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Fraværet i filmen
No full textTrond Lundemo (1996) Bildets oppløsning: filmens bevegelse i historisk og teoretisk perspektiv, Oslo: Spartacus forlag
Des avant-dernières machines. Cinéma, techniques, histoire
No full textAnalysant avec précision des cas historiques concrets, cet ouvrage se donne pour tâche de déployer les interactions complexes entre le cinéma, les techniques, et l'écriture de l'histoire. Contributions de Richard Bégin, Alain Boillat, Guy Fihman, André Gaudreault, Séverine Graff, Selim Krichane, Laurent Le Forestier, Trond Lundemo, Laurent Mannoni, Jean-Baptiste Massuet, Gilles Mouëllic, Joana Pimenta, Manlio Piva et Luca Giuliani, Maria Tortajada, Benoît Turquety, Nicolas Wittwer
Des avant-dernières machines: Cinéma, techniques, histoire
No full textInternational audienceAnalysant avec précision des cas historiques concrets, cet ouvrage se donne pour tâche de déployer les interactions complexes entre le cinéma, les techniques, et l'écriture de l'histoire. Contributions de Richard Bégin, Alain Boillat, Guy Fihman, André Gaudreault, Séverine Graff, Selim Krichane, Laurent Le Forestier, Trond Lundemo, Laurent Mannoni, Jean-Baptiste Massuet, Gilles Mouëllic, Joana Pimenta, Manlio Piva et Luca Giuliani, Maria Tortajada, Benoît Turquety, Nicolas Wittwer
Lost in translation? On the diverging responses to the question concerning technology - The Impact of Technological Innovations on the Historiography and Theory of Cinema, La Cinémathèque québécoise, Montreal (1-6 November 2011)
No full textEvery academic conference should aim to be site-specific. By this I mean that it should take place at the intersection of different traditions and lines of thought relevant to the specific topic. Could there be a more appropriate place for a discussion of The Impact of Technological Innovations on the Historiography and Theory of Cinema than Francophone Montreal? A powerhouse of film studies with four important universities (Université de Montréal, Concordia, McGill, Université de Québec), it is a city where French thought concerning technology and cinema meets the Anglo-American tradition. In many ways it is a meeting between strangers and indeed, these two traditions of thinking rarely found common ground in the huge Montreal event. Rather, the differences between two historical discourses were continually highlighted. The concepts used in the discussions and their famous un-translatability, as in the key case of ‘dispositif ’ as well as the mode and the tools used for the presentations (‘our writing tools take part in our thinking’, Nietzsche observed about the typewriter), reflected an irreducible distance between the continents. The merit of the site-specificity of Montreal was exactly to showcase these abiding differences in the history of film theory
Chapter Eight. Mapping the World: Les Archives de la Planète and the Mobilization of Memory
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