578,7750,'_product_image_gallery',''),
(52579,7751,'_pingme','1'),
(52580,7751,'_encloseme','1'),
(52581,7751,'Index','5440'),
(52582,7751,'Minutage','1h08’32 \n'),
(52583,7751,'Images','Noir. \n'),
(52584,7751,'VoixOffIn','\n'),
(52585,7751,'BandeSon','Id. \n'),
(52586,7751,'Ecrits','\n'),
(52587,7751,'_product_image_gallery',''),
(52588,7752,'_pingme','1'),
(52589,7752,'_encloseme','1'),
(52590,7752,'Index','5450'),
(52591,7752,'Minutage','1h08’36 \n'),
(52592,7752,'Images','Haut  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'),
(52593,7752,'VoixOffIn','\n'),
(52594,7752,'BandeSon','A  la  guitare  :  arpèges. \n'),
(52595,7752,'Ecrits','\n'),
(52596,7752,'_product_image_gallery',''),
(52597,7753,'_pingme','1'),
(52598,7753,'_encloseme','1'),
(52599,7753,'Index','5460'),
(52600,7753,'Minutage','1h08’52 \n'),
(52601,7753,'Images','Noir. \n'),
(52602,7753,'VoixOffIn','\n'),
(52603,7753,'BandeSon','Id. \n'),
(52604,7753,'Ecrits','\n'),
(52605,7753,'_product_image_gallery',''),
(52606,7754,'_pingme','1'),
(52607,7754,'_encloseme','1'),
(52608,7754,'Index','5470'),
(52609,7754,'Minutage','1h08’55 \n'),
(52610,7754,'Images','Visage  d\'une  femme  chantant  en  arabe. \n'),
(52611,7754,'VoixOffIn','\n'),
(52612,7754,'BandeSon','Voix  féminine,  en  arabe. \n'),
(52613,7754,'Ecrits','\n'),
(52614,7754,'_product_image_gallery',''),
(52615,7755,'_pingme','1'),
(52616,7755,'_encloseme','1'),
(52617,7755,'Index','5480'),
(52618,7755,'Minutage','1h08’59 \n'),
(52619,7755,'Images','Saturé  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'),
(52620,7755,'VoixOffIn','\n'),
(52621,7755,'BandeSon','Id. \n'),
(52622,7755,'Ecrits','\n'),
(52623,7755,'_product_image_gallery',''),
(52624,7756,'_pingme','1'),
(52625,7756,'_encloseme','1'),
(52626,7756,'Index','5490'),
(52627,7756,'Minutage','1h09’11 \n'),
(52628,7756,'Images','Noir. \n'),
(52629,7756,'VoixOffIn','\n'),
(52630,7756,'BandeSon','Id. \n'),
(52631,7756,'Ecrits','\n'),
(52632,7756,'_product_image_gallery',''),
(52633,7757,'_pingme','1'),
(52634,7757,'_encloseme','1'),
(52635,7757,'Index','5500'),
(52636,7757,'Minutage','1h09’12 \n'),
(52637,7757,'Images','Homme  et  femme  regardant  la  télévision. \n'),
(52638,7757,'VoixOffIn','On  ne  pouvait  cependant  oublier  leur  aptitude  à  se  surpasser  dans  l\'abjection  \n'),
(52639,7757,'BandeSon','Silence. \n'),
(52640,7757,'Ecrits','\n'),
(52641,7757,'_product_image_gallery',''),
(52642,7758,'_pingme','1'),
(52643,7758,'_encloseme','1'),
(52644,7758,'Index','5510'),
(52645,7758,'Minutage','1h09’23 \n'),
(52646,7758,'Images','Mains  d\'un  homme  enchaîné.  \n *Al* *-* *lail* (1992), Mohamed  Malas. \n'),
(52647,7758,'VoixOffIn','lorsqu\'ils  sont  soutenus  \n'),
(52648,7758,'BandeSon','Id. \n'),
(52649,7758,'Ecrits','\n'),
(52650,7758,'_product_image_gallery',''),
(52651,7759,'_pingme','1'),
(52652,7759,'_encloseme','1'),
(52653,7759,'Index','5520'),
(52654,7759,'Minutage','1h09’26 \n'),
(52655,7759,'Images','Petit  enfant  marchant  dans  une  rue  à  la  lumière  du  soleil  sur  laquelle  se  découpent  les  ombres  des  pales  d\'un  moulin. \n A  côté  de  lui,  homme  enchaîné  et  gardé  par  trois  autres  hommes.  \n *Al* *-* *lail* (1992), Mohamed  Malas. \n'),
(52656,7759,'VoixOffIn','et  conseillés  par  des  criminels  d\'une  plus  grande  envergure  venus  de  l\'extérieur. \n'),
(52657,7759,'BandeSon','Id. \n'),
(52658,7759,'Ecrits','\n'),
(52659,7759,'_product_image_gallery',''),
(52660,7760,'_pingme','1'),
(52661,7760,'_encloseme','1'),
(52662,7760,'Index','5530'),
(52663,7760,'Minutage','1h09’38 \n'),
(52664,7760,'Images','Noir. \n'),
(52665,7760,'VoixOffIn','Samantar \n'),
(52666,7760,'BandeSon','Id. \n'),
(52667,7760,'Ecrits','\n'),
(52668,7760,'_product_image_gallery',''),
(52669,7761,'_pingme','1'),
(52670,7761,'_encloseme','1'),
(52671,7761,'Index','5540'),
(52672,7761,'Minutage','1h09’44 \n'),
(52673,7761,'Images','Visage  d\'un  jeune  homme  appuyant  sur  une  vitre  reflétant  son  image. \n'),
(52674,7761,'VoixOffIn','était  convaincu  que  la  pauvreté  d’un  pays  était  sa  seule  sauvegarde  contre  les  rapaces  armés  ou  non. \n'),
(52675,7761,'BandeSon','Id. \n'),
(52676,7761,'Ecrits','\n'),
(52677,7761,'_product_image_gallery',''),
(52678,7762,'_pingme','1'),
(52679,7762,'_encloseme','1'),
(52680,7762,'Index','5550'),
(52681,7762,'Minutage','1h09’58 \n'),
(52682,7762,'Images','Deux  petites  filles  au  foulard  sur  la  tête.  Mains  de  personnes  applaudissant. \n'),
(52683,7762,'VoixOffIn','qui  n\'attendaient  qu\'une  promesse  de  profit  pour  venir  le  conquérir,  \n'),
(52684,7762,'BandeSon','Id. \n'),
(52685,7762,'Ecrits','\n'),
(52686,7762,'_product_image_gallery',''),
(52687,7763,'_pingme','1'),
(52688,7763,'_encloseme','1'),
(52689,7763,'Index','5560'),
(52690,7763,'Minutage','1h10’01 \n'),
(52691,7763,'Images','Surexposé  et  saturé  :  chameaux  et  hommes  marchant  en  file  dans  le  désert. \n'),
(52692,7763,'VoixOffIn','le  détruire  et  le  pourrir \n'),
(52693,7763,'BandeSon','Id. \n'),
(52694,7763,'Ecrits','\n'),
(52695,7763,'_product_image_gallery',''),
(52696,7764,'_pingme','1'),
(52697,7764,'_encloseme','1'),
(52698,7764,'Index','5570'),
(52699,7764,'Minutage','1h10’05 \n'),
(52700,7764,'Images','Femme  vue  de  dos,  regardant  un  âne. \n'),
(52701,7764,'VoixOffIn','Et  Samantar  remerciait  le  ciel  d\'être  né  sur  cette  \n'),
(52702,7764,'BandeSon','Id. \n'),
(52703,7764,'Ecrits','\n'),
(52704,7764,'_product_image_gallery',''),
(52705,7765,'_pingme','1'),
(52706,7765,'_encloseme','1'),
(52707,7765,'Index','5580'),
(52708,7765,'Minutage','1h10’14 \n'),
(52709,7765,'Images','Au  ralenti,  en  noir  et  blanc  :  homme  marchant  dans  une  rue,  une  arme  à  la  main. \n'),
(52710,7765,'VoixOffIn','terre  désertique  démunie  de  toute  matière  première  et  assez  ingrate  pour  décourager  les  marchés.  \n'),
(52711,7765,'BandeSon','Id. \n'),
(52712,7765,'Ecrits','\n'),
(52713,7765,'_product_image_gallery',''),
(52714,7766,'_pingme','1'),
(52715,7766,'_encloseme','1'),
(52716,7766,'Index','5590'),
(52717,7766,'Minutage','1h10’26 \n'),
(52718,7766,'Images','Noir. \n'),
(52719,7766,'VoixOffIn','Le  plus  stupéfiant  dans  cette  affaire  \n'),
(52720,7766,'BandeSon','Id. \n'),
(52721,7766,'Ecrits','\n'),
(52722,7766,'_product_image_gallery',''),
(52723,7767,'_pingme','1'),
(52724,7767,'_encloseme','1'),
(52725,7767,'Index','5600'),
(52726,7767,'Minutage','1h10’31 \n'),
(52727,7767,'Images','Rue  et  marché  en  plein  air  dans  une  ville  du  Moyen - Orient.  \n *La* *fièvre* (2014),  Safia  Benhaïm. \n'),
(52728,7767,'VoixOffIn','était  que  les  attentats  étaient  revendiqués  par  une  soi - disant \n'),
(52729,7767,'BandeSon','Id. \n'),
(52730,7767,'Ecrits','\n'),
(52731,7767,'_product_image_gallery',''),
(52732,7768,'_pingme','1'),
(52733,7768,'_encloseme','1'),
(52734,7768,'Index','5610'),
(52735,7768,'Minutage','1h10’38 \n'),
(52736,7768,'Images','Saturé  :  trois  personnes  sur  une  plage  rocheuse  au  bord  d\'une  mer. \n'),
(52737,7768,'VoixOffIn','force  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'),
(52738,7768,'BandeSon','Id. puis  vent. \n'),
(52739,7768,'Ecrits','\n'),
(52740,7768,'_product_image_gallery',''),
(52741,7769,'_pingme','1'),
(52742,7769,'_encloseme','1'),
(52743,7769,'Index','5620'),
(52744,7769,'Minutage','1h11’30 \n'),
(52745,7769,'Images','Noir. \n'),
(52746,7769,'VoixOffIn','\n'),
(52747,7769,'BandeSon','Id. \n'),
(52748,7769,'Ecrits','\n'),
(52749,7769,'_product_image_gallery',''),
(52750,7770,'_pingme','1'),
(52751,7770,'_encloseme','1'),
(52752,7770,'Index','5630'),
(52753,7770,'Minutage','1h11’32 \n'),
(52754,7770,'Images','Surexposé  et  saturé  :  deux  hommes  debout  dans  une  voiture  au  toit  ouvert,  et  criant  des  phrases  en  arabe.  \n *Al* *-* *lail* (1992), Mohamed  Malas. \n'),
(52755,7770,'VoixOffIn','[traduction  de  l’arabe]  :  Le  volontariat  dans  la  brigade  de...  La  vie  est  une  posture... \n'),
(52756,7770,'BandeSon','Id. \n'),
(52757,7770,'Ecrits','\n'),
(52758,7770,'_product_image_gallery',''),
(52759,7771,'_pingme','1'),
(52760,7771,'_encloseme','1'),
(52761,7771,'Index','5640'),
(52762,7771,'Minutage','1h11’35 \n'),
(52763,7771,'Images','Noir. \n'),
(52764,7771,'VoixOffIn','Ni  l\'importance  du  territoire  de  Dofa … \n'),
(52765,7771,'BandeSon','Id. \n'),
(52766,7771,'Ecrits','\n'),
(52767,7771,'_product_image_gallery',''),
(52768,7772,'_pingme','1'),
(52769,7772,'_encloseme','1'),
(52770,7772,'Index','5650'),
(52771,7772,'Minutage','1h11’40 \n'),
(52772,7772,'Images','Sous - exposée  :  homme  se  déplaçant  dans  l\'ombre.  \n *Al* *-* *lail* (1992), Mohamed  Malas. \n'),
(52773,7772,'VoixOffIn','\n'),
(52774,7772,'BandeSon','Id. \n'),
(52775,7772,'Ecrits','\n'),
(52776,7772,'_product_image_gallery',''),
(52777,7773,'_pingme','1'),
(52778,7773,'_encloseme','1'),
(52779,7773,'Index','5660'),
(52780,7773,'Minutage','1h11’46 \n'),
(52781,7773,'Images','Ralenti  et  sous  exposé  :  main  glissant  trois  doigts  dans  l’ouverture  d\'une  porte,  pour  l\'ouvrir. *\n* *Al* *-* *lail* (1992), Mohamed  Malas. *\n*'),
(52782,7773,'VoixOffIn','Journal  télévisé  [traduction  de  l’arabe  standard]  :  \n Nous  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 \n Voix  d’homme  :  \n ni  la  conjoncture  politique  dans  la  région  n\'avaient \n \n resté  jusqu\'ici  en  dehors  de  l\'éclatante  prospérité  \n'),
(52783,7773,'BandeSon','Id. \n'),
(52784,7773,'Ecrits','\n'),
(52785,7773,'_product_image_gallery',''),
(52786,7774,'_pingme','1'),
(52787,7774,'_encloseme','1'),
(52788,7774,'Index','5670'),
(52789,7774,'Minutage','1h12’00 \n'),
(52790,7774,'Images','Surexposé  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'),
(52791,7774,'VoixOffIn','des  émirats  voisins  pouvait  d\'un  jour  à  l\'autre  devenir  un  enfer. \n'),
(52792,7774,'BandeSon','Voix  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'),
(52793,7774,'Ecrits','\n'),
(52794,7774,'_product_image_gallery',''),
(52795,7775,'_pingme','1'),
(52796,7775,'_encloseme','1'),
(52797,7775,'Index','5680'),
(52798,7775,'Minutage','1h12’24 \n'),
(52799,7775,'Images','Noir. \n'),
(52800,7775,'VoixOffIn','\n'),
(52801,7775,'BandeSon','Id. \n'),
(52802,7775,'Ecrits','\n'),
(52803,7775,'_product_image_gallery',''),
(52804,7776,'_pingme','1'),
(52805,7776,'_encloseme','1'),
(52806,7776,'Index','5690'),
(52807,7776,'Minutage','1h12’28 \n'),
(52808,7776,'Images','De  nouveau,  groupe  d\'hommes  courant  dans  la  rue  et  se  pressant  contre  la  porte  d\'un  appartement. \n'),
(52809,7776,'VoixOffIn','\n'),
(52810,7776,'BandeSon','Id. \n'),
(52811,7776,'Ecrits','\n'),
(52812,7776,'_product_image_gallery',''),
(52813,7777,'_pingme','1'),
(52814,7777,'_encloseme','1'),
(52815,7777,'Index','5700'),
(52816,7777,'Minutage','1h12’34 \n'),
(52817,7777,'Images','Saturé  :  hommes  en  tenue  militaire  officielle,  et  commandants.  \n *Al* *-* *lail* (1992), Mohamed  Malas. \n'),
(52818,7777,'VoixOffIn','Ce  qui  tourmentait  le  Cheick  El  Kadem,  le  premier  ministre  du  royaume,  c\'était  une  vue  de  l\'esprit  \n'),
(52819,7777,'BandeSon','Trompettes  de  fanfare  militaire. \n'),
(52820,7777,'Ecrits','\n'),
(52821,7777,'_product_image_gallery',''),
(52822,7778,'_pingme','1'),
(52823,7778,'_encloseme','1'),
(52824,7778,'Index','5710'),
(52825,7778,'Minutage','1h12’47 \n'),
(52826,7778,'Images','Saturé,  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'),
(52827,7778,'VoixOffIn','car  il  rêvait  de  soumettre  à  sa  domination,  l\'ensemble  des  pays  du  golfe.  \n'),
(52828,7778,'BandeSon','Id. et  puis  silence. \n'),
(52829,7778,'Ecrits','\n'),
(52830,7778,'_product_image_gallery',''),
(52831,7779,'_pingme','1'),
(52832,7779,'_encloseme','1'),
(52833,7779,'Index','5720'),
(52834,7779,'Minutage','1h12’57 \n'),
(52835,7779,'Images','Saturé  :  maison  en  ruine  sur  une  plage  de  roche  en  bord  de  mer.  \n'),
(52836,7779,'VoixOffIn','Il  était  vrai  que  sur  cette  bande  de  terre  aride,  \n'),
(52837,7779,'BandeSon','Silence. \n'),
(52838,7779,'Ecrits','\n'),
(52839,7779,'_product_image_gallery',''),
(52840,7780,'_pingme','1'),
(52841,7780,'_encloseme','1'),
(52842,7780,'Index','5730'),
(52843,7780,'Minutage','1h13’08 \n'),
(52844,7780,'Images','Manifestation  avec  de  nombreuses  personnes  dans  la  rue  portant  des  pancartes  écrites  en  arabe.  \n *Shoah**,* *les* *oubliés* *de* *l’histoire* (2014), Véronique  Lagoarde - Ségot,  par  la  chaîne  de  télévision *Histoire*. \n'),
(52845,7780,'VoixOffIn','Il  était  le  maître  incontesté  \n'),
(52846,7780,'BandeSon','A  la  guitare  :  arpèges. \n'),
(52847,7780,'Ecrits','\n'),
(52848,7780,'_product_image_gallery',''),
(52849,7781,'_pingme','1'),
(52850,7781,'_encloseme','1'),
(52851,7781,'Index','5740'),
(52852,7781,'Minutage','1h13’15 \n'),
(52853,7781,'Images','Surexposé  :  sultan  avec  une  femme  à  ses  côtés.  \n *The* *Thief* *of* *Baghdad* (1978),  Cline  Donner. *\n*'),
(52854,7781,'VoixOffIn','puisque  le  vieil  émir  régnant,  croupissant  dans  son  harem,  ne  prenait  plus  la  peine  de  lui  donner  des  ordres. \n'),
(52855,7781,'BandeSon','Id. \n'),
(52856,7781,'Ecrits','\n'),
(52857,7781,'_product_image_gallery',''),
(52858,7782,'_pingme','1'),
(52859,7782,'_encloseme','1'),
(52860,7782,'Index','5750'),
(52861,7782,'Minutage','1h13’21 \n'),
(52862,7782,'Images','Noir. \n'),
(52863,7782,'VoixOffIn','Et  la  passion  \n'),
(52864,7782,'BandeSon','Silence. \n'),
(52865,7782,'Ecrits','\n'),
(52866,7782,'_product_image_gallery',''),
(52867,7783,'_pingme','1'),
(52868,7783,'_encloseme','1'),
(52869,7783,'Index','5760'),
(52870,7783,'Minutage','1h13’24 \n'),
(52871,7783,'Images','Homme  au  fez  rouge  sortant  d\'une  voiture  dont  le  conducteur  ouvre  la  porte. \n *Al* *-* *lail* (1992), Mohamed  Malas. \n'),
(52872,7783,'VoixOffIn','pour  le  pouvoir,  Ben  Kadem  l\'avait  ressentie  depuis  son  enfance  et  maintenant  à  42  ans  elle  le  dévorait  avec  encore  plus  de  densité.  \n'),
(52873,7783,'BandeSon','Id. \n'),
(52874,7783,'Ecrits','\n'),
(52875,7783,'_product_image_gallery',''),
(52876,7784,'_pingme','1'),
(52877,7784,'_encloseme','1'),
(52878,7784,'Index','5770'),
(52879,7784,'Minutage','1h13’37 \n'),
(52880,7784,'Images','Groupe  de  personnes  marchant  de  nuit  dans  les  dunes  d\'un  désert. \n *Bab\'Aziz**,* *le* *prince* *qui* *contemplait* *son* *âme* (2005), Nacer  Khémir. \n'),
(52881,7784,'VoixOffIn','Mais  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'),
(52882,7784,'BandeSon','Id. \n'),
(52883,7784,'Ecrits','\n'),
(52884,7784,'_product_image_gallery',''),
(52885,7785,'_pingme','1'),
(52886,7785,'_encloseme','1'),
(52887,7785,'Index','5780'),
(52888,7785,'Minutage','1h14’00 \n'),
(52889,7785,'Images','Palmier  enflammé  dans  le  désert  de  nuit. \n *Bab\'Aziz**,* *le* *prince* *qui* *contemplait* *son* *âme* (2005), Nacer  Khémir. \n'),
(52890,7785,'VoixOffIn','\n'),
(52891,7785,'BandeSon','A  la  guitare  :  arpèges. \n'),
(52892,7785,'Ecrits','\n'),
(52893,7785,'_product_image_gallery',''),
(52894,7786,'_pingme','1'),
(52895,7786,'_encloseme','1'),
(52896,7786,'Index','5790'),
(52897,7786,'Minutage','1h14’11 \n'),
(52898,7786,'Images','Femmes  riant  dans  un  harem.  \n *Arabian* *nights* (1942), John  Rawlins. \n'),
(52899,7786,'VoixOffIn','Chose  étrange, \n'),
(52900,7786,'BandeSon','Silence. \n'),
(52901,7786,'Ecrits','\n'),
(52902,7786,'_product_image_gallery',''),
(52903,7787,'_pingme','1'),
(52904,7787,'_encloseme','1'),
(52905,7787,'Index','5800'),
(52906,7787,'Minutage','1h14’16 \n'),
(52907,7787,'Images','Noir. \n'),
(52908,7787,'VoixOffIn','le  seul  homme  avec  lequel  Ben  Kadem  pouvait  parler  franchement  de  son  ambition  \n'),
(52909,7787,'BandeSon','Id. \n'),
(52910,7787,'Ecrits','\n'),
(52911,7787,'_product_image_gallery',''),
(52912,7788,'_pingme','1'),
(52913,7788,'_encloseme','1'),
(52914,7788,'Index','5810'),
(52915,7788,'Minutage','1h14’24 \n'),
(52916,7788,'Images','Palmiers  secoués  par  un  vent  fort. \n'),
(52917,7788,'VoixOffIn','c’était  celui  là  même  qui  trouvait  cette  ambition  dérisoire  :  son  jeune  cousin  Samantar. \n'),
(52918,7788,'BandeSon','Vent. \n'),
(52919,7788,'Ecrits','\n'),
(52920,7788,'_product_image_gallery',''),
(52921,7789,'_pingme','1'),
(52922,7789,'_encloseme','1'),
(52923,7789,'Index','5820'),
(52924,7789,'Minutage','1h14’33 \n'),
(52925,7789,'Images','Noir. \n'),
(52926,7789,'VoixOffIn','\n'),
(52927,7789,'BandeSon','Silence. \n'),
(52928,7789,'Ecrits','\n'),
(52929,7789,'_product_image_gallery',''),
(52930,7790,'_pingme','1'),
(52931,7790,'_encloseme','1'),
(52932,7790,'Index','5830'),
(52933,7790,'Minutage','1h14’36 \n'),
(52934,7790,'Images','Déplacement  de  gauche  à  droite  :  photo  d\'un  restaurant  appelé  «  Les  coquillages  »  et  d’une  rue  d’une  ville  de  bord  de  mer. \n'),
(52935,7790,'VoixOffIn','n’avait  pas  uniquement  pour  objet  d’approfondir  sa  vision  sur  le  jeu  sanglant  des  grandes  puissances.  (Jean-Luc  Godard).  \n *Une* *ambition* *dans* *le* *désert* (1984),  Albert  Cossery. \n'),
(52936,7790,'BandeSon','Explosions. \n \n'),
(52937,7790,'Ecrits','\n'),
(52938,7790,'_product_image_gallery',''),
(52939,7791,'_pingme','1'),
(52940,7791,'_encloseme','1'),
(52941,7791,'Index','5840'),
(52942,7791,'Minutage','1h14’53 \n'),
(52943,7791,'Images','Photo  de  Barack  Obama  aux  côtés  de  l\'émir  du  Koweït   Cheikh  Sabah  al - Ahmad  al - Jaber  al - Sabah. \n'),
(52944,7791,'VoixOffIn','\n'),
(52945,7791,'BandeSon','Silence. \n'),
(52946,7791,'Ecrits','\n'),
(52947,7791,'_product_image_gallery',''),
(52948,7792,'_pingme','1'),
(52949,7792,'_encloseme','1'),
(52950,7792,'Index','5850'),
(52951,7792,'Minutage','1h14’57 \n'),
(52952,7792,'Images','Homme  au  fez  s\'approchant  d\'une  grille  d\'entrée  et  frappant  avec  son  bâton  contre  la  grille.  \n *Al* *-* *lail* (1992), Mohamed  Malas. \n'),
(52953,7792,'VoixOffIn','Il  était  d\'une  importance  capitale  de  savoir  l\'opinion  de  Samantar  sur  les  derniers  événements  survenus.  \n'),
(52954,7792,'BandeSon','Id. \n'),
(52955,7792,'Ecrits','\n'),
(52956,7792,'_product_image_gallery',''),
(52957,7793,'_pingme','1'),
(52958,7793,'_encloseme','1'),
(52959,7793,'Index','5860'),
(52960,7793,'Minutage','1h15’07 \n'),
(52961,7793,'Images','Noir.  \n'),
(52962,7793,'VoixOffIn','Le  début  d’une  ère  révolutionnaire  à  Dofa \n'),
(52963,7793,'BandeSon','Id. \n'),
(52964,7793,'Ecrits','\n'),
(52965,7793,'_product_image_gallery',''),
(52966,7794,'_pingme','1'),
(52967,7794,'_encloseme','1'),
(52968,7794,'Index','5870'),
(52969,7794,'Minutage','1h15’12 \n'),
(52970,7794,'Images','Visage  d\'un  homme  plongé  dans  l\'obscurité,  puis  émergeant  à  la  lumière  éclairant  ses  lèvres  et  son  nez. \n'),
(52971,7794,'VoixOffIn','était  une  négation  totale  de  la  possible  d’une  action  armée  dans  la  péninsule.  (Jean-Luc  Godard).  \n *Une* *ambition* *dans* *le* *désert* (1984),  Albert  Cossery. \n \n \n'),
(52972,7794,'BandeSon','Id. \n'),
(52973,7794,'Ecrits','\n'),
(52974,7794,'_product_image_gallery',''),
(52975,7795,'_pingme','1'),
(52976,7795,'_encloseme','1'),
(52977,7795,'Index','5880'),
(52978,7795,'Minutage','1h15’24 \n'),
(52979,7795,'Images','Saturé  en  tons  bleus  et  rouges  :  personnes  ballottées  par  une  mer  agitée. \n'),
(52980,7795,'VoixOffIn','\n'),
(52981,7795,'BandeSon','Vagues. \n'),
(52982,7795,'Ecrits','\n'),
(52983,7795,'_product_image_gallery',''),
(52984,7796,'_pingme','1'),
(52985,7796,'_encloseme','1'),
(52986,7796,'Index','5890'),
(52987,7796,'Minutage','1h15’28 \n'),
(52988,7796,'Images','Personne  au  foulard  palestinien  nué  autour  de  la  tête,  se  traînant  avec  un  bras  sur  le  sable,  tenant  de  l’autre  un  fusil.  \n *Ici* *et* *ailleurs* (1975),  Jean-Luc  Godard. \n'),
(52989,7796,'VoixOffIn','- Tu  es  seul  ?  \n - Oui  je  suis  seul.  \n - Je  ne  te  dérange  pas  ? \n'),
(52990,7796,'BandeSon','Silence. \n'),
(52991,7796,'Ecrits','\n'),
(52992,7796,'_product_image_gallery',''),
(52993,7797,'_pingme','1'),
(52994,7797,'_encloseme','1'),
(52995,7797,'Index','5900'),
(52996,7797,'Minutage','1h15’36 \n'),
(52997,7797,'Images','Au  ralenti,  saturé  en  tons  bleus  :  foule  de  personnes  manifestant.  \n *Sexe**,* *salafistes**,* *prientemps* *arabe* (2012), Paul  Moreira. \n'),
(52998,7797,'VoixOffIn','- Je  suis  toujours  ravi  de  te  voir.  \n'),
(52999,7797,'BandeSon','Id. \n'),
(53000,7797,'Ecrits','\n'),
(53001,7797,'_product_image_gallery',''),
(53002,7798,'_pingme','1'),
(53003,7798,'_encloseme','1'),
(53004,7798,'Index','5910'),
(53005,7798,'Minutage','1h15’43 \n'),
(53006,7798,'Images','Sous - exposé  et  tourné  en  noir  et  blanc  :  personnes  dansant  au  milieu  de  la  fumée.  \n *Silence* *!* *On* *tourne* (2001), Youssef  Chahine. \n'),
(53007,7798,'VoixOffIn','- Un  tel  bonheur  m\'est  rarement  accordé,  excellence.  - Tu  te  détaches  de  moi. \n'),
(53008,7798,'BandeSon','Id. \n'),
(53009,7798,'Ecrits','\n'),
(53010,7798,'_product_image_gallery',''),
(53011,7799,'_pingme','1'),
(53012,7799,'_encloseme','1'),
(53013,7799,'Index','5920'),
(53014,7799,'Minutage','1h15’51 \n'),
(53015,7799,'Images','Femme  portant  une  écharpe  à  pois  rouges  et  blancs  et  courant  les  mains  en  l\'air.  \n *À* *propos* *d\'Elly* (2009), Asghar  Farhadi. \n \n'),
(53016,7799,'VoixOffIn','- Je  vois  que  tu  n\'es  toujours  pas  prêt  à  ce  sacrifice. \n'),
(53017,7799,'BandeSon','A  la  guitare  :  arpèges. \n'),
(53018,7799,'Ecrits','\n'),
(53019,7799,'_product_image_gallery',''),
(53020,7800,'_pingme','1'),
(53021,7800,'_encloseme','1'),
(53022,7800,'Index','5930'),
(53023,7800,'Minutage','1h15’57 \n'),
(53024,7800,'Images','Saturé  :  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.  \n *Al* *-* *lail* (1992), Mohamed  Malas. \n'),
(53025,7800,'VoixOffIn','- 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'),
(53026,7800,'BandeSon','*Id.* et  silence. \n'),
(53027,7800,'Ecrits','\n'),
(53028,7800,'_product_image_gallery',''),
(53029,7801,'_pingme','1'),
(53030,7801,'_encloseme','1'),
(53031,7801,'Index','5940'),
(53032,7801,'Minutage','1h16’15 \n'),
(53033,7801,'Images','En  noir  et  blanc,  basculé  de  180 °  :  visage  d\'un  homme  la  tête  en  bas,  plongé  dans  l\'obscurité. \n'),
(53034,7801,'VoixOffIn','- Pendant  que  nous  vivons  en  paix,  le  monde  bouge.  (Avec  écho) \n'),
(53035,7801,'BandeSon','Silence. \n'),
(53036,7801,'Ecrits','\n'),
(53037,7801,'_product_image_gallery',''),
(53038,7802,'_pingme','1'),
(53039,7802,'_encloseme','1'),
(53040,7802,'Index','5950'),
(53041,7802,'Minutage','1h16’23 \n'),
(53042,7802,'Images','Tremblements,  et  déplacement  de  droite  à  gauche  :  enfant  écrivant  sur  une  feuille  de  papier,  observée  de  dos  par  un  autre  enfant. \n'),
(53043,7802,'VoixOffIn','- Que  nous  importe  ce  monde  qui  bouge.  (Avec  écho) \n'),
(53044,7802,'BandeSon','Id. \n'),
(53045,7802,'Ecrits','\n'),
(53046,7802,'_product_image_gallery',''),
(53047,7803,'_pingme','1'),
(53048,7803,'_encloseme','1'),
(53049,7803,'Index','5960'),
(53050,7803,'Minutage','1h16’25 \n'),
(53051,7803,'Images','Saturé  en  tons  rouges  :  visage  de  femme  aux  mains  jointes  en  prière.  Détail  de  la  fresque  de  la  coupole. \n   *San* *Antonio* *de* *la* *Florida * (1798),  Francisco  Goya. *Histoire* *(**s**)* *du* *cinéma* *3a* (1988 - 98), Jean-Luc  Godard. \n'),
(53052,7803,'VoixOffIn','Ce  sont  tous  des  canailles,  tous  complices  de  l’imposture  universelle.  \n'),
(53053,7803,'BandeSon','Id. \n'),
(53054,7803,'Ecrits','\n'),
(53055,7803,'_product_image_gallery',''),
(53056,7804,'_pingme','1'),
(53057,7804,'_encloseme','1'),
(53058,7804,'Index','5970'),
(53059,7804,'Minutage','1h16’33 \n'),
(53060,7804,'Images','Noir. \n'),
(53061,7804,'VoixOffIn','- La  révolution  a  commencé  dans  le  royaume  mais  tu  le  sais  déjà  sans  doute.  \n'),
(53062,7804,'BandeSon','Id. \n'),
(53063,7804,'Ecrits','\n'),
(53064,7804,'_product_image_gallery',''),
(53065,7805,'_pingme','1'),
(53066,7805,'_encloseme','1'),
(53067,7805,'Index','5980'),
(53068,7805,'Minutage','1h16’40 \n'),
(53069,7805,'Images','En  noir  et  blanc,  basculé  de  180 °  :  visage  courroucé  d\'un  homme  plongé  dans  l\'obscurité. \n'),
(53070,7805,'VoixOffIn','-  Je  le  reconnaîtrais  volontiers  s’il  s’agissait  d’une  vraie  révolution,  mais  j’en  doute.  \n \n \n \n'),
(53071,7805,'BandeSon','Id. \n'),
(53072,7805,'Ecrits','\n'),
(53073,7805,'_product_image_gallery',''),
(53074,7806,'_pingme','1'),
(53075,7806,'_encloseme','1'),
(53076,7806,'Index','5990'),
(53077,7806,'Minutage','1h16’49 \n'),
(53078,7806,'Images','Saturé  :  tissu  rouge  traîné  sur  la  plage  par  le  vent.  \n *Fissures* (2009), Hicham  Ayouch. \n'),
(53079,7806,'VoixOffIn','On  a  arrêté  quelque  type  \n \n \n'),
(53080,7806,'BandeSon','Id. \n'),
(53081,7806,'Ecrits','\n'),
(53082,7806,'_product_image_gallery',''),
(53083,7807,'_pingme','1'),
(53084,7807,'_encloseme','1'),
(53085,7807,'Index','6000'),
(53086,7807,'Minutage','1h16’51 \n'),
(53087,7807,'Images','Noir. \n'),
(53088,7807,'VoixOffIn','connu  de  nos  services  \n'),
(53089,7807,'BandeSon','Id. \n'),
(53090,7807,'Ecrits','\n'),
(53091,7807,'_product_image_gallery',''),
(53092,7808,'_pingme','1'),
(53093,7808,'_encloseme','1'),
(53094,7808,'Index','6010'),
(53095,7808,'Minutage','1h16’54 \n'),
(53096,7808,'Images','Saturé  :  enfants  jouant  avec  une  femme  portant  une  burka. \n'),
(53097,7808,'VoixOffIn','mais  ils  prétendent  ne  rien  savoir. \n'),
(53098,7808,'BandeSon','Id. \n'),
(53099,7808,'Ecrits','\n'),
(53100,7808,'_product_image_gallery',''),
(53101,7809,'_pingme','1'),
(53102,7809,'_encloseme','1'),
(53103,7809,'Index','6020'),
(53104,7809,'Minutage','1h16’55 \n \n \n'),
(53105,7809,'Images','Noir. \n'),
(53106,7809,'VoixOffIn','Ils  demandent  même  de  quelle  bombe  il  s’agit  car  \n'),
(53107,7809,'BandeSon','Id. \n'),
(53108,7809,'Ecrits','\n'),
(53109,7809,'_product_image_gallery',''),
(53110,7810,'_pingme','1'),
(53111,7810,'_encloseme','1'),
(53112,7810,'Index','6030'),
(53113,7810,'Minutage','1h16’56 \n \n \n'),
(53114,7810,'Images','Femme  et  homme  vus  à  contre  jour,  se  faisant  face  dans  un  couloir.  \n'),
(53115,7810,'VoixOffIn','ils  n’ont  rien  entendu.  (Jean-Luc  Godard). \n *Une* *ambition* *dans* *le* *désert* (1984),  Albert  Cossery. \n'),
(53116,7810,'BandeSon','De  nouveau,  à  la  guitare  :  arpèges. \n'),
(53117,7810,'Ecrits','\n'),
(53118,7810,'_product_image_gallery',''),
(53119,7811,'_pingme','1'),
(53120,7811,'_encloseme','1'),
(53121,7811,'Index','6040'),
(53122,7811,'Minutage','1h17’02 \n'),
(53123,7811,'Images','Saturé  :  homme  portant  un  voile  et  homme  marchant  dans  une  rue. \n'),
(53124,7811,'VoixOffIn','\n'),
(53125,7811,'BandeSon','Voitures,  et  personnes  marchant  et  parlant. \n'),
(53126,7811,'Ecrits','\n'),
(53127,7811,'_product_image_gallery',''),
(53128,7812,'_pingme','1'),
(53129,7812,'_encloseme','1'),
(53130,7812,'Index','6050'),
(53131,7812,'Minutage','1h17’07 \n'),
(53132,7812,'Images','Rue  de  nuit,  éclairée  par  des  lampadaires,  avec  des  gens  parlant  et  faisant  du  bruit. \n'),
(53133,7812,'VoixOffIn','\n'),
(53134,7812,'BandeSon','Id. \n'),
(53135,7812,'Ecrits','\n'),
(53136,7812,'_product_image_gallery',''),
(53137,7813,'_pingme','1'),
(53138,7813,'_encloseme','1'),
(53139,7813,'Index','6060'),
(53140,7813,'Minutage','1h17’25 \n'),
(53141,7813,'Images','Femmes  voilées  et  hommes  marchant  dans  la  rue. \n'),
(53142,7813,'VoixOffIn','\n'),
(53143,7813,'BandeSon','Id. et  en  arrière - plan,  annonces  de  service  d\'une  gare. \n'),
(53144,7813,'Ecrits','\n'),
(53145,7813,'_product_image_gallery',''),
(53146,7814,'_pingme','1'),
(53147,7814,'_encloseme','1'),
(53148,7814,'Index','6070'),
(53149,7814,'Minutage','1h17’31 \n'),
(53150,7814,'Images','Côte  montagneuse  surplombant  la  mer.  Groupe  de  personnes  marchant  sur  la  plage.  \n'),
(53151,7814,'VoixOffIn','Ici,  à  Dofa,  que  des  gens  \n'),
(53152,7814,'BandeSon','Silence. \n'),
(53153,7814,'Ecrits','\n'),
(53154,7814,'_product_image_gallery',''),
(53155,7815,'_pingme','1'),
(53156,7815,'_encloseme','1'),
(53157,7815,'Index','6080'),
(53158,7815,'Minutage','1h17’40 \n'),
(53159,7815,'Images','Noir. \n'),
(53160,7815,'VoixOffIn','lancent  des  bombes  un  peu  partout  cela  me  parait  normal  \n'),
(53161,7815,'BandeSon','Id. \n'),
(53162,7815,'Ecrits','HICHAM \n People  throwing  bombs \n'),
(53163,7815,'_product_image_gallery',''),
(53164,7816,'_pingme','1'),
(53165,7816,'_encloseme','1'),
(53166,7816,'Index','6090'),
(53167,7816,'Minutage','1h17’44 \n'),
(53168,7816,'Images','Homme  touareg  vêtu  de  blanc,  assis  au  pied  d\'un  palmier  dans  le  désert,  caressant  une  antilope.  \n *Bab\'Aziz**,* *le* *prince* *qui* *contemplait* *son* *âme**,* Nacer  Khémir  (2005). \n'),
(53169,7816,'VoixOffIn','que  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'),
(53170,7816,'BandeSon','De  nouveau,  à  la  guitare  :  arpèges.  Silence. \n'),
(53171,7816,'Ecrits','\n'),
(53172,7816,'_product_image_gallery',''),
(53173,7817,'_pingme','1'),
(53174,7817,'_encloseme','1'),
(53175,7817,'Index','6100'),
(53176,7817,'Minutage','1h18’13 \n'),
(53177,7817,'Images','Noir. \n'),
(53178,7817,'VoixOffIn','La  révolution, \n'),
(53179,7817,'BandeSon','Silence. \n'),
(53180,7817,'Ecrits','TAREK \n'),
(53181,7817,'_product_image_gallery',''),
(53182,7818,'_pingme','1'),
(53183,7818,'_encloseme','1'),
(53184,7818,'Index','6110'),
(53185,7818,'Minutage','1h18’18 \n'),
(53186,7818,'Images','Surexposé,  en  noir  et  blanc  :  hommes  touareg  sous  des  palmiers  avec  des  ânes  à  leurs  côtés. \n'),
(53187,7818,'VoixOffIn','\n'),
(53188,7818,'BandeSon','Id. \n'),
(53189,7818,'Ecrits','\n'),
(53190,7818,'_product_image_gallery',''),
(53191,7819,'_pingme','1'),
(53192,7819,'_encloseme','1'),
(53193,7819,'Index','6120'),
(53194,7819,'Minutage','1h18’21 \n'),
(53195,7819,'Images','Saturé  en  tons  rouges  :  explosion  et  flammes. \n'),
(53196,7819,'VoixOffIn','cela  ne  me  paraît  pas  vital  dans  cette  région. \n'),
(53197,7819,'BandeSon','Id. \n'),
(53198,7819,'Ecrits','\n'),
(53199,7819,'_product_image_gallery',''),
(53200,7820,'_pingme','1'),
(53201,7820,'_encloseme','1'),
(53202,7820,'Index','6130'),
(53203,7820,'Minutage','1h18’26 \n'),
(53204,7820,'Images','Homme  courant. \n'),
(53205,7820,'VoixOffIn','Il  est  vrai  qu\'à  notre  époque \n'),
(53206,7820,'BandeSon','Id. \n'),
(53207,7820,'Ecrits','\n'),
(53208,7820,'_product_image_gallery',''),
(53209,7821,'_pingme','1'),
(53210,7821,'_encloseme','1'),
(53211,7821,'Index','6140'),
(53212,7821,'Minutage','1h18’32 \n'),
(53213,7821,'Images','Saturé  :  enfants  et  personnes  courant  en  tous  sens  et  semblant  regarder  quelque  chose  hors  champ.  \n *Les* *Baliseurs* *du* *désert**,* Nacer  Khémir  (1984),  cité  dans *Voyage* *à* *Tunis* (2007), Bruno  Moll. \n'),
(53214,7821,'VoixOffIn','tout  est  possible \n'),
(53215,7821,'BandeSon','Id. \n'),
(53216,7821,'Ecrits','\n'),
(53217,7821,'_product_image_gallery',''),
(53218,7822,'_pingme','1'),
(53219,7822,'_encloseme','1'),
(53220,7822,'Index','6150'),
(53221,7822,'Minutage','1h18’37 \n'),
(53222,7822,'Images','Saturé  :  missile  tiré  sur  une  voiture  explosant. \n *13* *hours**.* *The* *Secret* *Soldiers* *of* *Benghazi**,* (2016), Michael  Bay. \n'),
(53223,7822,'VoixOffIn','crois - tu  que  les  hommes  \n'),
(53224,7822,'BandeSon','Explosions  et  cris. \n'),
(53225,7822,'Ecrits','\n'),
(53226,7822,'_product_image_gallery',''),
(53227,7823,'_pingme','1'),
(53228,7823,'_encloseme','1'),
(53229,7823,'Index','6160'),
(53230,7823,'Minutage','1h18’40 \n'),
(53231,7823,'Images','Noir. \n'),
(53232,7823,'VoixOffIn','\n'),
(53233,7823,'BandeSon','Id. \n'),
(53234,7823,'Ecrits','\n'),
(53235,7823,'_product_image_gallery',''),
(53236,7824,'_pingme','1'),
(53237,7824,'_encloseme','1'),
(53238,7824,'Index','6170'),
(53239,7824,'Minutage','1h18’41 \n'),
(53240,7824,'Images','Saturé  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.  \n *13* *hours**.* *The* *Secret* *Soldiers* *of* *Benghazi**,* (2016), Michael  Bay. *\n*'),
(53241,7824,'VoixOffIn','\n'),
(53242,7824,'BandeSon','Id. \n'),
(53243,7824,'Ecrits','\n'),
(53244,7824,'_product_image_gallery',''),
(53245,7825,'_pingme','1'),
(53246,7825,'_encloseme','1'),
(53247,7825,'Index','6180'),
(53248,7825,'Minutage','1h18’43 \n'),
(53249,7825,'Images','Noir. \n'),
(53250,7825,'VoixOffIn','crois - tu  que  les  hommes  au  pouvoir  aujourd\'hui \n'),
(53251,7825,'BandeSon','Silence. \n'),
(53252,7825,'Ecrits','\n'),
(53253,7825,'_product_image_gallery',''),
(53254,7826,'_pingme','1'),
(53255,7826,'_encloseme','1'),
(53256,7826,'Index','6190'),
(53257,7826,'Minutage','1h18’47 \n'),
(53258,7826,'Images','Hommes  vêtus  de  manière  formelle,  avec  un  fez  sur  la  tête,  parlant  entre  eux.  \n *Al* *-* *lail* (1992), Mohamed  Malas. \n'),
(53259,7826,'VoixOffIn','dans  le  monde  soient  autre  chose  \n'),
(53260,7826,'BandeSon','Id. \n'),
(53261,7826,'Ecrits','\n'),
(53262,7826,'_product_image_gallery',''),
(53263,7827,'_pingme','1'),
(53264,7827,'_encloseme','1'),
(53265,7827,'Index','6200'),
(53266,7827,'Minutage','1h18’53 \n'),
(53267,7827,'Images','Saturé  et  au  ralenti  :  homme  courant  dans  une  rue,  avec  à  ses  côtés  une  explosion.  \n *Karbala**,* *4* *jour* *en* *enfer* (2015),  Krzysztof  Łukaszewicz. \n'),
(53268,7827,'VoixOffIn','que  des  débiles  sanguinaires  ? \n (Jean-Luc  Godard).  \n *Une* *ambition* *dans* *le* *désert* (1984),  Albert  Cossery. \n'),
(53269,7827,'BandeSon','Id. \n'),
(53270,7827,'Ecrits','\n'),
(53271,7827,'_product_image_gallery',''),
(53272,7828,'_pingme','1'),
(53273,7828,'_encloseme','1'),
(53274,7828,'Index','6210'),
(53275,7828,'Minutage','1h18’55 \n'),
(53276,7828,'Images','Noir. \n'),
(53277,7828,'VoixOffIn','C’était  peu  de  rêver  d’être  roi \n'),
(53278,7828,'BandeSon','Id. \n'),
(53279,7828,'Ecrits','\n'),
(53280,7828,'_product_image_gallery',''),
(53281,7829,'_pingme','1'),
(53282,7829,'_encloseme','1'),
(53283,7829,'Index','6220'),
(53284,7829,'Minutage','1h18’57 \n'),
(53285,7829,'Images','Sous - exposé  et  saturé  et  puis  surexposé  :  Homme  visant  avec  un  bazooka  à  l’épaule.  \n *Karbala**,* *4* *jour* *en* *enfer* (2015), Krzysztof  Łukaszewicz. \n'),
(53286,7829,'VoixOffIn','quand  on  pouvait  rêver  d\'être  Faust. \n'),
(53287,7829,'BandeSon','Id. \n'),
(53288,7829,'Ecrits','\n'),
(53289,7829,'_product_image_gallery',''),
(53290,7830,'_pingme','1'),
(53291,7830,'_encloseme','1'),
(53292,7830,'Index','6230'),
(53293,7830,'Minutage','1h19’00 \n'),
(53294,7830,'Images','Noir. \n'),
(53295,7830,'VoixOffIn','Mais  nul,  mais  nul,  \n'),
(53296,7830,'BandeSon','Id. \n'),
(53297,7830,'Ecrits','\n'),
(53298,7830,'_product_image_gallery',''),
(53299,7831,'_pingme','1'),
(53300,7831,'_encloseme','1'),
(53301,7831,'Index','6240'),
(53302,7831,'Minutage','1h19’03 \n'),
(53303,7831,'Images','Personne  morte  gisant  sur  le  sol. \n *Karbala**,* *4* *jour* *en* *enfer* (2015), Krzysztof  Łukaszewicz. \n'),
(53304,7831,'VoixOffIn','ne  rêvait  plus  d\'être  Faust  \n'),
(53305,7831,'BandeSon','Id. \n'),
(53306,7831,'Ecrits','\n'),
(53307,7831,'_product_image_gallery',''),
(53308,7832,'_pingme','1'),
(53309,7832,'_encloseme','1'),
(53310,7832,'Index','6250'),
(53311,7832,'Minutage','1h19’05 \n'),
(53312,7832,'Images','Noir. \n'),
(53313,7832,'VoixOffIn','et  chacun  rêvait  d\'être  roi.  (Jean-Luc  Godard).  \n *Air* *de* *Méphistophélès**,* *Damnation* *de* *Faust* (1846), Hector  Berlioz. \n'),
(53314,7832,'BandeSon','Id. \n'),
(53315,7832,'Ecrits','\n'),
(53316,7832,'_product_image_gallery',''),
(53317,7833,'_pingme','1'),
(53318,7833,'_encloseme','1'),
(53319,7833,'Index','6260'),
(53320,7833,'Minutage','1h19’10 \n'),
(53321,7833,'Images','Enfant  jetant  des  pierres  sur  un  chien  dans  une  rue. \n'),
(53322,7833,'VoixOffIn','\n'),
(53323,7833,'BandeSon','Id. \n'),
(53324,7833,'Ecrits','\n'),
(53325,7833,'_product_image_gallery',''),
(53326,7834,'_pingme','1'),
(53327,7834,'_encloseme','1'),
(53328,7834,'Index','6270'),
(53329,7834,'Minutage','1h19’16 \n'),
(53330,7834,'Images','Personne  écrivant  en  arabe  sur  une  feuille  de  papier. \n'),
(53331,7834,'VoixOffIn','\n'),
(53332,7834,'BandeSon','*Cloud* (2017), Tomasz  Stanko  New  York  Quartet.  \n'),
(53333,7834,'Ecrits','\n'),
(53334,7834,'_product_image_gallery',''),
(53335,7835,'_pingme','1'),
(53336,7835,'_encloseme','1'),
(53337,7835,'Index','6280'),
(53338,7835,'Minutage','1h19’20 \n'),
(53339,7835,'Images','Aquarelle  d\'un  homme  vêtu  de  blanc  assis  sur  le  sol. \n'),
(53340,7835,'VoixOffIn','\n'),
(53341,7835,'BandeSon','Id. \n'),
(53342,7835,'Ecrits','\n'),
(53343,7835,'_product_image_gallery',''),
(53344,7836,'_pingme','1'),
(53345,7836,'_encloseme','1'),
(53346,7836,'Index','6290'),
(53347,7836,'Minutage','1h19’28 \n'),
(53348,7836,'Images','Saturé  en  tons  bleus  :  lac  entouré  d\'arbres. \n'),
(53349,7836,'VoixOffIn','A  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'),
(53350,7836,'BandeSon','Silence. \n'),
(53351,7836,'Ecrits','\n'),
(53352,7836,'_product_image_gallery',''),
(53353,7837,'_pingme','1'),
(53354,7837,'_encloseme','1'),
(53355,7837,'Index','6300'),
(53356,7837,'Minutage','1h19’43 \n'),
(53357,7837,'Images','Voiture  longeant  une  route  suivie  de  personnes  marchant  derrière  elle.  \n *Les* *terrasses* (2013), Merzak  Allouache. \n'),
(53358,7837,'VoixOffIn','des  pays  du  golfe.  Ben  Kadem  s\'en  vint  alors  confesser  ses  erreurs  politiques \n'),
(53359,7837,'BandeSon','Id. \n'),
(53360,7837,'Ecrits','\n'),
(53361,7837,'_product_image_gallery',''),
(53362,7838,'_pingme','1'),
(53363,7838,'_encloseme','1'),
(53364,7838,'Index','6310'),
(53365,7838,'Minutage','1h19’51 \n'),
(53366,7838,'Images','De  nouveau,  photo  en  noir  et  blanc  d\'un  homme  au  visage  courroucé. \n'),
(53367,7838,'VoixOffIn','à  Samantar  et  puis  il  s\'enfuit  et  se  refugia. \n'),
(53368,7838,'BandeSon','Id. \n'),
(53369,7838,'Ecrits','\n'),
(53370,7838,'_product_image_gallery',''),
(53371,7839,'_pingme','1'),
(53372,7839,'_encloseme','1'),
(53373,7839,'Index','6320'),
(53374,7839,'Minutage','1h19’58 \n'),
(53375,7839,'Images','Noir. \n'),
(53376,7839,'VoixOffIn','Samantar  heureux  et  tranquillisé \n'),
(53377,7839,'BandeSon','Id. \n'),
(53378,7839,'Ecrits','\n'),
(53379,7839,'_product_image_gallery',''),
(53380,7840,'_pingme','1'),
(53381,7840,'_encloseme','1'),
(53382,7840,'Index','6330'),
(53383,7840,'Minutage','1h20’01 \n'),
(53384,7840,'Images','Saturé  :  maison  en  ruine  entourée  d\'antennes  de  télévision  et  d\'internet. \n'),
(53385,7840,'VoixOffIn','par  ce  dénouement,  sortit  de  sa  misérable  cahute.  \n \n'),
(53386,7840,'BandeSon','De  nouveau,  à  la  guitare  :  arpèges. \n'),
(53387,7840,'Ecrits','\n'),
(53388,7840,'_product_image_gallery',''),
(53389,7841,'_pingme','1'),
(53390,7841,'_encloseme','1'),
(53391,7841,'Index','6340'),
(53392,7841,'Minutage','1h20’07 \n'),
(53393,7841,'Images','Homme  souriant.  \n *Les* *terrasses* (2013), Merzak  Allouache. \n'),
(53394,7841,'VoixOffIn','\n'),
(53395,7841,'BandeSon','Id. \n'),
(53396,7841,'Ecrits','\n'),
(53397,7841,'_product_image_gallery',''),
(53398,7842,'_pingme','1'),
(53399,7842,'_encloseme','1'),
(53400,7842,'Index','6350'),
(53401,7842,'Minutage','1h20’11 \n'),
(53402,7842,'Images','Surexposé  :  Photographie  d\'une  file  d\'hommes  vêtus  de  jeans  et  de  lunettes  de  soleil  marchant. \n'),
(53403,7842,'VoixOffIn','\n'),
(53404,7842,'BandeSon','Id. \n'),
(53405,7842,'Ecrits','\n'),
(53406,7842,'_product_image_gallery',''),
(53407,7843,'_pingme','1'),
(53408,7843,'_encloseme','1'),
(53409,7843,'Index','6360'),
(53410,7843,'Minutage','1h20’18 \n'),
(53411,7843,'Images','Noir. \n'),
(53412,7843,'VoixOffIn','\n'),
(53413,7843,'BandeSon','Id. \n'),
(53414,7843,'Ecrits','\n'),
(53415,7843,'_product_image_gallery',''),
(53416,7844,'_pingme','1'),
(53417,7844,'_encloseme','1'),
(53418,7844,'Index','6370'),
(53419,7844,'Minutage','1h20’20 \n'),
(53420,7844,'Images','Saturé  :  cheval  tirant  une  calèche  passant  dans  une  rue. \n'),
(53421,7844,'VoixOffIn','Ce  n\'est  que  quelques  mois  plus  tard  que  Samantar  rencontra  Tarek  le  long  de  la  mer \n'),
(53422,7844,'BandeSon','Silence. \n'),
(53423,7844,'Ecrits','\n'),
(53424,7844,'_product_image_gallery',''),
(53425,7845,'_pingme','1'),
(53426,7845,'_encloseme','1'),
(53427,7845,'Index','6380'),
(53428,7845,'Minutage','1h20’27 \n'),
(53429,7845,'Images','Jeune  homme  au  turban  accompagnant  un  homme  âgé  dans  une  prairie  près  d\'un  ruisseau  et  s’asseyant  sur  un  rocher. \n'),
(53430,7845,'VoixOffIn','et  apprit  la  vérité  de  la  fausse  révolution  fomentée  par  l\'ancien  premier  ministre.  (Jean -  Luc  Godard). \n *Une* *ambition* *dans* *le* *désert* (1984),  Albert  Cossery. \n \n Ce  que  je  fais  avec  les  enfants  dit  le  fou  c\'est  une  sorte  de  contre - révolution. \n'),
(53431,7845,'BandeSon','Id. \n'),
(53432,7845,'Ecrits','\n'),
(53433,7845,'_product_image_gallery',''),
(53434,7846,'_pingme','1'),
(53435,7846,'_encloseme','1'),
(53436,7846,'Index','6390'),
(53437,7846,'Minutage','1h20’43 \n'),
(53438,7846,'Images','Surexposé  :  groupe  d\'enfants  jouant  et  courant. \n *Les* *mille* *mois* (2003), Faouzi  Bensaïdi. \n'),
(53439,7846,'VoixOffIn','Un  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'),
(53440,7846,'BandeSon','Id. \n'),
(53441,7846,'Ecrits','\n'),
(53442,7846,'_product_image_gallery',''),
(53443,7847,'_pingme','1'),
(53444,7847,'_encloseme','1'),
(53445,7847,'Index','6400'),
(53446,7847,'Minutage','1h21’01 \n'),
(53447,7847,'Images','Homme  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'),
(53448,7847,'VoixOffIn','les  deux  signes  de  l\'ignominie  capitaliste. \n'),
(53449,7847,'BandeSon','Id. \n'),
(53450,7847,'Ecrits','\n'),
(53451,7847,'_product_image_gallery',''),
(53452,7848,'_pingme','1'),
(53453,7848,'_encloseme','1'),
(53454,7848,'Index','6410'),
(53455,7848,'Minutage','1h21’02 \n'),
(53456,7848,'Images','Saturé  en  tons  rouges  et  bleus,  et  basculé  de  90  degrés  :  coucher  du  soleil  et  puits  de  pétrole. \n'),
(53457,7848,'VoixOffIn','Mais  comment  as - tu  pu  te  procurer  les  explosifs  ?  Ils  ont  été  repérés \n'),
(53458,7848,'BandeSon','Id. \n'),
(53459,7848,'Ecrits','\n'),
(53460,7848,'_product_image_gallery',''),
(53461,7849,'_pingme','1'),
(53462,7849,'_encloseme','1'),
(53463,7849,'Index','6420'),
(53464,7849,'Minutage','1h21’09 \n'),
(53465,7849,'Images','Enfants  courant  derrière  la  caméra.  Enfant  portant  une  chemise  blanche  trop  longue  et  marchant  en  trébuchant  sur  le  tissu. \n'),
(53466,7849,'VoixOffIn','par  les  enfants  dans  un  vieux  derrick  abandonné  par  les  étrangers  quand  ils  cherchaient  en  vain  du  pétrole. \n'),
(53467,7849,'BandeSon','Id. \n'),
(53468,7849,'Ecrits','\n'),
(53469,7849,'_product_image_gallery',''),
(53470,7850,'_pingme','1'),
(53471,7850,'_encloseme','1'),
(53472,7850,'Index','6430'),
(53473,7850,'Minutage','1h21’18 \n'),
(53474,7850,'Images','Enfant  sur  une  route  faisant  tourner  de  la  main  une  bobine  rouge  en  s’aidant  d’une  pellicule. *Reel* *-* *Unreel* (2011),  Francis  Alÿs. \n'),
(53475,7850,'VoixOffIn','Je  te  remercie.  Discuter  avec  un  fou  est  un  privilège \n'),
(53476,7850,'BandeSon','Id. \n'),
(53477,7850,'Ecrits','\n'),
(53478,7850,'_product_image_gallery',''),
(53479,7851,'_pingme','1'),
(53480,7851,'_encloseme','1'),
(53481,7851,'Index','6440'),
(53482,7851,'Minutage','1h21’25 \n'),
(53483,7851,'Images','Couverture  d’un  exemplaire *d’Images* *en* *parole* (2003),  Anne - Marie  Miéville.  L’exemplaire  est  feuilleté. \n'),
(53484,7851,'VoixOffIn','inestimable,  crois  moi.  (Jean-Luc  Godard). \n'),
(53485,7851,'BandeSon','Id. \n'),
(53486,7851,'Ecrits','\n'),
(53487,7851,'_product_image_gallery',''),
(53488,7852,'_pingme','1'),
(53489,7852,'_encloseme','1'),
(53490,7852,'Index','6450'),
(53491,7852,'Minutage','1h21’32 \n'),
(53492,7852,'Images','Gros  plan  de  la  face  de  Bécassine. \n Derrière  :  id.  en  dimensions  réduites. \n'),
(53493,7852,'VoixOffIn','Crois - moi.  On  n\'est  jamais  suffisamment  triste.  (Anne - Marie  Miéville). \n *Le* *territoire* *de* *l’homme* (1978), Elias  Canetti.  \n'),
(53494,7852,'BandeSon','Id. \n'),
(53495,7852,'Ecrits','\n'),
(53496,7852,'_product_image_gallery',''),
(53497,7853,'_pingme','1'),
(53498,7853,'_encloseme','1'),
(53499,7853,'Index','6460'),
(53500,7853,'Minutage','1h21’32 \n'),
(53501,7853,'Images','Derrière  le  visage  de  Bécassine  en  gros  plan,  saturé  :  pinceau  et  livre  ouvert. \n'),
(53502,7853,'VoixOffIn','Crois  moi \n'),
(53503,7853,'BandeSon','Id. \n'),
(53504,7853,'Ecrits','\n'),
(53505,7853,'_product_image_gallery',''),
(53506,7854,'_pingme','1'),
(53507,7854,'_encloseme','1'),
(53508,7854,'Index','6470'),
(53509,7854,'Minutage','1h21’38 \n'),
(53510,7854,'Images','Saturé  :  pinceau  et  livre  ouvert. \n'),
(53511,7854,'VoixOffIn','\n'),
(53512,7854,'BandeSon','Id. \n'),
(53513,7854,'Ecrits','\n'),
(53514,7854,'_product_image_gallery',''),
(53515,7855,'_pingme','1'),
(53516,7855,'_encloseme','1'),
(53517,7855,'Index','6480'),
(53518,7855,'Minutage','1h21’41 \n'),
(53519,7855,'Images','Saturé  :  photographie  d\'un  grand  pinceau  et  d\'un  crayon. \n'),
(53520,7855,'VoixOffIn','On  n\'est  jamais  suffisamment  triste  pour  que  le  monde  soit  meilleur.  \n'),
(53521,7855,'BandeSon','Id. \n'),
(53522,7855,'Ecrits','\n'),
(53523,7855,'_product_image_gallery',''),
(53524,7856,'_pingme','1'),
(53525,7856,'_encloseme','1'),
(53526,7856,'Index','6490'),
(53527,7856,'Minutage','1h21’53 \n'),
(53528,7856,'Images','Saturé  :  de  nouveau,  plage  de  roche  en  bord  de  mer,  enfants  y  jouant  au  football. \n'),
(53529,7856,'VoixOffIn','la  terre  abandonnée,  la  terre  abandonnée,  surchargée  de  lettres  de  l\'alphabet,  étouffée  sous  les  connaissances  et  \n'),
(53530,7856,'BandeSon','Id. \n'),
(53531,7856,'Ecrits','\n'),
(53532,7856,'_product_image_gallery',''),
(53533,7857,'_pingme','1'),
(53534,7857,'_encloseme','1'),
(53535,7857,'Index','6500'),
(53536,7857,'Minutage','1h22’10 \n'),
(53537,7857,'Images','Noir. \n'),
(53538,7857,'VoixOffIn','plus  guère  d\'oreilles  qui  soient  à  l\'écoute.  (Anne - Marie  Miéville).  \n *Le* *territoire* *de* *l’homme* (1978), Elias  Canetti.  \n'),
(53539,7857,'BandeSon','Id. \n'),
(53540,7857,'Ecrits','\n'),
(53541,7857,'_product_image_gallery',''),
(53542,7858,'_pingme','1'),
(53543,7858,'_encloseme','1'),
(53544,7858,'Index','6510'),
(53545,7858,'Minutage','1h22’14 \n'),
(53546,7858,'Images','Surexposé  et  en  négatif  :  de  nouveau,  petite  fille  aux  yeux  fermés,  le  visage  levé  vers  le  ciel  et  les  mains  tendues  devant  elle.  \n *Miracle* *en* *Alabama* (1962),  Arthur  Penn. *Histoire* *(**s**)* *du* *cinéma* *4a**,* (1988 - 98)  Jean-Luc  Godard. \n \n'),
(53547,7858,'VoixOffIn','\n'),
(53548,7858,'BandeSon','*Klavierquintett**,* *Op**.* *18*,  *Moderato* *con* *moto* (1946)  Mieczysław  Weinberg. \n'),
(53549,7858,'Ecrits','\n'),
(53550,7858,'_product_image_gallery',''),
(53551,7859,'_pingme','1'),
(53552,7859,'_encloseme','1'),
(53553,7859,'Index','6520'),
(53554,7859,'Minutage','1h22’20 \n'),
(53555,7859,'Images','Détail  de  son  visage  et  de  sa  main  gauche. \n'),
(53556,7859,'VoixOffIn','\n'),
(53557,7859,'BandeSon','Silence. \n'),
(53558,7859,'Ecrits','\n'),
(53559,7859,'_product_image_gallery',''),
(53560,7860,'_pingme','1'),
(53561,7860,'_encloseme','1'),
(53562,7860,'Index','6530'),
(53563,7860,'Minutage','1h22’26 \n'),
(53564,7860,'Images','En  tons  bleus  :  détail  de  son  visage. \n'),
(53565,7860,'VoixOffIn','\n'),
(53566,7860,'BandeSon','Id. \n'),
(53567,7860,'Ecrits','\n'),
(53568,7860,'_product_image_gallery',''),
(53569,7861,'_pingme','1'),
(53570,7861,'_encloseme','1'),
(53571,7861,'Index','6540'),
(53572,7861,'Minutage','1h22’32 \n'),
(53573,7861,'Images','Détail  de  sa  main. \n'),
(53574,7861,'VoixOffIn','Voici  les  roses  de  cette  nuit  écloses.  \n *La* *Damnation* *de* *Faust* (1946*),  * Berlioz  Hector. \n'),
(53575,7861,'BandeSon','*La* *Damnation* *de* *Faust* (1946*),  * Berlioz  Hector. \n'),
(53576,7861,'Ecrits','\n'),
(53577,7861,'_product_image_gallery',''),
(53578,7862,'_pingme','1'),
(53579,7862,'_encloseme','1'),
(53580,7862,'Index','6550'),
(53581,7862,'Minutage','1h22’43 \n'),
(53582,7862,'Images','En  blanc  sur  fond  noir  :  inscription  manuscrites.  \n'),
(53583,7862,'VoixOffIn','\n'),
(53584,7862,'BandeSon','Id. \n'),
(53585,7862,'Ecrits','Godard \n Battaggia \n Aragno \n Brenez \n'),
(53586,7862,'_product_image_gallery',''),
(53587,7863,'_pingme','1'),
(53588,7863,'_encloseme','1'),
(53589,7863,'Index','6560'),
(53590,7863,'Minutage','1h22’49 \n'),
(53591,7863,'Images','Noir. \n'),
(53592,7863,'VoixOffIn','\n'),
(53593,7863,'BandeSon','Id. \n'),
(53594,7863,'Ecrits','\n'),
(53595,7863,'_product_image_gallery',''),
(53596,7864,'_pingme','1'),
(53597,7864,'_encloseme','1'),
(53598,7864,'Index','6570'),
(53599,7864,'Minutage','1h22’54 \n'),
(53600,7864,'Images','Noir. \n'),
(53601,7864,'VoixOffIn','Silenzio,  si  gira.  \n'),
(53602,7864,'BandeSon','Id. \n'),
(53603,7864,'Ecrits','De  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'),
(53604,7864,'_product_image_gallery',''),
(53605,7865,'_pingme','1'),
(53606,7865,'_encloseme','1'),
(53607,7865,'Index','6580'),
(53608,7865,'Minutage','1h22’58 \n'),
(53609,7865,'Images','Noir. \n'),
(53610,7865,'VoixOffIn','Silenzio.  Camera,  moteur,  motore \n'),
(53611,7865,'BandeSon','Id. \n'),
(53612,7865,'Ecrits','D.  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'),
(53613,7865,'_product_image_gallery',''),
(53614,7866,'_pingme','1'),
(53615,7866,'_encloseme','1'),
(53616,7866,'Index','6590'),
(53617,7866,'Minutage','1h23’03  \n'),
(53618,7866,'Images','Noir. \n'),
(53619,7866,'VoixOffIn','partito,  ciak,  Odissea  14702  prima.  \n *Le* *Mépris* (1963), Jean-Luc  Godard. \n'),
(53620,7866,'BandeSon','Id. \n'),
(53621,7866,'Ecrits','Vertigo,  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'),
(53622,7866,'_product_image_gallery',''),
(53623,7867,'_pingme','1'),
(53624,7867,'_encloseme','1'),
(53625,7867,'Index','6600'),
(53626,7867,'Minutage','1h23’08 \n'),
(53627,7867,'Images','Noir. \n'),
(53628,7867,'VoixOffIn','\n'),
(53629,7867,'BandeSon','Gong  profond  et  inquiétant. \n'),
(53630,7867,'Ecrits','\n'),
(53631,7867,'_product_image_gallery',''),
(53632,7868,'_pingme','1'),
(53633,7868,'_encloseme','1'),
(53634,7868,'Index','6610'),
(53635,7868,'Minutage','1h23’08 \n'),
(53636,7868,'Images','Noir. \n'),
(53637,7868,'VoixOffIn','\n'),
(53638,7868,'BandeSon','Id. \n'),
(53639,7868,'Ecrits','Rome  ville  ouverte,  reporters  sans  frontière,  Silence  on  tourne,  Siegfried,  le  testament  d\'Orphée,  J  de  Maistre,  Paumés  de  la  mendicité,  Dobrinka  Tabakova,  les  oubliés  de  l\'histoire,  Shakespeare,  Beethoven,  la  chute  de  Berlin,  Delivrance,  B.  Barnett,  Notre  musique,  Napoléon,  Masaccio,  DR  Mabuse,  La  règle  du  jeu,  Allo  Berlin  ici  Paris \n'),
(53640,7868,'_product_image_gallery',''),
(53641,7869,'_pingme','1'),
(53642,7869,'_encloseme','1'),
(53643,7869,'Index','6620'),
(53644,7869,'Minutage','1h23’10 \n'),
(53645,7869,'Images','En  gras,  s’ajoutant  à  la  liste  précédente  :  «  TEXTES  ». \n La  liste  disparaît. \n'),
(53646,7869,'VoixOffIn','\n'),
(53647,7869,'BandeSon','Id. \n'),
(53648,7869,'Ecrits','\n TEXTES \n'),
(53649,7869,'_product_image_gallery',''),
(53650,7870,'_pingme','1'),
(53651,7870,'_encloseme','1'),
(53652,7870,'Index','6630'),
(53653,7870,'Minutage','1h23’14 \n'),
(53654,7870,'Images','Noir. \n'),
(53655,7870,'VoixOffIn','\n'),
(53656,7870,'BandeSon','Id. \n'),
(53657,7870,'Ecrits','Google,  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'),
(53658,7870,'_product_image_gallery',''),
(53659,7871,'_pingme','1'),
(53660,7871,'_encloseme','1'),
(53661,7871,'Index','6640'),
(53662,7871,'Minutage','1h23’19 \n'),
(53663,7871,'Images','Noir. \n'),
(53664,7871,'VoixOffIn','\n'),
(53665,7871,'BandeSon','Id. \n'),
(53666,7871,'Ecrits','Shanghai  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'),
(53667,7871,'_product_image_gallery',''),
(53668,7872,'_pingme','1'),
(53669,7872,'_encloseme','1'),
(53670,7872,'Index','6650'),
(53671,7872,'Minutage','1h23’20 \n'),
(53672,7872,'Images','En  gras,  s’ajoutant  à  la  liste  précédente  :  «  FILMS  ». \n La  liste  disparaît. \n'),
(53673,7872,'VoixOffIn','Mais  la  langue  ne  sera  jamais \n'),
(53674,7872,'BandeSon','Silence. \n'),
(53675,7872,'Ecrits','FILMS \n'),
(53676,7872,'_product_image_gallery',''),
(53677,7873,'_pingme','1'),
(53678,7873,'_encloseme','1'),
(53679,7873,'Index','6660'),
(53680,7873,'Minutage','1h23’25 \n'),
(53681,7873,'Images','Noir. \n'),
(53682,7873,'VoixOffIn','le  langage \n'),
(53683,7873,'BandeSon','Id. \n'),
(53684,7873,'Ecrits','A.  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'),
(53685,7873,'_product_image_gallery',''),
(53686,7874,'_pingme','1'),
(53687,7874,'_encloseme','1'),
(53688,7874,'Index','6670'),
(53689,7874,'Minutage','1h23’30 \n'),
(53690,7874,'Images','Noir. \n'),
(53691,7874,'VoixOffIn','\n'),
(53692,7874,'BandeSon','Id. \n'),
(53693,7874,'Ecrits','Caillebotte,  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'),
(53694,7874,'_product_image_gallery',''),
(53695,7875,'_pingme','1'),
(53696,7875,'_encloseme','1'),
(53697,7875,'Index','6680'),
(53698,7875,'Minutage','1h23’31 \n'),
(53699,7875,'Images','En  gras,  s’ajoutant  à  la  liste  précédente  :  «  TABLEAUX  ». \n La  liste  disparaît. \n'),
(53700,7875,'VoixOffIn','\n'),
(53701,7875,'BandeSon','Coq  chantant. \n'),
(53702,7875,'Ecrits','TABLEAUX \n'),
(53703,7875,'_product_image_gallery',''),
(53704,7876,'_pingme','1'),
(53705,7876,'_encloseme','1'),
(53706,7876,'Index','6690'),
(53707,7876,'Minutage','1h23’35 \n'),
(53708,7876,'Images','Noir. \n'),
(53709,7876,'VoixOffIn','\n'),
(53710,7876,'BandeSon','*Vom* *Winde* *Beweint* *-* *1* *Largo* *Molto* (1990), Giya  Kancheli.  \n'),
(53711,7876,'Ecrits','las  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'),
(53712,7876,'_product_image_gallery',''),
(53713,7877,'_pingme','1'),
(53714,7877,'_encloseme','1'),
(53715,7877,'Index','6700'),
(53716,7877,'Minutage','1h23’40 \n'),
(53717,7877,'Images','Noir. \n'),
(53718,7877,'VoixOffIn','\n'),
(53719,7877,'BandeSon','Id. \n'),
(53720,7877,'Ecrits','Aladin  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'),
(53721,7877,'_product_image_gallery',''),
(53722,7878,'_pingme','1'),
(53723,7878,'_encloseme','1'),
(53724,7878,'Index','6710'),
(53725,7878,'Minutage','1h23’41 \n'),
(53726,7878,'Images','En  gras,  s’ajoutant  à  la  liste  précédente  :  «  MUSIQUE  » \n La  liste  disparaît. \n'),
(53727,7878,'VoixOffIn','\n'),
(53728,7878,'BandeSon','Id. \n'),
(53729,7878,'Ecrits','MUSIQUE \n'),
(53730,7878,'_product_image_gallery',''),
(53731,7879,'_pingme','1'),
(53732,7879,'_encloseme','1'),
(53733,7879,'Index','6720'),
(53734,7879,'Minutage','1h23’45 \n'),
(53735,7879,'Images','Noir. \n'),
(53736,7879,'VoixOffIn','\n'),
(53737,7879,'BandeSon','Id. \n'),
(53738,7879,'Ecrits','  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'),
(53739,7879,'_product_image_gallery',''),
(53740,7880,'_pingme','1'),
(53741,7880,'_encloseme','1'),
(53742,7880,'Index','6730'),
(53743,7880,'Minutage','1h23’49 \n'),
(53744,7880,'Images','Noir. \n'),
(53745,7880,'VoixOffIn','\n'),
(53746,7880,'BandeSon','Id. \n'),
(53747,7880,'Ecrits','EUX  TOUS \n'),
(53748,7880,'_product_image_gallery',''),
(53749,7881,'_pingme','1'),
(53750,7881,'_encloseme','1'),
(53751,7881,'Index','6740'),
(53752,7881,'Minutage','1h23’51 \n'),
(53753,7881,'Images','Surexposé,  en  noir  et  blanc  :  photo  d\'un  enfant  mangeant  assis. \n'),
(53754,7881,'VoixOffIn','\n'),
(53755,7881,'BandeSon','Id. \n'),
(53756,7881,'Ecrits','\n'),
(53757,7881,'_product_image_gallery',''),
(53758,7882,'_pingme','1'),
(53759,7882,'_encloseme','1'),
(53760,7882,'Index','6750'),
(53761,7882,'Minutage','1h23’54 \n'),
(53762,7882,'Images','Noir.  Lettres  latines  rouges  s’y  superposant  à  des  lettres  arabes  blanches. \n'),
(53763,7882,'VoixOffIn','\n'),
(53764,7882,'BandeSon','Id. \n'),
(53765,7882,'Ecrits','HAMIDREZA \n PEJMAN \n'),
(53766,7882,'_product_image_gallery',''),
(53767,7883,'_pingme','1'),
(53768,7883,'_encloseme','1'),
(53769,7883,'Index','6760'),
(53770,7883,'Minutage','1h23’56 \n'),
(53771,7883,'Images','Noir.  Lettres  latines  rouges  s’y  superposant  à  des  lettres  arabes  blanches. \n'),
(53772,7883,'VoixOffIn','\n'),
(53773,7883,'BandeSon','Id. \n'),
(53774,7883,'Ecrits','GEORGES \n SCHOUCAIR \n'),
(53775,7883,'_product_image_gallery',''),
(53776,7884,'_pingme','1'),
(53777,7884,'_encloseme','1'),
(53778,7884,'Index','6770'),
(53779,7884,'Minutage','1h23’59 \n'),
(53780,7884,'Images','Noir. \n'),
(53781,7884,'VoixOffIn','\n'),
(53782,7884,'BandeSon','Silence. \n'),
(53783,7884,'Ecrits','NADER \n MOBARGHA \n'),
(53784,7884,'_product_image_gallery',''),
(53785,7885,'_pingme','1'),
(53786,7885,'_encloseme','1'),
(53787,7885,'Index','6780'),
(53788,7885,'Minutage','1h24’00 \n'),
(53789,7885,'Images','En  noir  et  blanc  :  grillage  avec  une  pancarte  indiquant  :  «  NO  TRESPASSING  ». \n'),
(53790,7885,'VoixOffIn','\n'),
(53791,7885,'BandeSon','Id. \n'),
(53792,7885,'Ecrits','\n'),
(53793,7885,'_product_image_gallery',''),
(53794,7886,'_pingme','1'),
(53795,7886,'_encloseme','1'),
(53796,7886,'Index','6790'),
(53797,7886,'Minutage','1h24’04 \n'),
(53798,7886,'Images','En  couleur  :  photo  d’un  grillage  avec  une  pancarte  indiquant  :  «  DÉFENSE  D’ENTRER \n PROPRIÉTÉ  DE  L’ETAT  ». \n'),
(53799,7886,'VoixOffIn','En  réalité,  disait  Brecht,  \n'),
(53800,7886,'BandeSon','Id. \n'),
(53801,7886,'Ecrits','\n'),
(53802,7886,'_product_image_gallery',''),
(53803,7887,'_pingme','1'),
(53804,7887,'_encloseme','1'),
(53805,7887,'Index','6800'),
(53806,7887,'Minutage','1h24’09 \n'),
(53807,7887,'Images','Inscription  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'),
(53808,7887,'VoixOffIn','seul  le  fragment  \n'),
(53809,7887,'BandeSon','Id. \n'),
(53810,7887,'Ecrits','\n'),
(53811,7887,'_product_image_gallery',''),
(53812,7888,'_pingme','1'),
(53813,7888,'_encloseme','1'),
(53814,7888,'Index','6810'),
(53815,7888,'Minutage','1h24’14 \n'),
(53816,7888,'Images','Au  ralenti  et  en  noir  et  blanc  :  jeunes  esclaves  vénérant  un  roi  sur  un  trône. \n'),
(53817,7888,'VoixOffIn','porte  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'),
(53818,7888,'BandeSon','Id. \n'),
(53819,7888,'Ecrits','\n'),
(53820,7888,'_product_image_gallery',''),
(53821,7889,'_pingme','1'),
(53822,7889,'_encloseme','1'),
(53823,7889,'Index','6820'),
(53824,7889,'Minutage','1h24’41 \n'),
(53825,7889,'Images','En  noir  et  blanc  :  détail  de  la  main  du *San* *Giovanni* *Battista* (1508 - 1513), Leonardo  da  Vinci. \n'),
(53826,7889,'VoixOffIn','Mais \n'),
(53827,7889,'BandeSon','Id. \n'),
(53828,7889,'Ecrits','\n'),
(53829,7889,'_product_image_gallery',''),
(53830,7890,'_pingme','1'),
(53831,7890,'_encloseme','1'),
(53832,7890,'Index','6830'),
(53833,7890,'Minutage','1h24’44 \n'),
(53834,7890,'Images','Surexposé  et  saturé  :  pellicule  tirée  d\'une  bobine  en  rotation. \n'),
(53835,7890,'VoixOffIn','au  contraire  de  Balzac,  \n'),
(53836,7890,'BandeSon','Id. \n'),
(53837,7890,'Ecrits','\n'),
(53838,7890,'_product_image_gallery',''),
(53839,7891,'_pingme','1'),
(53840,7891,'_encloseme','1'),
(53841,7891,'Index','6840'),
(53842,7891,'Minutage','1h24’45 \n'),
(53843,7891,'Images','Surexposé,  en  noir  et  blanc  :  de  nouveau,  photographie  d\'un  enfant  mangeant  assis. \n'),
(53844,7891,'VoixOffIn','il  ne  faisait  que  satisfaire  son  penchant  effréné  pour  l’homme  \n \n \n \n'),
(53845,7891,'BandeSon','Id. \n'),
(53846,7891,'Ecrits','\n'),
(53847,7891,'_product_image_gallery',''),
(53848,7892,'_pingme','1'),
(53849,7892,'_encloseme','1'),
(53850,7892,'Index','6850'),
(53851,7892,'Minutage','1h24’48 \n'),
(53852,7892,'Images','Soldats  courants  à  travers  des  explosions. \n'),
(53853,7892,'VoixOffIn','s’humiliant  lui - même. \n'),
(53854,7892,'BandeSon','Id. \n'),
(53855,7892,'Ecrits','\n'),
(53856,7892,'_product_image_gallery',''),
(53857,7893,'_pingme','1'),
(53858,7893,'_encloseme','1'),
(53859,7893,'Index','6860'),
(53860,7893,'Minutage','1h24’50 \n'),
(53861,7893,'Images','Photographie  de  Louis - Ferdinand  Céline. \n'),
(53862,7893,'VoixOffIn','\n'),
(53863,7893,'BandeSon','Id. \n'),
(53864,7893,'Ecrits','\n'),
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(53870,7894,'Images','De  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'),
(53871,7894,'VoixOffIn','Qu’il  n’utilisait  le  remords  et  l’expiation  \n'),
(53872,7894,'BandeSon','Id. \n'),
(53873,7894,'Ecrits','\n'),
(53874,7894,'_product_image_gallery',''),
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(53878,7895,'Minutage','1h24’53 \n'),
(53879,7895,'Images','De  nouveau,  femme  au  micro  parlant  lors  d\'une  manifestation. \n'),
(53880,7895,'VoixOffIn','d’actes  d’une  brutalité  inouïe \n'),
(53881,7895,'BandeSon','Id. \n'),
(53882,7895,'Ecrits','\n'),
(53883,7895,'_product_image_gallery',''),
(53884,7896,'_pingme','1'),
(53885,7896,'_encloseme','1'),
(53886,7896,'Index','6890'),
(53887,7896,'Minutage','1h24’54 \n'),
(53888,7896,'Images','En  négatif  :  de  nouveau,  homme  caché  dans  l\'ombre,  le  menton  posé  sur  la  main  gauche.  \n *Fantômas* (1913),  Louis  Feuillade. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(53889,7896,'VoixOffIn','\n'),
(53890,7896,'BandeSon','Id. \n'),
(53891,7896,'Ecrits','\n'),
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(53894,7897,'_encloseme','1'),
(53895,7897,'Index','6900'),
(53896,7897,'Minutage','1h24’56 \n'),
(53897,7897,'Images','De  nouveau,  photographie  de   Marilyne  Monroe.  Iris  et  clignotement  :  corbeaux  s’envolant.  \n *Les* *Oiseaux* (1963),  Alfred  Hitchcock. *Histoire* *(**s**)* *du* *cinéma* *4a* (1988 - 98), Jean-Luc  Godard. \n'),
(53898,7897,'VoixOffIn','\n'),
(53899,7897,'BandeSon','Id. \n'),
(53900,7897,'Ecrits','\n'),
(53901,7897,'_product_image_gallery',''),
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(53903,7898,'_encloseme','1'),
(53904,7898,'Index','6910'),
(53905,7898,'Minutage','1h25’00 \n'),
(53906,7898,'Images','De  nouveau,  Bécassine  avec  l\'index  de  la  main  gauche  levé. \n'),
(53907,7898,'VoixOffIn','que  pour  faire  miroiter  le  lieu  \n'),
(53908,7898,'BandeSon','Id. \n'),
(53909,7898,'Ecrits','\n'),
(53910,7898,'_product_image_gallery',''),
(53911,7899,'_pingme','1'),
(53912,7899,'_encloseme','1'),
(53913,7899,'Index','6920'),
(53914,7899,'Minutage','1h25’01 \n'),
(53915,7899,'Images','Surexposé,  saturé  en  tons  bleus  :  presque  indistinguable. \n'),
(53916,7899,'VoixOffIn','d’une  transformation  de  \n'),
(53917,7899,'BandeSon','Id. \n'),
(53918,7899,'Ecrits','\n'),
(53919,7899,'_product_image_gallery',''),
(53920,7900,'_pingme','1'),
(53921,7900,'_encloseme','1'),
(53922,7900,'Index','6930'),
(53923,7900,'Minutage','1h25’04 \n'),
(53924,7900,'Images','De  nouveau,  personne  portant  un  turban,  montrant  les  paumes  et  plaçant  une  main  sur  la  paume  de  l\'autre  d’un  mouvement  lent.  \n *Bab\'Aziz**,* *le* *prince* *qui* *contemplait* *son* *âme* (2005), Nacer  Khémir. \n'),
(53925,7900,'VoixOffIn','la  réalité.  (Jean-Luc  Godard) \n'),
(53926,7900,'BandeSon','Id. \n'),
(53927,7900,'Ecrits','\n'),
(53928,7900,'_product_image_gallery',''),
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(53932,7901,'Minutage','1h25’10 \n'),
(53933,7901,'Images','De  nouveau,  visage  d\'un  homme  appuyé  contre  une  vitre  reflétant  son  image. \n'),
(53934,7901,'VoixOffIn','\n'),
(53935,7901,'BandeSon','Id. \n'),
(53936,7901,'Ecrits','\n'),
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(53941,7902,'Minutage','1h25’13 \n'),
(53942,7902,'Images','De  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'),
(53943,7902,'VoixOffIn','\n'),
(53944,7902,'BandeSon','Id. \n'),
(53945,7902,'Ecrits','\n'),
(53946,7902,'_product_image_gallery',''),
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(53950,7903,'Minutage','1h25’17 \n'),
(53951,7903,'Images','De  nouveau,  groupe  d\'hommes  courant  dans  la  rue,  puis  faisant  irruption  à  travers  la  porte  d\'une  maison  située  dans  une  ruelle. \n'),
(53952,7903,'VoixOffIn','\n'),
(53953,7903,'BandeSon','Id. \n'),
(53954,7903,'Ecrits','\n'),
(53955,7903,'_product_image_gallery',''),
(53956,7904,'_pingme','1'),
(53957,7904,'_encloseme','1'),
(53958,7904,'Index','6970'),
(53959,7904,'Minutage','1h25’22 \n'),
(53960,7904,'Images','De  nouveau,  enfant  sur  une  route  poussant  d\'une  main  une  bobine  rouge  avec  une  pellicule.  \n *Reel* *-* *Unreel* (2011),  Francis  Alÿs. \n'),
(53961,7904,'VoixOffIn','Il  doit  y  avoir  une  révolution.  (Jean-Luc  Godard) \n'),
(53962,7904,'BandeSon','Id. \n'),
(53963,7904,'Ecrits','\n'),
(53964,7904,'_product_image_gallery',''),
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(53968,7905,'Minutage','1h25’29 \n'),
(53969,7905,'Images','Noir,  avec  l\'inscription  «  Parole  et  Image  » \n apparaissant.  En  traces  de  détrempe  bleue  et  bleu  clair,  «  Parole  »  et  «  Image  »,  en  rouge  «  et  ». \n'),
(53970,7905,'VoixOffIn','\n'),
(53971,7905,'BandeSon','*The* *River* *I* (1997), Ketil  Bjornstad  &  David  Darling. \n'),
(53972,7905,'Ecrits','\n'),
(53973,7905,'_product_image_gallery',''),
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(53977,7906,'Minutage','1h25’32 \n'),
(53978,7906,'Images','Homme  en  pleurs  soulevant  un  cadavre  du  sol. \n'),
(53979,7906,'VoixOffIn','\n'),
(53980,7906,'BandeSon','Id. \n'),
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(53984,7907,'_encloseme','1'),
(53985,7907,'Index','7000'),
(53986,7907,'Minutage','1h25’36 \n'),
(53987,7907,'Images','Photographie  d\'une  statue  représentant  probablement  le  Christ. \n'),
(53988,7907,'VoixOffIn','\n'),
(53989,7907,'BandeSon','Id. \n'),
(53990,7907,'Ecrits','\n'),
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(53995,7908,'Minutage','1h25’37 \n'),
(53996,7908,'Images','Noir. \n'),
(53997,7908,'VoixOffIn','Lorsque  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 \n Godard,  avec  une  voix  d’outre  tombe  :  \n Et  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.\n *L’Esthétique* *de* *la* *résistance* (1978 - 81),  Peter  Weiss. \n'),
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(53999,7908,'Ecrits','\n'),
(54000,7908,'_product_image_gallery',''),
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(54004,7909,'Minutage','1h26’58 \n'),
(54005,7909,'Images','Entrée  du  danseur  cachant  sa  vieillesse  sous  un  masque,  et  dansant  jusqu\'à  en  mourir.  \n *Le* *masque*, *Le* *Plaisir* (1952), Max  Ophüls. \n'),
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(54007,7909,'BandeSon','*Das* *Buch* *der* *Klange* *I* *-* *XII* (1999), *I**,* Hans  Otte. \n'),
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(54013,7910,'Minutage','1h27’58 \n'),
(54014,7910,'Images','Noir. \n'),
(54015,7910,'VoixOffIn','\n'),
(54016,7910,'BandeSon','Silence. \n'),
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(54022,7911,'Minutage','1h28’03 \n'),
(54023,7911,'Images','Noir. \n'),
(54024,7911,'VoixOffIn','\n'),
(54025,7911,'BandeSon','*Das* *Buch* *der* *Klange* *I* *-* *XII**,* *V* (1999), Hans  Otte. \n'),
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(2,1,'2023-05-15 04:26:03','2023-05-15 02:26:03','<!-- wp:paragraph -->\n<p>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 :</p>\n<!-- /wp:paragraph -->\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p>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).</p></blockquote>\n<!-- /wp:quote -->\n\n<!-- wp:paragraph -->\n<p>…ou quelque chose comme cela :</p>\n<!-- /wp:paragraph -->\n\n<!-- wp:quote -->\n<blockquote class=\"wp-block-quote\"><p>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.</p></blockquote>\n<!-- /wp:quote -->\n\n<!-- wp:paragraph -->\n<p>En tant que nouvel utilisateur ou utilisatrice de WordPress, vous devriez vous rendre sur <a href=\"https://localhost/wp/wp-admin/\">votre tableau de bord</a> pour supprimer cette page et créer de nouvelles pages pour votre contenu. Amusez-vous bien !</p>\n<!-- /wp:paragraph -->','Page d’exemple','','publish','closed','open','','page-d-exemple','','','2023-05-15 04:26:03','2023-05-15 02:26:03','',0,'https://localhost/?page_id=2',0,'page','',0),
(3,1,'2023-05-15 04:26:03','2023-05-15 02:26:03','<!-- wp:heading --><h2>Qui sommes-nous ?</h2><!-- /wp:heading --><!-- wp:paragraph --><p><strong class=\"privacy-policy-tutorial\">Texte suggéré : </strong>L’adresse de notre site est : https://localhost.</p><!-- /wp:paragraph --><!-- wp:heading --><h2>Commentaires</h2><!-- /wp:heading --><!-- wp:paragraph --><p><strong class=\"privacy-policy-tutorial\">Texte suggéré : </strong>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.</p><!-- /wp:paragraph --><!-- wp:paragraph --><p>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.</p><!-- /wp:paragraph --><!-- wp:heading --><h2>Médias</h2><!-- /wp:heading --><!-- wp:paragraph --><p><strong class=\"privacy-policy-tutorial\">Texte suggéré : </strong>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.</p><!-- /wp:paragraph --><!-- wp:heading --><h2>Cookies</h2><!-- /wp:heading --><!-- wp:paragraph --><p><strong class=\"privacy-policy-tutorial\">Texte suggéré : </strong>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.</p><!-- /wp:paragraph --><!-- wp:paragraph --><p>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.</p><!-- /wp:paragraph --><!-- wp:paragraph --><p>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.</p><!-- /wp:paragraph --><!-- wp:paragraph --><p>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.</p><!-- /wp:paragraph --><!-- wp:heading --><h2>Contenu embarqué depuis d’autres sites</h2><!-- /wp:heading --><!-- wp:paragraph --><p><strong class=\"privacy-policy-tutorial\">Texte suggéré : </strong>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.</p><!-- /wp:paragraph --><!-- wp:paragraph --><p>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.</p><!-- /wp:paragraph --><!-- wp:heading --><h2>Utilisation et transmission de vos données personnelles</h2><!-- /wp:heading --><!-- wp:paragraph --><p><strong class=\"privacy-policy-tutorial\">Texte suggéré : </strong>Si vous demandez une réinitialisation de votre mot de passe, votre adresse IP sera incluse dans l’e-mail de réinitialisation.</p><!-- /wp:paragraph --><!-- wp:heading --><h2>Durées de stockage de vos données</h2><!-- /wp:heading --><!-- wp:paragraph --><p><strong class=\"privacy-policy-tutorial\">Texte suggéré : </strong>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.</p><!-- /wp:paragraph --><!-- wp:paragraph --><p>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.</p><!-- /wp:paragraph --><!-- wp:heading --><h2>Les droits que vous avez sur vos données</h2><!-- /wp:heading --><!-- wp:paragraph --><p><strong class=\"privacy-policy-tutorial\">Texte suggéré : </strong>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.</p><!-- /wp:paragraph --><!-- wp:heading --><h2>Où vos données sont envoyées</h2><!-- /wp:heading --><!-- wp:paragraph --><p><strong class=\"privacy-policy-tutorial\">Texte suggéré : </strong>Les commentaires des visiteurs peuvent être vérifiés à l’aide d’un service automatisé de détection des commentaires indésirables.</p><!-- /wp:paragraph -->','Politique de confidentialité','','draft','closed','open','','politique-de-confidentialite','','','2023-05-15 04:26:03','2023-05-15 02:26:03','',0,'https://localhost/?page_id=3',0,'page','',0),
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