{"id":1516,"date":"2026-01-27T17:09:57","date_gmt":"2026-01-27T16:09:57","guid":{"rendered":"https:\/\/wp.unil.ch\/dispositifs\/?page_id=1516"},"modified":"2026-01-27T17:09:59","modified_gmt":"2026-01-27T16:09:59","slug":"valentine-robert","status":"publish","type":"page","link":"https:\/\/wp.unil.ch\/dispositifs\/valentine-robert\/","title":{"rendered":"Valentine Robert"},"content":{"rendered":"\n

Valentine Robert, \u00ab\u00a0Attraction\/Narration\/Illustration: A Third Paradigm for Early Cinema\u00a0\u00bb, dans Mario Slugan & Dani\u00ebl Biltereyst (dir.),\u00a0New Perspectives on Early Cinema History: Concepts, Approaches, Audiences<\/em>, London, Bloomsbury, 2022, p. 41-63.<\/em><\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Le tableau vivant, ou quand la sc\u00e8ne est devenue \u00e9cran\u00a0\u00bb, dans R\u00e9my Campos, Alain Carou & Aur\u00e9lien Poidevin (dir.),\u00a0De la sc\u00e8ne \u00e0 la pellicule\u00a0: th\u00e9\u00e2tre, musique et cin\u00e9ma autour de 1900<\/em>,<\/a>\u00a0Paris, L\u2019\u0152il d\u2019or, 2021, p. 15-33.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Tableau\u00a0\u00bb, dans Dominique Pa\u00efni, Paul Perrin & Marie Robert (dir.),\u00a0Enfin le cin\u00e9ma\u00a0! Arts, images et spectacles en France (1833-1907)<\/em>\u00a0[Catalogue d\u2019exposition], Paris, R\u00e9union des mus\u00e9es nationaux, 2021, p. 268-271.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Quand le cin\u00e9ma prend la peinture pour mod\u00e8le\u00a0\u00bb, dans\u00a0Beaux Arts,\u00a0<\/em>hors-s\u00e9rie\u00a0: \u00ab\u00a0Enfin le cin\u00e9ma\u00a0! Quand l\u2019image choisit le mouvement\u00a0\u00bb, 2021, p. 60-65.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0<\/em>Le tableau vivant dans les images anim\u00e9es contemporaines. Du retable au clip, d\u2019Andy Gu\u00e9rif \u00e0 will.i.am\u00a0\u00bb,\u00a0Ecrans, n\u00b014\u00a0: \u00ab\u00a0Tableaux vivants et images anim\u00e9es\u00a0\u00bb (Anne-C\u00e9cile Guilbard & Olivier Lepl\u00e2tre, dir.), 2020, p. 169-206.<\/em><\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0The Pictorial in the Tableau Style\u00a0\u00bb, dans Scott Curtis, Tom Gunning & Joshua Yumibe (dir.),\u00a0The Image in Early Cinema : Form and Material<\/em>, Bloomington, Indiana University Press, 2018, p. 289-299. Trad.: Timothy Barnard.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Le visage au cin\u00e9ma. Arch\u00e9ologie du gros plan\u00a0\u00bb, dans Laurent Guido, Martine Hennard Dutheil de la Roch\u00e8re, Brigitte Maire, Francesco Panese & Nathalie Roelens (dir.),\u00a0Visages. Histoires, repr\u00e9sentations, cr\u00e9ations<\/em>, Lausanne, BHMS, 2017, p. 31-49.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Early Cinema : Tableaux Vivants\u00a0\u00bb, dans\u00a0Le Giornate del cinema muto catalogo\/Pordenone Silent Film Festival Catalogue<\/em>, n\u00b036, 2017, p. 187-192.<\/p>\n\n\n\n

\u00ab Die letzten Patronen<\/em> der ersten Historienfilme. Zur malerischen Qualit\u00e4t des fr\u00fchen Filmbildes \u00bb, dans J\u00f6rg Schweinitz & Daniel Wiegand (dir.), Film Bild Kunst. Visuelle \u00c4sthetik des vorklassischen Stummfilms, <\/em>Marburg, Sch\u00fcren, 2016, p. 117-149. Trad.: Mario L\u00fcscher.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Tableau Variation in Early Cinema:\u00a0Life and Passion of Christ<\/em>\u00a0(Path\u00e9, 1902-1905)\u00a0\u00bb, dans David Shepherd (dir.),\u00a0The Silents of Jesus in the Early Cinema,\u00a0<\/em>Oxford, Routledge, 2016, p.\u00a024-59.\u00a0Trad.: Timothy Barnard. Co-auteur: Alain Boillat<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0L\u2019histoire de l\u2019art prise de vues\u00a0\u00bb, dans Valentine Robert, Laurent Le Forestier & Fran\u00e7ois Albera (dir.), Kornelia Imesch & Mario L\u00fcscher (coll.),\u00a0Le film sur l\u2019art, entre histoire de l\u2019art et documentaire de cr\u00e9ation,\u00a0<\/em>Rennes, PUR,\u00a0<\/em>p.\u00a037-53.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0La Sainte Face interdite de toile. Apparitions et disparitions du visage du Christ au cin\u00e9ma\u00a0\u00bb, dans Paul-Louis Rinuy & Isabelle Saint-Martin (dir.), Caroline L\u00e9visse (coll.),\u00a0Sainte Face, visage de Dieu, visage de l’homme dans l’art contemporain (XIXe-XXe si\u00e8cle)<\/em>, Paris, Presses universitaires de Paris-Ouest, 2015, p.\u00a0211-228.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Le tableau vivant ou l\u2019origine de l\u2019\u2018art\u2019 cin\u00e9matographique\u00a0\u00bb\u00a0dans Julie Ramos (dir.), L\u00e9onard Pouy (coll.),\u00a0Le tableau vivant ou l’image perform\u00e9e,<\/em>\u00a0Paris, mare & martin\/INHA, 2014, p.\u00a0262-282.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Performing Painting. Projected Images as Living Pictures\u00a0\u00bb, dans Kaveh Askari, Scott Curtis, Frank Gray, Louis Pelletier, Tami Williams & Joshua Yumibe (dir.),\u00a0Performing New Media, 1890-1915<\/em>, Londres\/ Bloomington, John Libbey\/ Indiana University Press, 2014, p.\u00a0282-292. Trad.: Timothy Barnard.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Introduction\u00a0\/ Fictions de cr\u00e9ation\u00a0: la peinture en abyme et le cin\u00e9ma en question\u00a0\u00bb, dans Gilles Mou\u00ebllic & Laurent Le Forestier (dir.),\u00a0Filmer l\u2019artiste au travail,<\/em>\u00a0Rennes, PUR, 2013, p.\u00a09-28.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Le Verbe en intertitre, l’Icone en photogramme: citations canoniques dans le cin\u00e9ma muet\u00a0\u00bb, dans Claire Clivaz, Corina Combet-Galland, Jean-Daniel Macchi & Christophe Nihan (dir.),\u00a0Ecritures et r\u00e9\u00e9critures. La reprise interpr\u00e9tative des traditions fondatrices par la litt\u00e9rature biblique et extra-biblique<\/em>, Louvain, Peeters, 2012, p.\u00a0529-547.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Acheiro-po\u00ef\u00e9tique<\/em>\u00a0du cin\u00e9ma. La r\u00e9v\u00e9lation du Christ par l’\u00e9cran\u00a0\u00bb,\u00a0dans Alain Boillat, Jean Kaempfer & Philippe Kaenel\u00a0(dir.), Nathalie Dietschy, Pierre Gisel & Valentine Robert (coll.),\u00a0J\u00e9sus en repr\u00e9sentations. De la Belle Epoque \u00e0 la postmodernit\u00e9<\/em>, Paris, Infolio, 2011, p.\u00a0367-397.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Les tableaux anim\u00e9s de la production Path\u00e9\u00a0\u00bb,\u00a0Cinema & Cie \u2013 International Film Studies Journal, vol.\u00a0XIII, n\u00b021\u00a0: \u00ab\u00a0Regards crois\u00e9s sur la soci\u00e9t\u00e9 Path\u00e9 Fr\u00e8res\u00a0\u00bb (Andr\u00e9 Gaudreault & Laurent Le Forestier, dir.), automne 2013, p.\u00a015-24.<\/em><\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0La pose au cin\u00e9ma\u00a0: film et tableau en corps-\u00e0-corps\u00a0\u00bb,\u00a0Figures de l\u2019art,\u00a0<\/em>n\u00b023\u00a0:\u00ab\u00a0Entre code et corps\u00a0: tableau vivant et photographie mise en sc\u00e8ne\u00a0\u00bb (Christine Buignet & Arnaud Rykner, dir.),\u00a0<\/em>printemps 2013, p.\u00a073-89.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0L’\u0153il qui \u00e9crit.\u00a0Le scaphandre et le papillon<\/em>\u00a0ou l’adaptation filmique du \u2018je\u2019 litt\u00e9raire\u00a0\u00bb,\u00a0D\u00e9cadrages \u2013Cin\u00e9ma \u00e0 travers champs,<\/em>\u00a0n\u00b016-17\u00a0: \u00ab\u00a0Les ab\u00eemes de l\u2019adaptation\u00a0\u00bb(Alain Boillat, dir.), automne 2010, p.\u00a0104-117.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Quand le film raconte l’image. Variations cin\u00e9matographiques autour de\u00a0La C\u00e8ne<\/em>\u00a0de L\u00e9onard de Vinci\u00a0\u00bb,\u00a0Cahiers de narratologie<\/em>, n\u00b016\u00a0: \u00ab\u00a0Images et r\u00e9cits\u00a0\u00bb (Jean-Paul Aubert, dir.), printemps 2009, url\u00a0:\u00a0http:\/\/narratologie.revues.org\/956<\/a>.<\/p>\n\n\n\n

Valentine Robert, \u00ab\u00a0Regards crois\u00e9s sur la crucifixion. Les points de vue du cin\u00e9ma\u00a0\u00bb,\u00a0Etudes de Lettres,<\/em>\u00a0n\u00b0280\u00a0: \u00ab\u00a0Points de vue sur J\u00e9sus au XXe si\u00e8cle\u00a0\u00bb (Alain Boillat, Pierre Gisel, Jean Kaempfer & Philippe Kaenel, dir.),<\/em>\u00a0\u00e9t\u00e9 2008, p.\u00a029-51.<\/p>\n","protected":false},"excerpt":{"rendered":"

Valentine Robert, \u00ab\u00a0Attraction\/Narration\/Illustration: A Third Paradigm for Early Cinema\u00a0\u00bb, dans Mario Slugan & Dani\u00ebl Biltereyst (dir.),\u00a0New Perspectives on Early Cinema History: Concepts, Approaches, Audiences, London, Bloomsbury, 2022, p. 41-63. Valentine … <\/p>\n","protected":false},"author":1002955,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"class_list":["post-1516","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages\/1516","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/users\/1002955"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/comments?post=1516"}],"version-history":[{"count":1,"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages\/1516\/revisions"}],"predecessor-version":[{"id":1517,"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/pages\/1516\/revisions\/1517"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/dispositifs\/wp-json\/wp\/v2\/media?parent=1516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}