%0 Journal Article
%T Fid¨¨les au spectacle Believers at the movies. The formation of the Parisian Catholic public
%A M¨¦lisande Leventopoulos
%J Conserveries M¨¦morielles : Revue Transdisciplinaire de Jeunes Chercheurs
%D 2012
%I Conserveries M¨¦morielles
%X En 1927, il n¡¯existe pas de collectif catholique de spectateurs. Or, le projet de reconqu¨ºte des masses par le cin¨¦ma stimule l¡¯exploitation catholique. D¨¨s lors, un public catholique missionnaire ¨¦merge, dans le dioc¨¨se de Paris, r¨¦pondant ¨¤ l¡¯appel de l¡¯¨¦glise. Les spectateurs sont initi¨¦s au spectacle sous diverses formes. Ce parcours initiatique aboutit, ¨¤ la fin des ann¨¦es 1930, ¨¤ l¡¯¨¦mergence d¡¯une communaut¨¦ de vision cin¨¦matographique au sein du monde catholique dioc¨¦sain. In 1927, there was no collective body of catholic cinemagoers. However, the project of winning back the masses through the cinema led to the development of catholic investment in this field. Thus, answering the call of the Church, catholic missionary spectators appeared in the diocese of Paris. Cinemagoers were taught how to view different types of film and this initiation led, at the end of the 1930s, to the emergence of a catholic audience per se in Paris.
%K cinema
%K Catholic Church
%K cin¨¦ma
%K ¨¦glise catholique
%K Paris
%K France
%K Entre-deux-guerres
%U http://cm.revues.org/1225