Between Still and Moving Images

Herausgeber: Guido, Laurent; Lugon, Olivier

• Broschiertes Buch

Produktbeschreibung

Laurent Guido is Professor of Film History and Aesthetics at the University of Lausanne. Olivier Lugon is Professor of Art History at the University of Lausanne.

Produktdetails

• Verlag: John Libbey & Co
• Seitenzahl: 350
• Erscheinungstermin: 31. Oktober 2012
• Englisch
• Abmessung: 228mm x 151mm x 2mm
• Gewicht: 766g
• ISBN-13: 9780861967070
• ISBN-10: 0861967070
• Artikelnr.: 36606620

Autorenporträt

edited by Laurent Guido, Olivier Lugon

Inhaltsangabe

Laurent Guido, Olivier Lugon
(University of Lausanne), Introduction
1. Founding Debates
Laurent Guido, Introduction. The Paradoxical Fits and Starts of the New
"Optical Unconscious"; Tom Gunning (University of Chicago), The "Arrested
"Instant: Between Stillness and Motion; Maria Tortajada (University of
Lausanne), Photography/Cinema: Complementary Paradigms in the Early 20th
Century; Mireille Berton (University of Lausanne), A Subjectivity Torn
between Stasis and Movement: Still Image and Moving Image in Medical
Discourse at the Turn of the 20th Century; Samantha Lackey (University of
Manchester), 'A Series of Fragments': Man Ray's Le Retour à la raison
(1923)
2. Crossings between Media
Olivier Lugon, Introduction. Between the Photograph and the Film Frame;
Clément Chéroux (Centre Georges Pompidou, Paris), The Great Trade of
Tricks: On Some Relations Between Conjuring Tricks, Photography, and
Cinematography; Kim Timby (Musée Niépce, Chalon-sur-Saône), "Cinema in a
Single Photo": the Animated Screen Portrait of the 1910s; Valérie Vignaux
(Université François-Rabelais, Tours), The Pathéorama Still Film (1921):
Isolated Phenomenon or Paradigm?; Christel Taillibert (Université Nice
Sophia-Antipolis), The Mixed Use of Still and Moving Images in Education
during the Interwar Period
3. Cinema and the Printed Page
Olivier Lugon, Introduction. Cinema Flipped Through: Film in the Press and
in Illustrated Books; Thierry Gervais (Ryerson University, Toronto), "The
Little Paper Cinema": the Transformations of Illustration in Belle Epoque
Periodicals; Myriam Chermette (Université de Versailles, Saint
Quentin-en-Yvelines), From Illustrated Narratives to Narratives in Images:
Influences of the Moving Image on the French Daily Press in the Interwar
Period; Michel Frizot (EHESS/CNRS, Paris), On Cinema Imaginary of
Photography (1928-1930); François Albera (University of Lausanne), From the
Cinematic Book to the Film-Book
4. Freeze Frames
Laurent Guido, Introduction. Between Deadly Trace and Memorial Scansion:
The Frozen Image in Film; David Forgacs (University College London),
Photography and the Denarrativization of Cinematic Practice in Italy,
1935-55; Diane Arnaud (Université Paris 7), After La Jetée: Cine-Photo
Albums of the Disaster; Christa Blümlinger (Université Paris 3), Postcards
in Agnès Varda's Cinema; Patricia Kruth (Université de Lille),
Freeze Frame, Photograph, and Re-animation in Martin Scorsese's Films;
André Habib (Université de Montréal), Viva Paci (Université du Québec à
Montréal), Photo Browse and Film Browse: Between Images that Move and
Images that Remain (in Chris Marker's Work)
5. Contemporary Sequences
Olivier Lugon, Laurent Guido, Introduction. Sequencing, Looping; Guillaume
Le Gall (Université Paris 4), The Suspended Time of Movement: Muybridge, a
Model for Conceptual Art; Wolfgang Brückle (University of Essex),
Chronophotography of Another Order: Nan Goldin's Life Told in Her Slide
Shows; Barbara Le Maître (Université Paris 3),
Pensive Hybrids: On some of Raymond Depardon's Filmo-photographic Setups;
Alain Boillat (University of Lausanne), The Paradoxical Status of the
Referent of Stillness in Comics
Biographical Notes on the Contributors/
Index