<?xml version="1.0" encoding="UTF-8"?><rss xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title><![CDATA[lemagazinemiic]]></title><description><![CDATA[2]]></description><link>https://lemagazinemiic.wixsite.com/edition2/tout</link><generator>RSS for Node</generator><lastBuildDate>Wed, 10 Jun 2026 05:18:20 GMT</lastBuildDate><atom:link href="https://lemagazinemiic.wixsite.com/edition2/blog-feed.xml" rel="self" type="application/rss+xml"/><item><title><![CDATA[The Body in the Library is Not a Body]]></title><description><![CDATA[The murder mystery has always been camp. The 1980s were simply the decade when the genre stopped pretending otherwise. Because if you think about it, the classic “whodunit”¹ is already absurd: a mansion full of suspiciously glamorous people, all hiding secrets, and dressed like caricatures of themselves, while a detective theatrically explains human psychology in front of a dead body and a bloody candelabra. Nobody behaves normally in a murder mystery, and that is precisely the point. For...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/the-body-in-the-library-is-not-a-body</link><guid isPermaLink="false">6a09f17adf43effc8ce2675b</guid><category><![CDATA[1980s]]></category><pubDate>Sun, 17 May 2026 17:04:38 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/f941b5_a5f215604be54a3aa1e9e5581ad476f8~mv2.jpg/v1/fit/w_479,h_675,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Viktoria Khemchyan</dc:creator></item><item><title><![CDATA[Les années 2010, ou la décennie du « tout, tout de suite »]]></title><description><![CDATA[Les années 2010 nous ont fait la promesse que tout deviendrait bientôt accessible. Les films, les séries télé, la musique, les vidéos Youtube, les podcasts, les news : toute la culture serait désormais à portée de main grâce aux écrans que nous transportons dans nos poches. Ce boom du streaming des années 2010 nous a été présenté comme une véritable libération. Fini l’attente, fini les contraintes horaires, fini les limites. Au premier abord, cela semblait vraiment révolutionnaire. Netflix...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/les-ann%C3%A9es-2010-ou-la-d%C3%A9cennie-du-tout-tout-de-suite</link><guid isPermaLink="false">6a09ef9ad7b330c99a62f70e</guid><category><![CDATA[2010s]]></category><pubDate>Sun, 17 May 2026 16:47:02 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/f941b5_7756a9eab5f04db08483edc715fcc866~mv2.jpg/v1/fit/w_625,h_415,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Viktoria Khemchyan</dc:creator></item><item><title><![CDATA[« Et si c’était vrai ? » ou comment internet a rendu la paranoïa productive]]></title><description><![CDATA[12 septembre 2001. Un écran d’ordinateur s’allume en banlieue américaine. Un autre dans un appartement parisien. Un autre à Pékin. Trois forums s’animent simultanément dans trois langues différentes, et tous posent la même question avant même que la fumée au-dessus de Manhattan n’ait eu le temps de se dissiper : que vient-il de se passer ?   Les théories du complot ont toujours évolué en marge de la vie publique. L’assassinat de John F. Kennedy. L’alunissage américain. La zone 51. La plupart...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/et-si-c-%C3%A9tait-vrai-ou-comment-internet-a-rendu-la-parano%C3%AFa-productive</link><guid isPermaLink="false">6a08404adf43effc8cdf2273</guid><category><![CDATA[2000s]]></category><pubDate>Sat, 16 May 2026 10:04:42 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/f941b5_709626bb654248778632763bbc6c775b~mv2.png/v1/fit/w_780,h_520,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Bahia Lahlou</dc:creator></item><item><title><![CDATA[The 2020s, pop music, and the politics of effort]]></title><description><![CDATA[What is a pop star? The question sounds simple until you try to answer it. A pop star is not just a singer — plenty of singers are not pop stars. They are not just famous, either. So how do we recognize one? Are they performers? Entertainers? Songwriters? Industry plants or marketing pawns? The definition of a pop star has been built, and continues to be built, by those who have been given that title. Anyone can be an artist, a singer, an interpreter. Not anyone can be a pop star. Michael...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/the-2020s-pop-music-and-the-politics-of-effort</link><guid isPermaLink="false">6a083f3b0b9e4f37fd272617</guid><category><![CDATA[2020s]]></category><pubDate>Sat, 16 May 2026 09:59:39 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/f941b5_fde67cab652b428c828e9209a97af6a5~mv2.png/v1/fit/w_1000,h_1000,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Bahia Lahlou</dc:creator></item><item><title><![CDATA[Violence in Neorealist Cinema]]></title><description><![CDATA[Censorship put an end to such provocative potboilers as "Baby Face" but ushered in comedies like "The Thin Man." Illustration by Cristiana Couceiro; Source: Everett (Photographs) For nearly four decades, the Motion Picture Production Code¹ governed the moral architecture of American cinema with an authority that was at once institutional and deeply ideological. Adopted formally in 1930 and rigorously enforced from 1934 onward, the Code forbade graphic violence, sexual frankness, and any...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/violence-in-neorealist-cinema</link><guid isPermaLink="false">6a07aa8adf43effc8cddea2c</guid><category><![CDATA[1970s]]></category><pubDate>Sat, 16 May 2026 09:54:40 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/4de93e_0ce641024ea1478fae44e600671ff297~mv2.jpg/v1/fit/w_1000,h_630,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Imène Berkane</dc:creator></item><item><title><![CDATA[The end of history did not happen in Compton]]></title><description><![CDATA[Hip-hop, the post-Cold War vacuum, the OJ verdict Compton Boulevard, long associated with the rise of West Coast hip-hop culture and the social landscape that shaped it. The fall of the Soviet Union in 1991 restructured the entire planet. The United States became the sole superpower, capitalism won by default, and the whole cultural euphoria of the decade flowed directly from this. Without it, none of the 90s' cultural confidence would have existed. Yet within that confidence lived an...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/the-end-of-history-did-not-happen-in-compton</link><guid isPermaLink="false">6a07ac1c4187691eea852207</guid><category><![CDATA[1990s]]></category><pubDate>Sat, 16 May 2026 09:49:37 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/4de93e_d0714fd51697405bafac5abea5e88f5f~mv2.jpg/v1/fit/w_500,h_440,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Imène Berkane</dc:creator></item><item><title><![CDATA[Buffy: Wy we Can’t Let Go]]></title><description><![CDATA[Buffy the Vampire Slayer: Why we Can’t Let Go  Like many, I grew up with Buffy . Today, I’m 21, and this series is, and will always be, my November rewatch. And now, more than two decades after its finale, Buffy rises from the dead ( again ) with the announcement of a long-anticipated reboot.  Let us dive back into the world of Sunnydale and see why Buffy never really left.   Breaking Generational Barriers  The show was never about monsters. We may see vampires, demons, and witches, but what...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/buffy-wy-we-can-t-let-go</link><guid isPermaLink="false">69441e405ee46165aa38c2f3</guid><pubDate>Thu, 18 Dec 2025 15:31:14 GMT</pubDate><dc:creator>Aerin Moalic</dc:creator></item><item><title><![CDATA[Nous, performeurs du quotidien]]></title><description><![CDATA[Avoir plus de cinq cents relations sur LinkedIn, documenter ses journées productives, afficher une routine sportive parfaitement tenue ou publier le fameux bilan de fin d’année sont devenus des gestes familiers. Ils permettent de montrer que l’on s’inscrit dans un paysage social où la visibilité compte autant que l’action elle-même. À l’approche du bilan, cette logique rend plus difficile la distinction entre ce que nous avons réellement vécu et ce que nous avons accompli pour être perçus...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/performance-sociale</link><guid isPermaLink="false">693745d811242cd607ad1de7</guid><category><![CDATA[PERFORMER]]></category><pubDate>Mon, 08 Dec 2025 21:41:10 GMT</pubDate><dc:creator>Imène Berkane</dc:creator></item><item><title><![CDATA[La Machine du Simulacre]]></title><description><![CDATA[Économie des images Le monde contemporain ne repose plus sur la solidité du réel, mais sur la circulation infinie de ses images. Ce que nous prenons encore pour un lien entre l’apparence et la vérité n’est souvent qu’un reste de nos anciennes croyances. L’essentiel, désormais, se joue dans ce qui circule et non dans ce qui apparaît. L'affiche d'« Amen », exposée au Festival du film de Berlin en février 2002, où le film de Costa-Gavras est en compétition. On croit voir le monde dans ses...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/simulacre</link><guid isPermaLink="false">6937423f1d422bb0eb197c6a</guid><category><![CDATA[PERFORMER]]></category><pubDate>Mon, 08 Dec 2025 21:30:11 GMT</pubDate><dc:creator>Imène Berkane</dc:creator></item><item><title><![CDATA[YOUR EVERY ORIENTALIST DREAM, Our Problem with Belly Dancing (and Women’s Bodies, in General)]]></title><description><![CDATA[Tracing the Fantasy: Where the Myth Began and Why It Still Matters Let’s take a little step back: once, “belly” dancing wasn’t about precision or skill. It was spiritual communion. Women gathered in intimate circles, moving to connect with their bodies, honor fertility and birth, and invoke ancestral heritage through motion. No extravagant costumes required. No formal training necessary. Just raw, spontaneous expression. Ghawazee dancers—early influences on modern Oriental dance—in Luxor,...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/your-every-orientalist-dream-our-problem-with-belly-dancing-and-women-s-bodies-in-general</link><guid isPermaLink="false">6935bb2304019cd6c2cf5771</guid><category><![CDATA[ART ET EXPRESSIVITÉ]]></category><pubDate>Sun, 07 Dec 2025 17:48:24 GMT</pubDate><dc:creator>Myriam Khiari</dc:creator></item><item><title><![CDATA[Entretiens 2025 de Communication publique]]></title><description><![CDATA[« La seule chose qui permet au mal de triompher est l’inaction des hommes de bien » Edmund Burke. Cet article commence dès lors avec la solution. Parce qu’attendre revient déjà à perdre du terrain. La désinformation ne se contente plus d’exister à la marge. Elle s’est installée au cœur de notre espace public et impose à chacun une vigilance qui dépasse le cadre habituel de la communication. La salle des séances du Sénat   Il y a des lieux où l’on s’arrête pour mieux entendre ce qui se joue en...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/entretiens-2025-de-communication-publique</link><guid isPermaLink="false">6932f3c44f0e700bce2ed6c5</guid><category><![CDATA[En vedette]]></category><pubDate>Fri, 05 Dec 2025 15:01:26 GMT</pubDate><enclosure url="https://static.wixstatic.com/media/4de93e_2585530a463d41fbacf1b21c89e378a4~mv2.webp/v1/fit/w_768,h_512,al_c,q_80/file.png" length="0" type="image/png"/><dc:creator>Imène Berkane</dc:creator></item><item><title><![CDATA[Chasing the Perfect Listen: From Ancient Hymns to Infinite Streams]]></title><description><![CDATA[You wake up, turn on the radio, and catch the latest hits streaming. On your commute, you then listen to your favorite Spotify playlist. In the library, you put on some classical music to keep you focused. At home, you dust off a vinyl you haggled over at a flea market, an original record. Later, you might head out to a live indie concert you spotted on Instagram. Each moment of the day goes accompanied by its soundtrack, available anywhere, anytime. Music has become available effortlessly....]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/chasing-the-perfect-listen-from-ancient-hymns-to-infinite-streams</link><guid isPermaLink="false">6931e3b18e416ac5ac9eb2a5</guid><category><![CDATA[ART ET EXPRESSIVITÉ]]></category><pubDate>Thu, 04 Dec 2025 19:41:49 GMT</pubDate><dc:creator>Bahia Lahlou</dc:creator></item><item><title><![CDATA[Dark Academia : The Genre That Erased Itself]]></title><description><![CDATA[Tweed jackets, black coffee, dead languages; a world where beauty justifies crime and longing becomes deadly. Brilliance, obsession – that is the true birth of dark academia.  It all began with a single satiric novel: Donna Tartt’s The Secret History. From a sharp critique of elitist intellectualism, the genre evolved into a shallow internet aesthetic of coffee-stained books and performativity.  Retracing the history of dark academia questions why we romanticise intellect, why we dress like...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/dark-academia</link><guid isPermaLink="false">6931e38936e8a9c5d12074b9</guid><category><![CDATA[COURANTS ET CONTRE-COURANTS]]></category><pubDate>Thu, 04 Dec 2025 19:39:55 GMT</pubDate><dc:creator>Aerin Moalic</dc:creator></item><item><title><![CDATA[Quand le XVIIe et XVIIIe habillent 2025 : La renaissance moderne du paraître]]></title><description><![CDATA[Lèvres rouges, teint pâle, grains de beauté dessinés au crayon, perles et rubans. Aujourd’hui, les modes du « historical dressing » et du costume continuent de faire vivre les codes vestimentaires des XVIIe et XVIIIe siècles dans nos imaginaires contemporains. Cependant, plus qu’un simple retour esthétique, il s’agit d’une véritable réinterprétation de codes anciens remis au goût des codes actuels. Les marques du paraître aristocratique d’antan sont transformées en moyen d’expression...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/quand-le-xviie-et-xviiie-habillent-2025-la-renaissance-moderne-du-para%C3%AEtre</link><guid isPermaLink="false">6931e20d644b95bce4b689dd</guid><category><![CDATA[COURANTS ET CONTRE-COURANTS]]></category><pubDate>Thu, 04 Dec 2025 19:34:06 GMT</pubDate><dc:creator>Bahia Lahlou</dc:creator></item><item><title><![CDATA[Our Fears in Full Screen]]></title><description><![CDATA[Warning: Spoilers of varying degrees ahead for the following movies → Invasion of the Body Snatchers  (1956), Godzilla  (1954), Psycho  (1960), Night of the Living Dead  (1968), The Texas Chainsaw Massacre  (1974), Halloween  (1978), Friday the 13th  (1980), A Nightmare on Elm Street  (1984), Dawn of the Dead  (1978), Paranormal Activity  (2007), Get Out  (2017), Host  (2020). There is something strange about horror films. We pay to be scared, terrified, to squirm in our seats, and to watch...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/our-fears-in-full-screen</link><guid isPermaLink="false">6931e1cd6778c81fbc366b41</guid><category><![CDATA[COURANTS ET CONTRE-COURANTS]]></category><pubDate>Thu, 04 Dec 2025 19:32:50 GMT</pubDate><dc:creator>Viktoria Khemchyan</dc:creator></item><item><title><![CDATA[Représentation Queer dans les Médias : Retrouver l’Authenticité. ]]></title><description><![CDATA[En 2025, la représentation queer dans les médias a explosé. Explorer son évolution, c’est combiner tragédies, amitiés ambiguës, et depuis peu, des personnages qui rient, et ne s’excusent plus d’exister. Chaque époque raconte autant la condition des personnes LGBTQ+ que la manière dont le monde accepte, ou refuse de les considérer.  Les années 1990-2000 : « Bury Your Gays » Quand on replonge dans les fictions des années 1990-2000, on comprend que les personnages queer sont condamnés à...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/repr%C3%A9sentation-queer-dans-les-m%C3%A9dias-retrouver-l-authenticit%C3%A9</link><guid isPermaLink="false">6931e1a8a7a4d87bcf13a5c5</guid><category><![CDATA[MÉMOIRE ET IDENTITÉS]]></category><pubDate>Thu, 04 Dec 2025 19:31:55 GMT</pubDate><dc:creator>Aerin Moalic</dc:creator></item><item><title><![CDATA[1925 v.s. 2025 : Paris, Hier, Aujourd’hui]]></title><description><![CDATA[Mardi 15 décembre 1925, 23h47. 33 rue Blomet, Montparnasse. Le club de jazz est rempli. La fumée des cigarettes s’accumule sous les plafonds bas de la salle, tandis qu’un saxophone entonne un autre refrain. Dans un coin, un écrivain américain savoure son troisième cognac en gribouillant des notes sur une serviette. Deux tables plus loin, une jeune femme, vêtue d’une robe Charleston et d’un collier de perles, débat vivement du manifeste du surréalisme. Sur scène, le pianiste afro-américain,...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/1925-v-s-2025-paris-hier-aujourd-hui</link><guid isPermaLink="false">6931e17b36e8a9c5d12070aa</guid><category><![CDATA[MÉMOIRE ET IDENTITÉS]]></category><pubDate>Thu, 04 Dec 2025 19:31:21 GMT</pubDate><dc:creator>Viktoria Khemchyan</dc:creator></item><item><title><![CDATA[Cairo's New Museum Is Gorgeous. It's Also a Double Standard. ]]></title><description><![CDATA[Anyone who has stood in front of pharaonic artifacts in the Louvre or the British Museum has likely wondered, “How did this end up here?” Two centuries on, the Grand Egyptian Museum (GEM) is taking a long-overdue step to answer that. (But seriously—keep questioning it.) As the doors open to the public for the very first time, a symbolic threshold is crossed: a long-fractured continuity between ancient and modern Egyptian history finally steps into the light. Cairo, November 1st, 2025.  After...]]></description><link>https://lemagazinemiic.wixsite.com/edition2/post/cairo-s-new-museum-is-gorgeous-it-s-also-a-double-standard</link><guid isPermaLink="false">6931de68a7a4d87bcf139df9</guid><category><![CDATA[MÉMOIRE ET IDENTITÉS]]></category><pubDate>Thu, 04 Dec 2025 19:20:40 GMT</pubDate><dc:creator>Myriam Khiari</dc:creator></item></channel></rss>