{"id":686,"date":"2026-01-27T22:25:39","date_gmt":"2026-01-27T21:25:39","guid":{"rendered":"https:\/\/filmparimage.com\/?page_id=686"},"modified":"2026-02-13T15:14:00","modified_gmt":"2026-02-13T14:14:00","slug":"cinescriptographe-du-futuroscope","status":"publish","type":"page","link":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/","title":{"rendered":"Cin\u00e9scriptographe du Futuroscope"},"content":{"rendered":"\n

Cin\u00e9scriptographe \u2014 Futuroscope<\/strong><\/h2>\n\n\n\n

Aper\u00e7us cin\u00e9scriptographiques (image et phrases-sources)<\/h4>\n\n\n\n
\"\"
Photo prise le 21 f\u00e9vrier 2008, r\u00e9activ\u00e9e le mercredi 8 avril 2009 comme vignette dans le module Windows Messenger<\/em>.<\/figcaption><\/figure>\n\n\n\n
\n

\u2014 \u00ab Dans la voix du milieu.\u00bb
\u00ab Le pavillon de mille yeux en tous chants.\u00bb<\/p>\n<\/blockquote>\n\n\n\n

Po\u00e8me en canon envoy\u00e9 par voie \u00e9lectronique dans les espaces de commentaires publics de l\u2019\u00e9mission All\u00f4 la plan\u00e8te<\/em>, ao\u00fbt 2008.<\/p>\n\n\n\n

\n

\u2014 \u00ab En r\u00e9paration. \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Texte de remerciement adress\u00e9 \u00e0 Parking de Nuit<\/em>, \u00e9crit apr\u00e8s l\u2019interruption d\u2019une \u00e9mission en direct, en septembre 2008. Il se cl\u00f4t par ces mots.<\/p>\n\n\n\n

Amplification :<\/strong><\/p>\n\n\n\n

\n

\u2014 <\/strong>\u00ab Bravo \u00e0 celui qui fait pan et re-pan. \u00bb<\/p>\n<\/blockquote>\n\n\n\n

Message laiss\u00e9 par une journaliste de La Souris baladeuse<\/em>, sur le r\u00e9pondeur de Parking de Nuit<\/em>, puis diffus\u00e9 \u00e0 l\u2019antenne en mars 2009.<\/p>\n\n\n\n

\u00c9v\u00e8nement ult\u00e9rieur (M\u00e9moire r\u00e9v\u00e9latrice)<\/strong><\/h4>\n\n\n\n

Le samedi 11 avril 2009 meurt Ren\u00e9 Monory, m\u00e9canicien-garagiste automobile de formation, fondateur du Futuroscope.<\/p>\n\n\n\n

Lecture cin\u00e9scriptographique (a posteriori)<\/h4>\n\n\n\n

Relus apr\u00e8s coup, ces \u00e9l\u00e9ments s\u2019organisent autour d\u2019un r\u00e9gime de la vision d\u00e9multipli\u00e9e et de la r\u00e9paration symbolique.<\/p>\n\n\n\n

Tout commence par une image : un paon, d\u00e9ployant une roue de regards. La photographie, prise en 2008, ne devient op\u00e9rante qu\u2019en 2009, lorsqu\u2019elle est utilis\u00e9e comme vignette. Le regard n\u2019est pas imm\u00e9diat : il est diff\u00e9r\u00e9, r\u00e9activ\u00e9.<\/p>\n\n\n\n

Le po\u00e8me en canon prolonge cette logique.
Il ne parle pas d\u2019un point de vue unique, mais d\u2019une voix du milieu. Ni premi\u00e8re, ni derni\u00e8re. Une voix prise dans un dispositif d\u2019\u00e9chos.
La \u00ab voix du milieu \u00bb se tient \u00e0 l\u2019intersection des r\u00e9gimes sensoriels, l\u00e0 o\u00f9 entendre, voir et traverser ne sont plus s\u00e9par\u00e9s.
Le \u00ab pavillon de mille yeux \u00bb n\u2019est pas un symbole abstrait : c\u2019est un espace de r\u00e9ception, un lieu o\u00f9 les regards se croisent, o\u00f9 le chant circule sans origine assignable.<\/p>\n\n\n\n

Le po\u00e8me de remerciement marque un d\u00e9placement. Il n\u2019est pas descriptif. Il n\u2019explique rien. Il r\u00e9pond. \u00c9crit apr\u00e8s une interruption radiophonique, il se cl\u00f4t par une formule simple : \u00ab En r\u00e9paration. \u00bb Non pas pour r\u00e9parer un \u00e9v\u00e9nement pr\u00e9cis, mais pour tenter de maintenir une continuit\u00e9, l\u00e0 o\u00f9 quelque chose s\u2019est fissur\u00e9 dans le flux.<\/p>\n\n\n\n

L\u2019amplification qui suit \u2014 \u00ab Bravo \u00e0 celui qui fait pan et re-pan<\/em> \u00bb \u2014 introduit une logique de r\u00e9p\u00e9tition et de relance.<\/p>\n\n\n\n

Pan : le coup, l\u2019impact.<\/p>\n\n\n\n

Re-pan : le retour, la reprise, la remise en circulation.<\/p>\n\n\n\n

Il ne s\u2019agit pas d\u2019une explosion ni d\u2019une pr\u00e9diction, mais du m\u00e9canisme m\u00eame de la projection cin\u00e9scriptographique : revoir, r\u00e9entendre, rejouer apr\u00e8s coup.<\/p>\n\n\n\n

La m\u00e9moire r\u00e9v\u00e9latrice prend la forme d\u2019une disparition. Ren\u00e9 Monory meurt en avril 2009. M\u00e9canicien-garagiste automobile de formation, il fut l\u2019architecte d\u2019un lieu enti\u00e8rement consacr\u00e9 \u00e0 la vision du futur. Le Futuroscope. Un espace o\u00f9 l\u2019on regarde des images pour se projeter en avant.<\/p>\n\n\n\n

Relus ensemble, ces \u00e9l\u00e9ments ne pr\u00e9disent rien. Ils dessinent une configuration : celle d\u2019un monde qui tente de se r\u00e9parer par la vision, de conjurer l\u2019angoisse par la multiplication des points de vue, de croire que regarder suffit \u00e0 tenir.<\/p>\n\n\n\n

Ce cin\u00e9scriptographe n\u2019annonce pas l\u2019avenir. Il montre comment, \u00e0 un moment donn\u00e9, le futur devient un dispositif \u2014 un pavillon, des \u00e9crans, des yeux \u2014 pour continuer \u00e0 avancer.<\/p>\n\n\n\n

Note<\/h5>\n\n\n\n

Ce cin\u00e9scriptographe n\u2019\u00e9tablit aucun lien causal entre les po\u00e8mes, les \u00e9changes radiophoniques et le d\u00e9c\u00e8s de Ren\u00e9 Monory.
Il ne propose ni interpr\u00e9tation symbolique du Futuroscope, ni lecture intentionnelle des \u00e9v\u00e9nements.<\/p>\n\n\n\n

Il observe comment des fragments h\u00e9t\u00e9rog\u00e8nes \u2014 image, po\u00e8me, remerciement, parole amplifi\u00e9e \u2014 peuvent, apr\u00e8s coup, entrer en r\u00e9sonance avec la disparition d\u2019une figure associ\u00e9e \u00e0 la mise en sc\u00e8ne du futur et de la vision.<\/p>\n\n\n\n

Il ne s\u2019agit pas d\u2019un travail de croyance, mais d\u2019aperception : saisir comment un ensemble de gestes faibles et dispers\u00e9s peut dessiner, r\u00e9trospectivement, une configuration sensible du regard, de la projection et de la r\u00e9paration.<\/p>\n\n\n\n

\u2190 Revenir<\/a>\u2009\u00b7\u2009\u21ba Sommaire<\/a>\u2009\u00b7\u2009\u2192 Continuer<\/a><\/p>\n\n\n\n

\n\n\n\n

Cinescriptograph \u2014 Futuroscope<\/strong><\/h3>\n\n\n\n

Cinescriptographic Glimpses (source phrases and images)<\/strong><\/h4>\n\n\n\n

Photograph taken on February 21, 2008, reactivated on Wednesday, April 8, 2009 as a thumbnail in the Windows Messenger<\/em> module (see above).<\/p>\n\n\n\n

\n

\u2014 <\/strong>\u201cIn the voice of the middle.\u201d
\u201cThe pavilion of a thousand eyes in all songs.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Poem in canon submitted electronically to the public comment sections of the show All\u00f4 la plan\u00e8te<\/em>, August 2008.<\/p>\n\n\n\n

\n

\u2014 \u201cIn repair.\u201d<\/p>\n<\/blockquote>\n\n\n\n

A thank-you note addressed to Parking de Nuit<\/em>, written after the interruption of a live broadcast, in Septembre 2008. It concludes with these words.<\/p>\n\n\n\n

Amplification :<\/strong><\/p>\n\n\n\n

\n

\u2014\u201cBravo to the one who makes pan and re-pan.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Message left by a journalist from La Souris baladeuse<\/em>, on the answering machine of Parking de Nuit<\/em>, then broadcast on air in March 2009.<\/p>\n\n\n\n

Subsequent Event (Revealing Memory)<\/strong><\/h4>\n\n\n\n

On Saturday, April 11, 2009, Ren\u00e9 Monory dies \u2014 trained as an automotive mechanic-garage owner, founder of the Futuroscope.<\/p>\n\n\n\n

Cinescriptographic Reading (a posteriori)<\/strong><\/h4>\n\n\n\n

Read after the fact, these elements organize themselves around a regime of multiplied vision and symbolic repair.<\/p>\n\n\n\n

Everything begins with an image: a peacock, unfurling a wheel of gazes. The photograph, taken in 2008, only becomes operative in 2009, when it is used as a thumbnail. Vision is not immediate: it is deferred, reactivated.<\/p>\n\n\n\n

The canon poem extends this logic. It doesn’t speak from a single point of view, but from a middle voice. Neither first nor last. A voice caught in a system of echoes.
The \u00ab\u00a0middle voice\u00a0\u00bb resides at the intersection of sensory systems, where hearing, seeing, and traversing are no longer separate.
The \u00ab\u00a0pavilion of a thousand eyes\u00a0\u00bb is not an abstract symbol: it is a space of reception, a place where gazes meet, where song circulates without an assignable origin.<\/p>\n\n\n\n

The poem of thanks marks a shift. It is not descriptive. It explains nothing. It responds. Written after a radio interruption, it closes with a simple formula: \u201cIn repair.\u201d <\/em>Not to repair a specific event, but to attempt to maintain continuity, where something has fractured within the flow.<\/p>\n\n\n\n

The amplification that follows \u2014 \u201cBravo to the one who makes pan and re-pan\u201d<\/em> \u2014 introduces a logic of repetition and relaunch.<\/p>\n\n\n\n

Pan: the blow, the impact.<\/p>\n\n\n\n

Re-pan: the return, the reprise, the renewed circulation.<\/p>\n\n\n\n

This is neither an explosion nor a prediction, but the very mechanism of cinescriptographic projection: to see again, to hear again, to replay after the fact.<\/p>\n\n\n\n

Revealing memory takes the form of a disappearance. Ren\u00e9 Monory dies in April 2009.
Trained as an automotive mechanic-garage owner, he was the architect of a place entirely devoted to the vision of the future: the Futuroscope. A space where one looks at images in order to project oneself forward.<\/p>\n\n\n\n

Read together, these elements predict nothing. They sketch a configuration: that of a world attempting to repair itself through vision, to ward off anxiety through the multiplication of points of view, to believe that looking is enough to hold on.<\/p>\n\n\n\n

This cinescriptograph does not announce the future. It shows how, at a given moment, the future becomes a device \u2014 a pavilion, screens, eyes \u2014 in order to keep moving forward.<\/p>\n\n\n\n

Note<\/strong><\/h5>\n\n\n\n

This cinescriptograph establishes no causal link between the poems, the radio exchanges, and the death of Ren\u00e9 Monory.
It proposes neither a symbolic interpretation of the Futuroscope nor an intentional reading of events.<\/p>\n\n\n\n

It observes how heterogeneous fragments \u2014 image, poem, gratitude, amplified speech \u2014 can, after the fact, enter into resonance with the disappearance of a figure associated with the staging of the future and of vision.<\/p>\n\n\n\n

This is not a work of belief, but of apperception: to grasp how a set of weak and dispersed gestures can retrospectively outline a sensitive configuration of vision, projection, and repair.<\/p>\n\n\n\n

\u2190 Back<\/a> \u00b7 \u21ba Contents<\/a> \u00b7 \u2192 Continue<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Cin\u00e9scriptographe \u2014 Futuroscope Aper\u00e7us cin\u00e9scriptographiques (image et phrases-sources) \u2014 \u00ab Dans la voix du milieu.\u00bb\u00ab Le pavillon de mille yeux en tous chants.\u00bb Po\u00e8me en canon envoy\u00e9 par voie \u00e9lectronique dans les espaces de commentaires publics de l\u2019\u00e9mission All\u00f4 la plan\u00e8te, ao\u00fbt 2008. \u2014 \u00ab En r\u00e9paration. \u00bb Texte de remerciement adress\u00e9 \u00e0 Parking de Nuit,…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"class_list":["post-686","page","type-page","status-publish","hentry"],"yoast_head":"\nCin\u00e9scriptographe du Futuroscope - Film par Image<\/title>\n<meta name=\"description\" content=\"Cin\u00e9scriptographe Futuroscope : inscription d\u2019un lieu d\u00e9di\u00e9 \u00e0 l\u2019image en r\u00e9sonance avec le d\u00e9c\u00e8s de son initiateur dans un dispositif d\u2019apercevoir.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cin\u00e9scriptographe du Futuroscope - Film par Image\" \/>\n<meta property=\"og:description\" content=\"Cin\u00e9scriptographe Futuroscope : inscription d\u2019un lieu d\u00e9di\u00e9 \u00e0 l\u2019image en r\u00e9sonance avec le d\u00e9c\u00e8s de son initiateur dans un dispositif d\u2019apercevoir.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/\" \/>\n<meta property=\"og:site_name\" content=\"Film par Image\" \/>\n<meta property=\"article:modified_time\" content=\"2026-02-13T14:14:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/filmparimage.com\/wp-content\/uploads\/image-2-1024x768.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"768\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data1\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-du-futuroscope\\\/\",\"url\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-du-futuroscope\\\/\",\"name\":\"Cin\u00e9scriptographe du Futuroscope - Film par Image\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-du-futuroscope\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-du-futuroscope\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/filmparimage.com\\\/wp-content\\\/uploads\\\/image-2-1024x768.png\",\"datePublished\":\"2026-01-27T21:25:39+00:00\",\"dateModified\":\"2026-02-13T14:14:00+00:00\",\"description\":\"Cin\u00e9scriptographe Futuroscope : inscription d\u2019un lieu d\u00e9di\u00e9 \u00e0 l\u2019image en r\u00e9sonance avec le d\u00e9c\u00e8s de son initiateur dans un dispositif d\u2019apercevoir.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-du-futuroscope\\\/#breadcrumb\"},\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-du-futuroscope\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-du-futuroscope\\\/#primaryimage\",\"url\":\"https:\\\/\\\/filmparimage.com\\\/wp-content\\\/uploads\\\/image-2-scaled.png\",\"contentUrl\":\"https:\\\/\\\/filmparimage.com\\\/wp-content\\\/uploads\\\/image-2-scaled.png\",\"width\":2560,\"height\":1920},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/filmparimage.com\\\/index.php\\\/cinescriptographe-du-futuroscope\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/filmparimage.com\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Cin\u00e9scriptographe du Futuroscope\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/filmparimage.com\\\/#website\",\"url\":\"https:\\\/\\\/filmparimage.com\\\/\",\"name\":\"Film par Image - Legrand Sylvain\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/filmparimage.com\\\/#\\\/schema\\\/person\\\/547f34e67d715f096435a0797e067057\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/filmparimage.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"fr-FR\"},{\"@type\":[\"Person\",\"Organization\"],\"@id\":\"https:\\\/\\\/filmparimage.com\\\/#\\\/schema\\\/person\\\/547f34e67d715f096435a0797e067057\",\"name\":\"Legrand Sylvain\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"fr-FR\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g\",\"caption\":\"Legrand Sylvain\"},\"logo\":{\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g\"},\"sameAs\":[\"http:\\\/\\\/filmparimage.com\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Cin\u00e9scriptographe du Futuroscope - Film par Image","description":"Cin\u00e9scriptographe Futuroscope : inscription d\u2019un lieu d\u00e9di\u00e9 \u00e0 l\u2019image en r\u00e9sonance avec le d\u00e9c\u00e8s de son initiateur dans un dispositif d\u2019apercevoir.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/","og_locale":"fr_FR","og_type":"article","og_title":"Cin\u00e9scriptographe du Futuroscope - Film par Image","og_description":"Cin\u00e9scriptographe Futuroscope : inscription d\u2019un lieu d\u00e9di\u00e9 \u00e0 l\u2019image en r\u00e9sonance avec le d\u00e9c\u00e8s de son initiateur dans un dispositif d\u2019apercevoir.","og_url":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/","og_site_name":"Film par Image","article_modified_time":"2026-02-13T14:14:00+00:00","og_image":[{"width":1024,"height":768,"url":"https:\/\/filmparimage.com\/wp-content\/uploads\/image-2-1024x768.png","type":"image\/png"}],"twitter_card":"summary_large_image","twitter_misc":{"Dur\u00e9e de lecture estim\u00e9e":"7 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/","url":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/","name":"Cin\u00e9scriptographe du Futuroscope - Film par Image","isPartOf":{"@id":"https:\/\/filmparimage.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/#primaryimage"},"image":{"@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/#primaryimage"},"thumbnailUrl":"https:\/\/filmparimage.com\/wp-content\/uploads\/image-2-1024x768.png","datePublished":"2026-01-27T21:25:39+00:00","dateModified":"2026-02-13T14:14:00+00:00","description":"Cin\u00e9scriptographe Futuroscope : inscription d\u2019un lieu d\u00e9di\u00e9 \u00e0 l\u2019image en r\u00e9sonance avec le d\u00e9c\u00e8s de son initiateur dans un dispositif d\u2019apercevoir.","breadcrumb":{"@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/#breadcrumb"},"inLanguage":"fr-FR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/"]}]},{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/#primaryimage","url":"https:\/\/filmparimage.com\/wp-content\/uploads\/image-2-scaled.png","contentUrl":"https:\/\/filmparimage.com\/wp-content\/uploads\/image-2-scaled.png","width":2560,"height":1920},{"@type":"BreadcrumbList","@id":"https:\/\/filmparimage.com\/index.php\/cinescriptographe-du-futuroscope\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/filmparimage.com\/"},{"@type":"ListItem","position":2,"name":"Cin\u00e9scriptographe du Futuroscope"}]},{"@type":"WebSite","@id":"https:\/\/filmparimage.com\/#website","url":"https:\/\/filmparimage.com\/","name":"Film par Image - Legrand Sylvain","description":"","publisher":{"@id":"https:\/\/filmparimage.com\/#\/schema\/person\/547f34e67d715f096435a0797e067057"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/filmparimage.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"fr-FR"},{"@type":["Person","Organization"],"@id":"https:\/\/filmparimage.com\/#\/schema\/person\/547f34e67d715f096435a0797e067057","name":"Legrand Sylvain","image":{"@type":"ImageObject","inLanguage":"fr-FR","@id":"https:\/\/secure.gravatar.com\/avatar\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g","caption":"Legrand Sylvain"},"logo":{"@id":"https:\/\/secure.gravatar.com\/avatar\/4c54330c34bb47c87bbfae03180577b9fd3515a5cf7d9f703668c6e5d68f0541?s=96&d=mm&r=g"},"sameAs":["http:\/\/filmparimage.com"]}]}},"_links":{"self":[{"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/pages\/686","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/comments?post=686"}],"version-history":[{"count":8,"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/pages\/686\/revisions"}],"predecessor-version":[{"id":717,"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/pages\/686\/revisions\/717"}],"wp:attachment":[{"href":"https:\/\/filmparimage.com\/index.php\/wp-json\/wp\/v2\/media?parent=686"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}