{"id":58072,"date":"2026-07-18T11:41:41","date_gmt":"2026-07-18T09:41:41","guid":{"rendered":"https:\/\/diploma.ecolecamondo.fr\/memoire\/alexis-ndong\/la-ruine-comme-memoire-le-cinema-comme-revelateur\/"},"modified":"2026-07-18T11:41:41","modified_gmt":"2026-07-18T09:41:41","slug":"the-ruin-as-a-memory-cinema-as-an-indicator","status":"publish","type":"project_type_3","link":"https:\/\/diploma.ecolecamondo.fr\/en\/memoire\/alexis-ndong\/the-ruin-as-a-memory-cinema-as-an-indicator\/","title":{"rendered":"The ruin as a memory \u2013 Cinema as an indicator"},"content":{"rendered":"\n

Through architecture and cinema, this work explores how a ruin builds a collective imagination, fluctuating between melancholy, contemplation and anxiety. The city, still standing but already lost, became the theatre of an immobile present, full of meaning and open to interpretation. Here, it is not just material. It suspends time, erases customs and transforms spaces into testimonies of a rapidly changing civilization. Deserted places, immobilised architectures and images marked by the absence of people reveal what persists beyond walls and fa\u00e7ades: buried memories, traces of uses that have disappeared, and possible new interpretations of space. As such the ruin becomes an indicator, a concept.<\/p><\/div><\/div><\/article>\n\n

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\u00ab Le spectacle des ruines est l\u2019occasion d\u2019une r\u00e9v\u00e9lation. \u00bb<\/p>

Sabine Forero\u2011Mendoza<\/span> – <\/span>(2002), Le temps des ruines\u202f: Le go\u00fbt des ruines et les formes de la conscience historique \u00e0 la Renaissance, Champ Vallon, Seyssel, p. 67<\/span><\/p><\/div><\/div><\/div><\/article>\n

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Affiche du film 28 jours plus tard<\/em> (28 Days Later<\/em>), r\u00e9alis\u00e9 par Danny Boyle, 2002.\nAffiche du film Le Fils de l’homme<\/em> (Children of Men<\/em>), r\u00e9alis\u00e9 par Alfonso Cuar\u00f3n, 2006.\nAffiche du film Blade Runner 2049<\/em>, r\u00e9alis\u00e9 par Denis Villeneuve, 2017.\n<\/figcaption>\n <\/article>\n\n\n\n

\u00ab\u202fSi un lieu peut se d\u00e9finir comme identitaire, relationnel et historique, un espace qui ne peut se d\u00e9finir ni comme identitaire, ni comme relationnel, ni comme historique d\u00e9finira un non\u2011lieu.\u202f\u00bb<\/p>

Marc Aug\u00e9<\/span> – <\/span>(1992), Non\u2011lieux. Introduction \u00e0 une anthropologie de la surmodernit\u00e9, Paris, Seuil, 1992, p.\u202f100<\/span><\/p><\/div><\/div><\/div><\/article>\n

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\u00ab\u202f\u202fLes all\u00e9gories sont au domaine de la pens\u00e9e ce que les ruines sont au domaine des choses\u202f\u00bb<\/p>

Walter\u202fBenjamin<\/span> – <\/span>(2009(1928)), Origine du drame baroque allemand, traduit de l\u2019allemand par Andr\u00e9 Hirt et Sibylle Muller, Paris, Flammarion, collection Champs essais,p.\u202f191<\/span><\/p><\/div><\/div><\/div><\/article>\n

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\u00ab L\u00e0 o\u00f9 il y a des ruines, il y a encore un monde, car il y a volont\u00e9 de fabriquer quelque chose qui r\u00e9siste au flux d\u00e9vastateur de la vie. \u00bb<\/p>

Bruce B\u00e9gout<\/span> – <\/span>(2022), Obsolescence des ruines : Essai philosophique sur les gravats. Inculte, p. 122<\/span><\/p><\/div><\/div><\/div><\/article>\n<\/div>\n","protected":false},"author":96,"featured_media":58073,"template":"","meta":{"_acf_changed":false,"footnotes":"","_metafield_presentation":"Through architecture and cinema, this work explores how a ruin builds a collective imagination, fluctuating between melancholy, contemplation and anxiety. The city, still standing but already lost, became the theatre of an immobile present, full of meaning and open to interpretation. Here, it is not just material. It suspends time, erases customs and transforms spaces into testimonies of a rapidly changing civilization. Deserted places, immobilised architectures and images marked by the absence of people reveal what persists beyond walls and fa\u00e7ades: buried memories, traces of uses that have disappeared, and possible new interpretations of space. As such the ruin becomes an indicator, a concept.","_metafield_image_toggle":false,"_metafield_image_legend":"","_metafield_gallery":[50065,50064,50063,49249,49248,50072,50073,50078,50079,49246]},"keywords":[101,110],"teachers_list_1":[58],"class_list":["post-58072","project_type_3","type-project_type_3","status-publish","has-post-thumbnail","hentry","keywords-public-spaces","keywords-societal-field","teachers_list_1-aleksey-sevastyanov"],"acf":[],"_links":{"self":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_3\/58072","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_3"}],"about":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/types\/project_type_3"}],"author":[{"embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/users\/96"}],"version-history":[{"count":0,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/project_type_3\/58072\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/media\/58073"}],"wp:attachment":[{"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/media?parent=58072"}],"wp:term":[{"taxonomy":"keywords","embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/keywords?post=58072"},{"taxonomy":"teachers_list_1","embeddable":true,"href":"https:\/\/diploma.ecolecamondo.fr\/en\/wp-json\/wp\/v2\/teachers_list_1?post=58072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}