{"id":6748,"date":"2024-10-08T11:13:11","date_gmt":"2024-10-08T11:13:11","guid":{"rendered":"https:\/\/soundimageculture.org\/team\/yael-bitton\/"},"modified":"2024-10-08T11:37:51","modified_gmt":"2024-10-08T11:37:51","slug":"yael-bitton","status":"publish","type":"team","link":"https:\/\/soundimageculture.org\/fr\/team\/yael-bitton\/","title":{"rendered":"Ya\u00ebl Bitton"},"content":{"rendered":"

Biographie<\/h2>

Ya\u00ebl Bitton est une monteuse de films documentaires, sc\u00e9nariste, consultante en histoire et r\u00e9alisatrice prim\u00e9e avec plus de 25 ans d’exp\u00e9rience, bas\u00e9e \u00e0 Paris.<\/p>\n

Elle a remport\u00e9 le SIMA Editing Award pour Radio Silence (2020), le prix du meilleur montage \u00e0 l’Israel Documentary Forum pour Advocate (2019), et l’Adobe Dok Fest Editing Award pour KIX (2024). Elle est membre de la branche documentaire de l’Acad\u00e9mie des Oscars, et a \u00e9t\u00e9 invit\u00e9e par le NCE \u00e0 donner une masterclass \u00e0 l’IDFA 2023.<\/p>\n

Depuis longtemps, elle collabore avec des documentaristes du monde entier, travaillant sur des films qui ont \u00e9t\u00e9 reconnus dans des festivals majeurs tels que Cannes, Sundance, Venise, et IDFA…. Plus r\u00e9cemment, elle a mont\u00e9 et \u00e9crit (entre autres) avec la r\u00e9alisatrice Petra Costa, dont le dernier film Apocalypse in the Tropics a fait l’ouverture du festival de Venise (2024) ; avec Anirban Dutta et Anupama Srinivisan sur Nocturnes (2024), qui a remport\u00e9 le World Cinema Documentary Special Jury Award for Craft ; avec Balint Revesz et David Mikulan sur KIX (2024), qui a remport\u00e9 le prix du meilleur film au festival du film de Camden 2024, le prix FIPRESCI \u00e0 GoEast 2024, le prix Camera Justitia et le prix Aljazeera Impact \u00e0 Movies that matter 2024 ; avec Rahul Jain, dont le dernier film Invisible Demons (2021) a \u00e9t\u00e9 pr\u00e9sent\u00e9 en avant-premi\u00e8re au Festival de Cannes cette ann\u00e9e-l\u00e0 et dont le premier film Machines (2015) a remport\u00e9 de nombreux prix dans le monde entier ; avec Felipe Monroy sur trois films, dont le puissant Hijos del Viento (2021) ; avec Rachel Leah Jones et Philippe Bellaiche sur Advocate (20219) qui a remport\u00e9, parmi de nombreux prix, l’Emmy Award du meilleur documentaire et l’Asia Pacific Screen Award du meilleur documentaire ; et avec Juliana Fanjul sur ses deux longs m\u00e9trages Radio Silence (2019) et Muchachas (2014).<\/p>\n

Ses projets les plus r\u00e9cents en tant que monteuse comprennent Ceux qui veillent de Karima Sa\u00efdi (2024), La muraille de Callisto Mc Nulty (2024), et The World is Not (A) Mine de Natalia Korniaz (2024), qui seront bient\u00f4t pr\u00e9sent\u00e9s en premi\u00e8re dans des festivals internationaux.<\/p>\n

En plus de son travail de montage, Ya\u00ebl est mentor et consultante, travaillant avec des programmes tels que Rough Cut Service, Docs Nomads, Zelig Documentary film school, DOK Incubator, Visions du R\u00e9el, et Ex Oriente. Elle enseigne le montage \u00e0 la HEAD\/Cin\u00e9ma du R\u00e9el \u00e0 Gen\u00e8ve depuis 2008. Au cours du premier semestre 2024, elle a \u00e9t\u00e9 invit\u00e9e \u00e0 enseigner au Barnard College\/Columbia University \u00e0 New York.<\/p>\n

Ya\u00ebl a r\u00e9alis\u00e9 deux longs m\u00e9trages documentaires, Not for Sale (2002) et The Rabbi’s 12 children (2007).
\nElle travaille \u00e9galement sur des \u00ab\u00a0pocket films\u00a0\u00bb de format court, sous le titre \u00ab Zeitlos \u00bb – hors du temps, intemporel – issu de sa pratique de monteuse de films. Les \u00ab\u00a0pocket films\u00a0\u00bb sont con\u00e7us pour \u00eatre projet\u00e9s sur diff\u00e9rentes surfaces et \u00e9crans dans des espaces d’installation. Ils traitent de la nature de la perception et de la cognition, de l’attention et de la m\u00e9moire, du temps et de l’effacement, de la narrativit\u00e9 et de la repr\u00e9sentation, du langage et du silence. Dans un monde o\u00f9 l’on est sans cesse expos\u00e9 \u00e0 un barrage d’images manipul\u00e9es et de contenus \u00e9dit\u00e9s qui d\u00e9tournent notre attention, circonscrivent nos pens\u00e9es et nos \u00e9motions et red\u00e9finissent notre cognition, pouvons-nous nous r\u00e9approprier un langage ontologique au-del\u00e0 de l’expression litt\u00e9rale de nos histoires humaines ? Quels types d’images faut-il d\u00e9velopper et afficher dans un monde satur\u00e9 de visualit\u00e9 et de visibilit\u00e9 ?<\/p>\n<\/div><\/section>","protected":false},"excerpt":{"rendered":"","protected":false},"featured_media":6747,"template":"","class_list":["post-6748","team","type-team","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nYa\u00ebl Bitton – Sound Image Culture<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soundimageculture.org\/fr\/team\/yael-bitton\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ya\u00ebl Bitton – Sound Image Culture\" \/>\n<meta property=\"og:url\" content=\"https:\/\/soundimageculture.org\/fr\/team\/yael-bitton\/\" \/>\n<meta property=\"og:site_name\" content=\"Sound Image Culture\" \/>\n<meta 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