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
