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		<TitleText>Firme Pathé Frères, 1896-1914</TitleText>
		
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		<Text language="fre" textformat="02">&lt;P&gt;Path Frres, bien quexerant une position oligopolistique sur la production mondiale de films avant 1914 est, aujourdhui encore, une firme fort mal connue. CLe volume prsente ltat des recherches sur le sujet,  travers trente-quatre tudes en franais et en anglais menes par des chercheurs de douze nationalits diffrentes qui analysent la distribution des films Path dans autant de pays. Elles ont t regroupes selon lapproche conomique et commerciale, institutionnelle, langagire ou esthtique.&lt;/P&gt;</Text>
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		<Text language="fre" textformat="02">&lt;P&gt;Path Frres, bien quexerant une position oligopolistique sur la production mondiale de films avant 1914 est, aujourdhui encore, une firme fort mal connue. CLe volume prsente ltat des recherches sur le sujet,  travers trente-quatre tudes en franais et en anglais menes par des chercheurs de douze nationalits diffrentes qui analysent la distribution des films Path dans autant de pays. Elles ont t regroupes selon lapproche conomique et commerciale, institutionnelle, langagire ou esthtique.&lt;/P&gt;</Text>
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		<Text language="fre">Pathé Frères, bien qu’exerçant une position oligopolistique sur la production mondiale de films avant 1914 est, aujourd’hui encore, une firme fort mal connue. Le volume présente l’état des recherches sur le sujet, à travers trente-quatre études...</Text>
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		<Text textformat="02">&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;strong style=""&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Premire partie: production, conomie, distribution&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Jean-Jacques Meusy, La stratgie des socits concessionnaires Path et la location des films en France (1907-1908)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Thierry Lefebvre, Lusine de Joinville, tablissement dangereux&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Laurent Mannoni, Les studios path de la rgion parisienne (1896-1914) &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Philippe Azoury, Linvitation  lart&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span lang="EN-US" style="font-family: "Arial","sans-serif";"&gt;Ivo Blom,  Whats in a name ? Path and the Netherlands as envisioned in the Path-Desmet relationship &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Jean-Claude Seguin,La compagnie des Cinmatographes Thophile Path&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin: 15pt 0cm 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;strong style=""&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Deuxime partie: la mise en scne et les genres&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Laurent Le Forestier, criture, mise en scne ou supervision ? La Lutte pour la vie (1914), une illustration du travail de Ferdinand Zecca chez Path&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Frank Kessler, La ferie Path&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Jacques Polet, Un bestiaire illustr. Enjeux filmiques et symboliques du systme animalier de lcurie Path&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Dominique Nasta,  Ne pleure pas, maman, cest ta fte aujourdhui . Figures de lexcs dans les mlodrames Path davant 1915&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Bernard Perron, Scne / hors-scne. Lalternance dans Le Mdecin du chteau (1908) &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin: 15pt 0cm 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;strong style=""&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Troisime partie: rhtorique et langage&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Livio Bello, Reconfigurations. La question du plan emblmatique&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span lang="EN-US" style="font-family: "Arial","sans-serif";"&gt;Tom Gunning, Path and the cinematic tale. Storytelling in Early Cinema&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Franois Jost, Les paradoxes du visible&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Isabelle Raynauld, Le  sonore visible  dans les scnarios et dans les films Path dits  muets &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Jean Chteauvert, Regards  la camra ; ce que nous racontent les comdiens&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Andr Gaudreault, Les vues cinmatographiques selon Path ; ou comment la cinmatographie embraye sur un nouveau paradigme&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;glantine Monsaingeon, Les catalogues Path de 1900  1907 ; un registre de consignes de lecture &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Claire Dupr La Tour, Pour une tude des titres des films des premiers temps. Les 540 premiers titres de la firme Path, un aperu lexical&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin: 15pt 0cm 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;strong style=""&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Quatrime partie: documentaires, actualits&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Jeannine Baj et Sabine Lenk,  Le premier journal vivant de lUnivers !. Le Path Journal, 1909-1913&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Galyna Malysheva, Natalia Noussinova, Actualits et fausses actualits chez Path. La guerre russo-japonaise, 1904-1905&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Marco Bertozzi, Path ville ouverte. Limaginaire urbain, de la vue au film&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin: 15pt 0cm 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;strong style=""&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Cinquime partie: personnalits&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Jean A. Gili,Andr Deed de Paris  Turin. Entre Path Frres et Italia Film&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Franois de la Bretque,  Bosetti chez Path&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span lang="EN-US" style="font-family: "Arial","sans-serif";"&gt;Tony Fletcher, &lt;/span&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt; &lt;/span&gt;&lt;span lang="EN-US" style="font-family: "Arial","sans-serif";"&gt;Flashback revisited. George Pearsons involvement with the early Path Company&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin: 15pt 0cm 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;strong style=""&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Sixime partie: Path  travers le monde&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span lang="EN-US" style="font-family: "Arial","sans-serif";"&gt;Richard Abel, Going to the Movies in the USA. Path and the Trade Press&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;David Robinson, Path in Australia 1908-1912&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Guido Convents, La firme Path en Belgique (1900-1914) . Politique et stratgie dune multinationale : force et faiblesse&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span lang="EN-US" style="font-family: "Arial","sans-serif";"&gt;Ansje van Beusekom, Paths reputation in the Netherlands in 1914 : two different attitudes&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Germain Lacasse,Les films Path : un cinma qubcois fait en France&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span lang="EN-US" style="font-family: "Arial","sans-serif";"&gt;Thomas Elsaesser, The Presence of Path in Germany&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Malgorzata et Marek Hendrykowski,  Path Frres en Pologne&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Jens Ulff-Mller, &lt;/span&gt;&lt;span lang="EN-US" style="font-family: "Arial","sans-serif";"&gt;Edouard Partsch. Paths Danish Affiliation 1909-1924&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;Liu Hunzhou, Cent gnrations en Chine. Path sur le continent chinois&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;
&lt;p style="margin-bottom: 0.0001pt; line-height: normal;" class="MsoNormal"&gt;&lt;span style="font-family: "Arial","sans-serif";"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;</Text>
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