{"id":7806,"date":"2010-04-09T11:49:01","date_gmt":"2010-04-09T09:49:01","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=7806"},"modified":"2020-04-09T11:49:23","modified_gmt":"2020-04-09T09:49:23","slug":"fixe-anime-croisements-de-la-photographie-et-du-cinema-au-xxe-siecle","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/fixe-anime-croisements-de-la-photographie-et-du-cinema-au-xxe-siecle\/","title":{"rendered":"Fixe\/anim\u00e9. Croisements de la photographie et du cin\u00e9ma au XXe si\u00e8cle"},"content":{"rendered":"
\n
\u00c9changes entre photographie et cin\u00e9ma.<\/strong><\/p>\n

Ce livre aborde de front les \u00e9changes entre les deux m\u00e9dias de la photographie et du cin\u00e9ma, en d\u00e9cloisonnant des domaines d’\u00e9tude longtemps s\u00e9par\u00e9s.<\/p>\n

Un dialogue s’ouvre en effet aujourd’hui entre les sp\u00e9cialistes des deux champs, alors m\u00eame qu’avec l’arriv\u00e9e des nouveaux m\u00e9dias, les fronti\u00e8res tendent \u00e0 \u00e9clater, et les \u00e9changes entre image fixe et anim\u00e9e \u00e0 se faire de plus en plus nourris. Ce rapprochement actuel est envisag\u00e9 ici dans une perspective historique, en analysant les multiples fa\u00e7ons dont les deux m\u00e9dias se sont crois\u00e9s tout au long du XXe si\u00e8cle.<\/p>\n

L’ouvrage dirig\u00e9 par Laurent Guido et Olivier Lugon (Section d\u2019histoire et esth\u00e9tique du cin\u00e9ma<\/a>)\u00a0explore plus particuli\u00e8rement la riche zone interm\u00e9diaire situ\u00e9e entre image fixe et image anim\u00e9e.<\/p>\n

Une \u00e9dition en langue anglaise existe:\u00a0Between Still and Moving Images <\/em>(John Libbey, New Barnet,\u00a02012).<\/p>\n

Olivier Lugon et Laurent Guido (dir.), Fixe\/anim\u00e9. Croisements de la photographie et du cin\u00e9ma au XXe si\u00e8cle<\/em><\/a>, L\u2019\u00c2ge d\u2019Homme, Lausanne, 2010.<\/p>\n<\/div><\/div>\n

\"\"<\/p>\n<\/div><\/div>\n<\/div>\n
<\/div>\n
\n
TOUTES LES NOTICES DE<\/strong><\/h6>\n

Olivier Lugon <\/strong><\/a><\/p>\n\n\n

\n\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Henry Brandt, cin\u00e9aste et photographe<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Photographie et horlogerie<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Nicolas Bouvier iconographe<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Photographie et exposition<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Diapositive. Histoire de la photographie projet\u00e9e<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Mus\u00e9es de photographies documentaires<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

La m\u00e9moire des images. Autour de la Collection iconographique vaudoise<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Revisiter l’Expo 64 : acteurs, discours, controverses<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Le Pont transbordeur de Marseille, Moholy-Nagy<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Exposition et m\u00e9dias: exposition, cin\u00e9ma et t\u00e9l\u00e9vision<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Fixe\/anim\u00e9. Croisements de la photographie et du cin\u00e9ma au XXe si\u00e8cle<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u00c9changes entre photographie et cin\u00e9ma.<\/p>\n","protected":false},"author":1001615,"featured_media":7809,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[2],"tags":[1374,1373,59,222,38,1214,1233],"class_list":{"0":"post-7806","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-medias","8":"tag-centre-detudes-cinematographiques-cec","9":"tag-centre-des-sciences-historiques-de-la-culture-shc","10":"tag-cinema","11":"tag-olivier-lugon","12":"tag-photographie","13":"tag-section-dhistoire-de-lart","14":"tag-section-dhistoire-et-esthetique-du-cinema"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/7806","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/users\/1001615"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/comments?post=7806"}],"version-history":[{"count":0,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/7806\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/7809"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=7806"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=7806"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=7806"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}