Publications
In preparation
-
“The Stochastics of Silver Halide Crystals: The Moving History of Movement Rendering Processes in Film” (with Solène Secq de Campos Velho), in Maria Tortajada and Benoît Turquety (eds.), Archaeology of Movement, Amsterdam: Amsterdam University Press, forthcoming 2022 (English version of “La stochastique des cristaux d’halogénure d’argent : l’histoire mouvementée des procédés cinématographiques de restitution du mouvement” published in 2017).
-
“Que n’a-t-on pas dit sur le fameux épisode du blocage de l’appareil sur la place de l’Opéra (point d’interrogation et point d’exclamation),” in Giusy Pisano and Réjane Hamus-Vallée (eds), Truquer, créer, innover. Les effets spéciaux français, Villeneuve d’Ascq: Presses universitaires du Septentrion, forthcoming 2022 (article derived from a conference paper presented in Paris in March 2018 at the conference Truquer, créer, innover. Les effets spéciaux français).
-
“Le cinéma persiste et signe” (with Philippe Marion), to be published in 2022 in Théorème (article derived from a conference paper presented in Paris in November 2018 at the IRCAV international conference Crise, quelle crise? Cinéma, audiovisuel, nouveaux médias). IN ENGLISH “Cinema Hangs Tough,” in Dominique Chateau and José Moure (eds.), Post-cinema: Cinema in the Post-art Era, Amsterdam: Amsterdam University Press, 2020, pp. 67-83.
-
“When Splicing Became Editing: The Advent and Standardization of a Film Technique” (with Laurent Le Forestier), Amsterdam: Amsterdam University Press, forthcoming 2022. IN FRENCH De l'assemblage au montage cinématographique : instauration et standardisation d’une pratique, Montreal: Les Presses de l’Université de Montréal, forthcoming 2022.
-
“The Unfinished Business of History: Defense and Illustration of the Concept ‘Cultural Series’” (with Philippe Marion), in Charlie Keil and Robert King (eds.), The Oxford Handbook of Silent Cinema, Oxford: Oxford University Press, forthcoming 2022 (English version of “Défense et illustration de la notion de série culturelle” published in 2016).
-
“Recording, Remediating and the Creation of Attractional Packages: When Méliès Took a Stand Against . . . Cinema!,” in Mario Slugan and Daniël Biltereyst (eds.), New Perspectives on Early Cinema History: Concepts, Methods, Applications, London: Bloomsbury, forthcoming 2022 (English version of “Les vues animées selon Georges Mélès : une remédiation sobre et sans prétention ou Quand Méliès prend position contre… le cinéma!” published in 2021).
Books
-
Techniques et technologies du cinéma. Modalités, usages et pratiques des dispositifs cinématographiques à travers l’histoire (edited by André Gaudreault and Martin Lefebvre), Rennes: Presses universitaires de Rennes, 2015, 299 pp.
-
Méliès, carrefour des attractions (edited by André Gaudreault and Laurent Le Forestier, assisted by Stéphane Tralongo), followed by Correspondance de Georges Méliès (1904-1937), Rennes: Presses universitaires de Rennes, 2014, 536 pp. Critical edition of Méliès’s correspondence established by Jacques Malthête.
-
La fin du cinéma? Un média en crise à l’ère du numérique (with Philippe Marion), Paris: Armand Colin, 2013, 275 pp. Book accompanied by a web supplement, available at http://finducinema.com. In English The End of Cinema? A Medium in Crisis in the Digital Age, New York: Columbia University Press, 2015, 256 pp. Book accompanied by a web supplement available at http://theendofcinema.com. In Portuguese O fim do cinema? Uma mídia em crise na era digital, Campinas: Papirus, 2016, 208 pp.
-
A Companion to Early Cinema (edited by André Gaudreault, Nicolas Dulac and Santiago Hidalgo, assisted by Pierre Chemartin), Hoboken: Wiley-Blackwell, 2012, 631 pp.
-
The Kinematic Turn: Film in the Digital Era and Its Ten Problems (with Philippe Marion), Montreal: caboose, 2012, 51 pp. First publication of an essay translated from the French by Timothy Barnard. The Kinematic Turn: Film in the Digital Era and Its Ten Problems, expanded second edition, Montreal: caboose, 2020, 87 pp. In Turkish Kinematik Dönemeç: On Sorunda Filmin Dijital Çağı, Yort, 2020, 80 pp.
-
American Cinema, 1890-1909: Themes and Variations (edited by André Gaudreault), New Brunswick: Rutgers University Press, 2009, 268 pp.
-
Cinéma et attraction. Pour une nouvelle histoire du cinématographe, followed by a critical edition of Georges Méliès’s Les vues cinématographiques (1907), established by Jacques Malthête, Paris: CNRS Éditions, 2008, 252 pp. In Italian Cinema delle origini. O della « cinematografia-attrazione », Milan: Il Castoro, 2004, 166 pp. Initial version of Cinéma et attraction, translated from the French by Viva Paci. In English Film and Attraction: From Kinematography to Cinema, Champaign: University of Illinois Press, 2011, 207 pp. Includes a critical edition of Georges Méliès’s Kinematographic Views (1907) established by Jacques Malthête. Translated by Timothy Barnard. Foreword by Rick Altman.
-
Le Cinématographe, nouvelle technologie du XXe siècle/The Cinema, A New Technology for the 20th Century (edited by André Gaudreault, Catherine Russell and Pierre Véronneau), Lausanne: Payot Lausanne, 2004, 398 pp.
-
Arrêt sur image, fragmentation du temps. Aux sources de la culture visuelle moderne/Stop Motion, Fragmentation of Time: Exploring the Roots of Modern Visual Culture (edited by François Albera, Marta Braun and André Gaudreault), Lausanne: Payot Lausanne, 2002, 351 pp.
-
La vie ou du moins ses apparences. Émergence du cinéma dans la presse de la Belle Époque (1894-1910), Montreal: Cinémathèque québécoise/GRAFICS, 2002, 87 pp. Anthology selected, edited and annotated by André Gaudreault and Jean-Pierre Sirois-Trahan.
-
Le cinéma en histoire. Institution cinématographique, réception filmique et reconstitution historique (edited by André Gaudreault, Germain Lacasse and Isabelle Raynauld), Paris and Quebec City: Méridiens Klincksieck/Nota bene, 1999, 348 pp.
-
Le cinéma au tournant du siècle/Cinema at the Turn of the Century (edited by Claire Dupré La Tour, André Gaudreault and Roberta Pearson), Québec and Lausanne: Nota bene/Payot Lausanne, 1999, 387 pp.
-
La transécriture. Pour une théorie de l’adaptation (edited by André Gaudreault and Thierry Groensteen), Quebec City and Angoulême: Nota bene/Centre national de la bande dessinée et de l’image, 1998, 280 pp.
-
Au pays des ennemis du cinéma… Pour une nouvelle histoire des débuts du cinéma au Québec (edited by André Gaudreault, Germain Lacasse and Jean-Pierre Sirois-Trahan), Quebec City: Nuit blanche, 1996, 215 pp.
-
Pathé 1900. Fragments d’une filmographie analytique du cinéma des premiers temps (edited by André Gaudreault, in collaboration with Tom Gunning and Alain Lacasse), Paris and Sainte-Foy: Presses de la Sorbonne Nouvelle/Presses de l’Université Laval, 1993, 276 pp. Preface by Michel Marie.
-
Une invention du diable? Cinéma des premiers temps et religion/An Invention of the Devil? Religion and Early Cinema (edited by Roland Cosandey, André Gaudreault and Tom Gunning), Lausanne and Sainte-Foy: Payot Lausanne/Presses de l’Université Laval, 1992, 383 pp.
-
Le récit cinématographique (with François Jost), Paris: Nathan, 1990, 159 pp. Le récit cinématographique, 2nd edition, Paris: Armand Colin, 2005, 159 pp. Le récit cinématographique. Films et séries télévisées, 3rd revised and enlarged edition, Paris: Armand Colin, 2017, 271 pp. In Spanish El relato cinématográfico. Cine y narratología, Barcelona: Ediciones Paidós, 1995, 172 pp. In Korean Yeong wa seo sul hak, Séoul: Shinwon/Dongmooson, 2002, 249 pp. In Chinese Shen Me Shi Dian Ying Xu Shi Xue, Beijing: The Commercial Press, 2005, 274 pp. In Portuguese A narrativa cinematográfica, Brasilia: Editora Universidade de Brasília, 2009, 227 pp.
-
L’histoire du cinéma. Nouvelles approches (edited by Jacques Aumont, André Gaudreault and Michel Marie), Paris: Publications de la Sorbonne, 1989, 209 pp.
-
Ce que je vois de mon ciné… La représentation du regard dans le cinéma des premiers temps (edited by André Gaudreault), Paris: Méridiens Klincksieck, 1988, 180 pp.
-
Du littéraire au filmique. Système du récit, Paris and Sainte-Foy: Méridiens Klincksieck/Presses de l’Université Laval, 1988, 203 pp. Preface by Paul Ricœur. Du littéraire au filmique, 2nd revised and enlarged edition, Paris and Québec: Armand Colin/Nota bene, 1999, 197 pp. In Italian Dal letterario al filmico. Il sistema del racconto, Turin: Lindau, 2000, 240 pp. In English From Plato to Lumière: Narration and Monstration in Literature and Cinema, Toronto: University of Toronto Press, 2009, 225 pp. Translated by Timothy Barnard. Preface to the English-language edition by Tom Gunning. In Chinese Cong Wen Xue Dao Ying Pian: Xu Shi Ti Xi, Beijing: The Commercial Press, 2010, 248 pp. In Spanish Cine y literatura. Narración y mostración en el relato cinematográfico, Mexico: Ediciones Educación y Cultura/UNARTE, 2011, 275 pp.
-
Cinema 1900-1906: An Analytical Study. Volume 2. Filmographie analytique/Analytical Filmography (edited by André Gaudreault), Brussels: International Federation of Film Archives (FIAF), 1982, 293 pp.
Edited journal issues
-
“L’invention littéraire des médias” (with Thomas Carrier-Lafleur, Servanne Monjour and Marcello Vitali-Rosati), Sens public (2018).
-
“La télévision… selon Jean-Christophe Averty” (with Viva Paci), Cinémas 26, nos. 2-3 (Spring 2016), 250 pp.
-
“Regards croisés sur la société Pathé Frères” (with Laurent Le Forestier), Cinéma & Cie 13, no. 21 (2013), 134 pp.
-
“Cinéma & technologie/Cinema & Technology” (with Martin Lefebvre), Recherches sémiotiques|Semiotic Inquiry 31, nos. 1-2-3 (2011), 240 pp.
-
“La croisée des médias” (with François Jost), Sociétés & Représentations 9 (2000), 333 pp.
-
“Le bonimenteur de vues animées/The Moving Picture Lecturer” (with Germain Lacasse), Iris 22 (Fall 1996), 259 pp.
-
“Documentaire/fiction” (with Philippe Marion), Cinémas 4, no. 2 (Winter 1994), 185 pp.
-
“Le point de vue fait signe” (with Marie Carani, Pierre Ouellet and Fernand Roy), Protée 16, nos. 1-2 (Winter-Spring 1988), 246 pp.
-
“Archives, Document, Fiction. Film Before 1907/Le cinéma avant 1907,” Iris 2, no. 1 (1st semester 1984), 152 pp.
-
“Cinéma et récit” (with François Baby), Études littéraires 13, no. 1 (April 1980), 244 pp.
-
“Le cinéma des premiers temps (1900-1906),” Les Cahiers de la Cinémathèque 29 (Winter 1979), 185 pp.
Peer-reviewed articles and contributions to edited collections
-
“Un cinéma des premiers temps, vraiment?,” in Dominique Païni, Paul Perrin and Marie Robert (eds.), Enfin le cinéma! Arts, images et spectacles en France (1833-1907), Paris: Musée d’Orsay/Réunion des musées nationaux – Grand Palais, 2021, pp. 214-16
-
“Les intervalles sériels à l’aune des « séries culturelles »” (with Philippe Marion), Sens public, 2021 (article derived from the opening lecture given at the international conference Intervalles sériels : littérature, cinéma, télévision, médias held in Montreal in April 2019). In Spanish “Los intervalos seriales bajo el prisma de las series culturales,” Cine documental 23, 2021, pp. 291-324, http://revista.cinedocumental.com.ar/los-intervalos-seriales-bajo-el-prisma-de-las-series-culturales. In Portuguese “Intervalos Seriais da Perspectiva das ‘Séries Culturais’,“ Nava 7, no. 1, December 2021, pp. 272-95, https://periodicos.ufjf.br/index.php/nava/article/view/35846.
-
“Les vues animées selon Georges Méliès : une remédiation sobre et sans prétention ou Quand Méliès prend position contre… le cinéma!,” in Marion Colas-Blaise and Gian Maria Tore (eds.), « Re- ». Répétition et reproduction dans les arts et les médias, Sesto San Giovanni: Éditions Mimésis, 2021, pp. 185-210 (article derived from a conference paper presented in French in the city of Luxembourg in 2017 at the conference Re-make! Réénoncer, relocaliser, remédier à l’ère numérique, and in English at Ghent University in November 2018 at the conference Rethinking the Attractions – Narrative Dialectics: New Approaches to Early Cinema). In English “Recording, Remediating and the Creation of Attractional Packages: When Méliès Took a Stand Against . . . Cinema!,” in Mario Slugan and Daniël Biltereyst (eds.), New Perspectives on Early Cinema History: Concepts, Methods, Applications, London: Bloomsbury, forthcoming 2021.
-
“L’histoire à venir d’un médium en train de disparaître,” in Benoît Turquety and Selim Krichane (eds.), Des avant-dernières machines. Cinéma, techniques, histoire, Lausanne: L’Âge d’Homme, 2020, pp. 309-22 (article derived from a conference paper presented in English in Boston in March 2012 at the annual SCMS conference and in French in Lausanne in November of the same year at the conference Techniques, machines, dispositifs : perspectives pour une nouvelle histoire technologique du cinéma). In English “The Future History of a Vanishing Medium,” in Annie van den Oever (ed.), Technē/Technology: Researching Cinema and Media Technologies – Their Development, Use, and Impact, Amsterdam: Amsterdam University Press, 2014, pp. 261-71.
-
“Des machines à monter qui permettent aux images de défiler,” in Laurent Le Forestier, Gilles Mouëllic and Benoît Turquety (eds.), Techniques et machines de cinéma, objets, gestes, discours, Paris: Classiques Garnier (Écrans 1, no. 13), 2020, pp. 73-89 (article derived from a conference paper presented in Rennes in October 2017 at the international doctoral student conference Cinéma et machines).
-
“Un parcours sériel du « télé » : bélinographie et télécinéma” (with Philippe Marion), in Marta Boni (ed.), Formes et plateformes de la télévision à l’ère du numérique, Rennes: Presses universitaires de Rennes, 2020, pp. 62-75 (article derived in part from a conference paper entitled “La « bélinographisation » du vidéocinéma et son impact sur l’authenticité médiatique” presented in Montreal in 2017 at the Authentic Artifice/Authentique artifice conference).
-
“Cinema Hangs Tough” (with Philippe Marion), in Dominique Chateau and José Moure (eds.), Post-cinema: Cinema in the Post-art Era, Amsterdam: Amsterdam University Press, 2020, pp. 67-83 (article derived from a conference paper presented in Paris in November 2018 at the IRCAV international conference Crise, quelle crise? Cinéma, audiovisuel, nouveaux médias. In French “Le cinéma persiste et signe”, to be published in 2021 in Théorème.
-
“Les vues cinématographiques selon Segundo de Chomón ou Propositions pour une approche différente, différenciée et différentielle du « mage espagnol »,” in Réjane Hamus-Vallée, Jacques Malthête and Stéphanie Salmon (eds.), Les mille et un visages de Segundo de Chomón : truqueur, coloriste, cinématographiste… et pionnier du cinématographe, Villeneuve d’Ascq and Paris: Presses universitaires du Septentrion/Fondation Jérôme Seydoux-Pathé, 2019, pp. 114-29 (article derived from a conference paper presented at the conference dedicated to Segundo de Chomón in Paris in 2017).
-
“The Resilience of the Word Cinema and the Persistence of the Media”, in Richard Grusin and Jocelyn Szczepaniak-Gillece (eds.), Ends of Cinema, Minneapolis: University of Minnesota Press, 2020, pp. 159-80 (extensively revised version of a conference paper presented in English at the Ends of Cinema conference on May 3, 2018 at the University of Wisconsin-Milwaukee, and in French on May 11, 2018, by video conference, at the 5th International Symposium on Innovation in Interactive Media (ISIIM) organised by the Media Lab of the Universidade Federal de Goiás, Goiânia, Brazil). In French “Résilience du mot « cinéma » et persistance du média,” Anais do V Simpósio Internacional de Inovação em Mídias Interativas, 2019.
-
“The Sublime Spittle of the Opera Singer” (with Philippe Marion), in Rossella Catanese, Francesca Scotto Lavina and Valentina Valente (eds.), From Sensation to Synaesthesia in Film and New Media, Newcastle upon Tyne: Cambridge Scholars Publishing, 2019, pp. 58-71 (article derived from a conference paper entitled “La sublime bave du chanteur d’opéra…” presented in 2014 at the MAGIS International Film Studies Spring School in Gorizia, Italy).
-
“« Bélinographisation », télécinéma et vidéocinéma” (with Philippe Marion), Cinémas 29, no. 1 (Fall 2018), pp. 33-49 (article derived in part from a conference paper entitled “La « bélinographisation » du vidéocinéma et son impact sur l’authenticité médiatique” presented in 2017 at the 3rd conference of the International Society for Intermedial Studies).
-
“The Double Birth Model Tested against Photography” (with Philippe Marion), in Simone Natale and Nicoletta Leonardi (eds.), Photography and Other Media in the Nineteenth Century, University Park: Penn State University Press, 2018, pp. 191-204. “Le modèle de la double naissance à l’épreuve de la photographie,” article unpublished in French, which reworks from a new perspective certain elements of chapter 5 of La fin du cinéma? (2013).
-
“D. W. Griffith and the Emergence of Crosscutting” (with Philippe Gauthier), in Charlie Keil (ed.), A Companion to D. W. Griffith, Hoboken: John Wiley & Sons, 2018, pp. 107-36. In French “D. W. Griffith et l’émergence du montage alterné,” Canadian Journal of Film Studies/Revue canadienne d’études cinématographiques 26, no. 2 (2017), pp. 1-30.
-
“La stochastique des cristaux d’halogénure d’argent : l’histoire mouvementée des procédés cinématographiques de restitution du mouvement” (with Solène Secq de Campos Velho), 1895. Revue d’histoire du cinéma 82 (Fall 2017), pp. 35-52 (article derived from a conference paper entitled “Les images mouvantes ou l’« animage », du tableau mouvementé aux images en mouvement” presented in Lausanne in 2014 at the doctoral student international conference Le mouvement du cinéma. Théories et pratiques : histoire et historiographie).
-
“The Tack, the Frame and the Spindle! The ‘Material Arrangement’ of the Film at Pathé,” in Diego Cavallotti, Simone Dotto and Leonardo Quaresima (eds.), A History of Cinema without Names/2. Contexts and Practical Applications, Milan: Mimesis International, 2017, pp. 101-13 (article derived from a lecture entitled “Pratiques du montage chez Pathé entre 1906 et 1930 : organisation du travail et « composition » des films,” given during the Les cahiers de recherche Pathé (1904-1930) study days in Paris in 2015). In French “La punaise, le châssis et le pivot! L’« arrangement matériel » du film selon Pathé,” in Jacques Malthête and Stéphanie Salmon (eds.), Recherches et innovations dans l’industrie du cinéma. Les cahiers des ingénieurs Pathé (1906-1927), Paris: Éditions de la Fondation Jérôme Seydoux-Pathé, 2017, pp. 75-93.
-
“T’interpeller d’entrée de jeu par ton patronyme,” in Ruggero Eugeni and Mariagrazia Fanchi (eds.), La galassia Casetti: Lettere di amicizia, stima, provocazione, Milan: Vita e Piensero, 2017, pp. 123-26.
-
“Le cinématographe Lumière : invention du cinéma ou naissance d’un mythe?,” in Jean-Noël Jeanneney and Jeanne Guérout (eds.), L’histoire de France vue d’ailleurs, Paris: Éditions des Arènes, 2016, pp. 384-95.
-
“Les sources inédites de la notion de « plan » en cinématographie : un coup du (de?) théâtre!,” in Vincent Amiel, Gilles Mouëllic and José Moure (eds.), Le découpage au cinéma, Rennes: Presses universitaires de Rennes, 2016, pp. 41-62 (article derived from a conference paper presented in 2013 at the Cerisy conference on Le découpage au cinéma, enjeux théoriques et poétiques). In English “The Unusual Sources of the French Term plan in Cinema: Theatre Strikes Again!,” The Moving Image 20, nos. 1-2 (2020), pp. 42-69, https://doi.org/10.5749/movingimage.20.1-2.0042.
-
“Défense et illustration de la notion de série culturelle” (with Philippe Marion), in Diego Cavallotti, Federico Giordano and Leonardo Quaresima (eds.), A History of Cinema without Names: A Research Project, Milan: Mimesis International, 2016, pp. 59-71 (article derived from a conference paper presented at the 22nd international Film Forum conference in Udine in 2015). In English “The Unfinished Business of History: Defense and Illustration of the Concept ‘Cultural Series’” (with Philippe Marion), in Charlie Keil and Robert King (eds.), The Oxford Handbook of Silent Cinema, Oxford: Oxford University Press, forthcoming 2021.
-
“The Cinema Spectator: A Rapidly-Mutating Species Viewing a Medium That Is Losing Its Bearings,” in Alberto Beltrame, Giuseppe Fidotta and Andrea Mariani (eds.), At the Borders of (Film) History, Udine: Forum, 2015, pp. 191-97 (article derived from two conference papers entitled “Quelle histoire?! Le cinéma est définitivement descendu de son piédestal” and “Mutatis mutandis, le spectateur est un mutant!,” presented, respectively, at the 21st international Film Forum conference in Udine in April 2014 and at the D’un écran à l’autre : les mutations du spectateur conference at the Institut national de l’audiovisuel in Paris in May 2014). In French “Le spectateur de cinéma. Une espèce en pleine mutation face à un média en perte de repères,” in Jean Châteauvert and Gilles Delavaud (eds.), D’un écran à l’autre, les mutations du spectateur, Paris and Bry-sur-Marne: L’Harmattan/INA Éditions, 2016, pp. 321-30.
-
“De la filmologie à la sémiologie : figures de l’alternance au cinéma,” Cinémas 25, nos. 2-3 (Spring 2015), pp. 159-73, and “Christian Metz, le montage et les formes de l’alternance,” Cinémas 26, no. 1 (Fall 2015), pp. 95-108 (two-part article derived from a conference paper presented in Zurich in 2013 at the conference Le paradigme sémiologique et la pensée « cinématographique » de Christian Metz). In English “Christian Metz, Editing, and Forms of Alternation” (with Philippe Gauthier), in Margrit Tröhler and Guido Kirsten (eds.), Christian Metz and the Codes of Cinema: Film Semiology and Beyond, Amsterdam: Amsterdam University Press, 2018, pp. 201-26.
-
“Quand la captation opératique se fait son cinéma… Du relatif anonymat des « enregistreurs d’opéra » à l’ère de l’agora-télé,” in Pierre-Henry Frangne and Hervé Lacombe (eds.), Musique et enregistrement, Rennes: Presses universitaires de Rennes, 2014, pp. 283-96 (article derived from a conference paper presented in Rennes in 2013 at the conference Musique et enregistrement).
-
“La cinématographie-attraction chez Méliès. Une conception durable,” in André Gaudreault and Laurent Le Forestier (eds.), assisted by Stéphane Tralongo, Méliès, carrefour des attractions, followed by Correspondance de Georges Méliès (1904-1937), Rennes: Presses universitaires de Rennes, 2014, pp. 27-43 (article derived from a conference paper presented in 2011 at the Cerisy conference Méliès, carrefour des attractions).
-
“Enseigner le « cinéma » : pour combien de temps encore?,” Écrans 1 (2013), pp. 131-51 (article derived from a conference paper presented at the 19th international Film Forum conference in Udine in 2012). In Italian “Insegnare il ‘cinema’: per quanto tempo ancora?,” in Anna Bertolli, Andrea Mariani and Martina Panelli (eds.), Il cinema si impara? Sapere, formazione, professioni/Can We Learn Cinema? Knowledge, Training, the Profession, Udine: Forum, 2013, pp. 125-36. In English “Teaching ‘Cinema’: For How Much Longer?,” New Review of Film and Television Studies 12, no. 3 (2014), pp. 280-94.
-
“Le montage alterné chez Pathé : coupe d’ordre actoriel et coupe d’ordre narratoriel,” (with Philippe Gauthier), Cinéma & Cie 13, no. 21 (2013), pp. 67-73 (article derived from a conference paper presented in Montreal in 2012 as part of the workshop Regards croisés sur la société Pathé Frères).
-
“Measuring the ‘Double Birth’ Model Against the Digital Age” (with Philippe Marion), Early Popular Visual Culture 11, no. 2 (2013), pp. 158-77 (unpublished article in French, derived from a conference paper presented in Newcastle in 2011 at the conference The Second Birth of Cinema: A Centenary Conference).
-
“Titles, Subtitles, and Intertitles: Factors of Autonomy, Factors of Concatenation,” Film History 25, nos. 1-2 (April 2013), pp. 81-94 (“Titres, sous-titres et intertitres : facteurs d’autonomie et facteurs de concaténation,” article unpublished in French, derived from a conference paper presented at the Cinémathèque française in 1999 at the conference Intertitre et film. Histoire, théorie, restauration).
-
“Achat/location : le paradigme perdu…,” in Laurent Creton, Catherine Naugrette and Bruno Péquignot (eds.), Le coût et la gratuité, Tome 1. Art et culture, Paris: L’Harmattan, 2013, pp. 67-75 (article derived from a conference paper presented in 2011 at the international San Servolo summer university).
-
“Le cinéma est encore mort! Un média et ses crises identitaires…” (with Philippe Marion), MEI Médiation et Information 34 (2012), pp. 27-41 (article derived from a conference paper entitled “Le cinéma est mort encore… Généalogie des crises identitaires du septième art,” presented in 2009 at the 16th international Film Forum conference). In Italian “Il cinema è morto, ancora! Un medium e le sue crisi d’identità…,” in Francesco Casetti, Jane Gaines and Valentina Re (eds.), Dall’inizio, alla fine. Teorie del cinema in prospettiva/In the Very Beginning, at the Very End: Film Theories in Perspective, Udine: Forum, 2010, pp. 135-42.
-
“Du filmage au tournage: débrayer l’effet-archives de l’enregistrement cinématographique,” (with Philippe Marion), Cinémas 23, no. 1 (Fall 2012), pp. 93-111 (article derived from a conference paper entitled “Les images de film sont-elles des archives filmées?” presented at the 18th international Film Forum conference in Udine in 2011). In Italian “Le immagini filmiche sono degli archivi filmati?,” in Alessandro Bordina, Sonia Campanini and Andrea Mariani (eds.), L’Archivio/The Archive, Udine: Forum, 2012, pp. 317-25.
-
“Les séries culturelles de la conférence-avec-projection et de la projection-avec-boniment : continuités et ruptures” (with Philippe Gauthier), in Marta Braun, Charlie Keil, Rob King, Paul S. Moore and Louis Pelletier (eds.), Beyond the Screen: Institutions, Networks, and Publics of Early Cinema, Eastleigh: John Libbey Publishing, 2012, pp. 233-38 (article derived from a conference paper presented at the Domitor conference Beyond the Screen: Institutions, Networks, and Publics of Early Cinema in Toronto in 2010).
-
“The Culture Broth and the Froth of Cultures of So-called Early Cinema,” in Nicolas Dulac, André Gaudreault and Santiago Hidalgo (eds.), A Companion to Early Cinema, Hoboken: Wiley-Blackwell, 2012, pp. 15-31. In French Le cinéma dit des premiers temps. Un bouillon de culture en pleine ébullition…,” in André Gaudreault and Martin Lefebvre (eds.), Techniques et technologies du cinéma. Modalités, usages et pratiques des dispositifs cinématographiques à travers l’histoire, Rennes: Presses universitaires de Rennes, 2015, pp. 41-60. In Portuguese “O Cinema Dito dos Primeiros Tempos: um Caldo de Cultura em Plena Ebulição…,” Galáxia 37, 2018, p. 19-40.
-
“Série culturelle et réflexivité cinématographique au tournant des années 1910 (chez Linder, notamment)” (with Germain Lacasse), in François Amy de la Bretèque, Emmanuelle André, François Jost, Raphaëlle Moine, Guillaume Soulez and Jean-Philippe Trias (eds.), Cinéma et audiovisuel se réfléchissent. Réflexivité, migrations, intermédialité, Paris: L'Harmattan, 2012, pp. 15-23 (article derived from a conference paper entitled “Les séries culturelles comme modèle proclamé” presented in Montpellier in 2010 at the 6th AFECCAV congress).
-
“Cet art plus photographique qu’autographique que serait le cinéma…,” in Joseph Delaplace, Pierre-Henry Frangne and Gilles Mouëllic (eds.), La pensée esthétique de Gérard Genette, Rennes: Presses universitaires de Rennes, 2011, pp. 211-19 (article derived from a conference paper presented in Rennes in 2010 at the conference L’œuvre de l’art. La pensée esthétique de Gérard Genette). In English “Cinema, an Art More Photographic than Autographic,” Cinéma & Cie 12, no. 18 (Spring 2012), pp. 83-89.
-
“Moteur ou manivelle? Incidence du vecteur énergétique dans la captation des images de la cinématographie-attraction” (with Philippe Marion), in Olivier Asselin, Silvestra Mariniello and Andrea Oberhuber (eds.), L’ère électrique/The Electric Age, Ottawa: Les presses de l’Université d’Ottawa, 2011, pp. 245-60 (article derived from a conference paper presented in Montreal in 2005 at the CRI conference Électricité : déploiements d'un paradigme).
-
“De certaines limites de la définition du dispositif « cinéma »,” in François Albera and Maria Tortajada, Ciné-dispositifs. Spectacles, cinéma, télévision, littérature, Lausanne: L’Âge d’Homme, 2011, pp. 169-88 (article derived from a conference paper presented in Lausanne in 2008 at the conference Dispositifs de vision et d’audition : épistémologie et bilan). In English “On Some Limitations of the Definition of the Dispositive ‘Cinema’,” in François Albera and Maria Tortajada (eds.), Cine-Dispositives: Essays in Epistemology across Media, Amsterdam: Amsterdam University Press, 2015, pp. 161-78.
-
“De la nouveauté des Passions filmées du cinéma des premiers temps ou Comment faire du neuf avec du vieux” (with Philippe Gauthier), in Alain Boillat, Jean Kaempfer and Philippe Kaenel (eds.), Jésus en représentations. De la Belle Époque à la postmodernité, Gollion: Infolio, 2011, pp. 173-89 (article derived from a conference paper presented in Lausanne in 2009 at the conference Jésus en représentations. Romans, films, arts visuels au XXe siècle
-
“Le discours historique de Jacobs/Sadoul/Mitry : canon de l’« historiographie traditionnelle » du cinéma” (with Philippe Gauthier), in Pietro Bianchi, Giulio Bursi and Simone Venturini (eds.), Il canone cinematografico/The Film Canon, Udine: Forum, 2011, pp. 65-70 (article derived from a conference paper presented in Udine in 2010 at the 17th international Film Forum conference).
-
“Georges Méliès : Paris, 8 décembre 1861 – Paris, 21 janvier 1938,” in Recueil des Célébrations nationales 2011, Paris: Ministère de la Culture et de la Communication (Direction des archives de France), 2011, pp. 156-59.
-
“Le montage alterné, un langage programmé” (with Philippe Gauthier), 1895. Revue d’histoire du cinéma 63 (Spring 2011), pp. 24-47. In Portuguese “Crosscutting, uma linguagem programada,” in Mariarosa Fabris et al. (eds.), X Estudos de Cinema e Audiovisual Socine, Brasília: Editora Universidade de Brasília, 2010, pp. 14-43. In English “Crosscutting, a Programmed Language,” in Paolo Cherchi Usai (ed.), The Griffith Project, Volume 12: Essays on D. W. Griffith, London: British Film Institute, 2008, pp. 30-47.
-
“À la recherche du bonimenteur chinois” (with Liu Yunzhou), in Michel Cadé, François Amy de la Bretèque, Jordi Pons i Busquet and Àngel Quintana (eds.), Les cinémas périphériques dans la période des premiers temps, Perpignan: Presses universitaires de Perpignan, 2010, pp. 305-12 (article derived from a conference paper presented in Girona in 2008 at the 10th Domitor conference).
-
“1904-1905: Movies and Chasing the Missing Link(s),” in André Gaudreault (ed.), American Cinema, 1890-1909: Themes and Variations, New Brunswick: Rutgers University Press, 2009, pp. 133-57.
-
“Réponses à 1895,” 1895. Revue de l’association française de recherche sur l’histoire du cinéma 57 (April 2009), pp. 17-30.
-
“Pour une nouvelle approche de la périodisation en histoire du cinéma” (with Philippe Marion), Cinémas 17, nos 2-3 (Fall 2007), pp. 215-232 (article derived from a conference paper entitled “La dynamique des séries culturelles : pour une nouvelle approche de la périodisation” presented in 2007 at the 14th international Udine conference). In Italian “Per un nuovo approccio alla periodizzazione nella storia del cinema,” in Enrico Biasin, Roy Menarini and Federico Zecca (eds.), Le età del cinema/The Ages of Cinema, Udine: Forum, 2008, pp. 135-43.
-
“Le montage alterné face à l’histoire : l’exemple d’Attack on a China Mission” (with Nicolas Dulac), Cinéma & Cie 9 (Fall 2007), pp. 17-32 (article derived from a conference paper entitled “Approche historiographique des versions multiples du film Attack on a China Mission” presented in 2005 at the MAGIS International Film Studies Spring School in Gradisca d’Isonzo, Italy). In English “Cross-cutting in the Face of History: The Case of Attack on a China Mission,” Early Popular Visual Culture 7, no. 1 (April 2009), pp. 1-18.
-
“Méliès the Magician: The Magical Magic of the Magic Image,” Early Popular Visual Culture 5, no. 2 (July 2007), pp. 167-174 (article derived from a conference paper presented in Sheffield in 2005 at the conference Visual Delights 3 – Magic and Illusion).
“Entre jouets optiques et Internet : variations dans la consommation” (with Nicolas Dulac), Cahier Louis-Lumière 4 (June 2007), pp. 92-108.
-
“Dispositifs optiques et attraction” (with Nicolas Dulac), Cahier Louis-Lumière 4 (Spring 2007), pp. 92-108 (article derived from a conference paper entitled “Dispositifs optiques et attraction : une dyade intrinsèque à la série culturelle des images animées,” presented in 2006 at the international conference Les dispositifs organised by ENS Louis-Lumière and Université Paris-Est Marne-la-Vallée).
-
“Les consignes de l’« éditeur » pour l’assemblage des vues dans les catalogues de distribution” (with Pierre Chemartin), in Frank Kessler and Nanna Verhoeff (eds.), Networks of Entertainment: Early Film Distribution 1895-1915, Eastleigh: John Libbey Publishing, 2007, pp. 193-202 (article derived from a conference paper presented in 2004 at the Domitor conference Networks of Entertainment: Early Film Distribution).
-
“The Mysterious Affair at Styles all’epoca della cinematografia-attrazione” (with Philippe Marion), in Enrico Biasin, Giulio Bursi and Leonardo Quaresima (eds.), Lo stile cinematografico/ Film Style, Udine: Forum, 2007, pp. 423-41 (“La mystérieuse affaire des styles à l’époque de la cinématographie-attraction,” unpublished article in French derived from a conference paper presented in 2006 at the 13th international Udine conference). In English “The Mysterious Affair of Styles in the Age of Kine-Attractography,” Early Popular Visual Culture 8, no. 1 (February 2010), pp. 17-30.
-
“From ‘Primitive Cinema’ to ‘Kine-Attractography’,” in Wanda Strauven (ed.), The Cinema of Attractions Reloaded, Amsterdam: Amsterdam University Press, 2006, pp. 85-104 (revised version of part of the book entitled Cinema delle origini. O della « cinematografía-atracción », published in 2004). In Spanish “Del ‘cine primitivo’ a la ‘cinematografía-atracción’,” Secuencias. Revista de Historia del Cine 26 (2nd semester 2007), pp. 10-28.
-
“Un art de l’emprunt. Les sources intermédiales de l’adaptation” (with Philippe Marion), in Carla Fratta (ed.), Littérature et cinéma au Canada (1995-2005), Bologna: Edizioni Pendragon, 2006, pp. 13-29 (article derived from a conference paper presented in Bologna in 2006 at the conference Littérature et cinéma au Canada 1995-2005). In English “An Art of Borrowing: The Intermedial Sources of Adaptation,” in Dennis Cutchins, Katja Krebs and Eckart Voigts (eds.), The Routledge Companion to Adaptation, Abingdon: Routledge, 2018, pp. 327-39.
-
“Cinéma et généalogie des médias” (with Philippe Marion), Médiamorphoses 16 (April 2006), pp. 24-30 (this text reworks in part an article from 2002 entitled “The Cinema as a Model for the Genealogy of Media”).
-
“Apparition, disparition et escamotage du « bonimenteur » dans l’historiographie française du cinéma” (with François Albera), in Giusy Pisano and Valérie Pozner (eds.), Le muet a la parole, Paris: Association française de recherche sur l’histoire du cinéma, 2005, pp. 167-99 (derived from a conference paper entitled “Escamotage du bonimenteur dans l’historiographie française du cinéma,” presented at the conference Le muet a la parole in Paris in 2004).
-
“A Few Remarks for an Alternative History of Cinema,” in Melik Ohanian and Jean-Christophe Royoux (eds.), Cosmograms, New York: Lukas & Sternberg, 2005, pp. 15-25.
-
“The Neo-Institutionalisation of Cinema as a New Medium” (with Philippe Marion), in Vanessa Toulmin and Simon Popple (eds.), Visual Delights – two: Exhibition and Reception, Eastleigh: John Libbey Publishing, 2005, pp. 87-95 (text unpublished in French which reworks in part and from a different perspective the ideas developed in an article from 2000 entitled “Un média naît toujours deux fois…”).
-
Articles “editing: early practices and techniques,” “editing: tableau style,” “lecturer” and “re-enactments,” in Richard Abel (ed.), Encyclopedia of Early Cinema, Abingdon: Routledge, 2005, pp. 204-6, 209-11, 379-80 and 547-48.
-
“Du filmique au littéraire : les textes des catalogues de la cinématographie-attraction” (with Philippe Marion), Cinémas 15, nos. 2-3 (Spring 2005), pp. 121-45. In Italian “Dal filmico al letterario: i testi dei cataloghi della cinematografia-attrazione,” in Alice Autelitano and Valentina Re (eds.), Il racconto del film/Narrating the Film, Udine: Forum, 2006, pp. 25-38.
-
“Heads or Tails: The Emergence of a New Cultural Series, from the Phenakisticope to the Cinematograph” (with Nicolas Dulac), Invisible Culture: An Electronic Journal for Visual Culture 8 (Fall 2004), http://ivc.lib.rochester.edu/heads-or-tails-the-emergence-of-a-new-cultural-series-from-the-phenakisticope-to-the-cinematograph; reworked in an expanded and considerably revised version entitled “Circularity and Repetition at the Heart of the Attraction: Optical Toys and the Emergence of a New Cultural Series,” in Wanda Strauven (ed.), The Cinema of Attractions Reloaded, Amsterdam: Amsterdam University Press, 2006, pp. 227-44. In Italian “Il principio e la fine… Tra fenachistoscopio e cinematografo: l’emergere di una nuova serie culturale,” in Veronica Innocenti and Valentina Re (eds.), Limina. Le soglie del film/Film’s Thresholds, Udine: Forum, 2004, pp. 185-201. In French (revised version) “La circularité et la répétitivité au cœur de l’attraction : les jouets optiques et l’émergence d’une nouvelle série culturelle,” 1895. Revue de l’association française de recherche sur l’histoire du cinéma 50 (December 2006), pp. 29-52.
-
“Cinématographie-attraction et attraction des lointains” (with the collaboration of Églantine Monsaingeon), in Imatge i viatge. De les vistes òptiques al cinema: la configuració de l’imaginari turístic, Girona: Museu del Cinema, 2004, pp. 85-102 (derived from a conference paper presented in Girona in 2003 at the conference Image et voyage. Des vues d’optique au cinéma : la configuration de l’imaginaire touristique).
-
“Les catalogues des premiers fabricants de vues animées : une première forme de novellisation?” (with Philippe Marion), in Jan Baetens and Marc Lits (eds.), La novellisation. Du film au livre/Novelization: From Film to Novel, Leuven: Leuven University Press, 2004, pp. 41-59 (article derived from a conference paper presented in Louvain in 2003 at the conference Poétique de la novellisation. Médias et adaptation).
-
“Du sable dans les rouages du dispositif…” (with Philippe Marion), in André Gaudreault, Catherine Russell and Pierre Véronneau (eds.), Le Cinématographe, nouvelle technologie du XXe siècle/The Cinema, A New Technology for the XXth Century, Lausanne: Payot Lausanne, 2004, pp. 229-42 (article derived from a conference paper presented at the 7th Domitor conference, Early Cinema: Technology and Apparatus in Montreal in 2002).
-
“Les vues cinématographiques selon Pathé ou Comment la cinématographie embraye sur un nouveau paradigme,” in Laurent Le Forestier and Michel Marie (eds.), La firme Pathé Frères (1896-1914), Paris: Association française de recherche sur l’histoire du cinéma, 2004, pp. 237-46 (article derived from a conference paper entitled “Les vues cinématographiques selon Pathé ou Comment la cinématographie embraye sur une nouvelle « série culturelle »,” presented at the 4th Domitor conference in Paris in 1996).
-
“Love in an Apartment Hotel, Broken Ways, A Girl’s Stratagem,” in Paolo Cherchi Usai (ed.), The Griffith Project, Volume 7: Films Produced in 1913, London and Pordenone: BFI Publishing/Le Giornate del Cinema Muto, 2003, pp. 1-8.
-
“Das Erscheinen des Kinematographen,” KINtop 12 (2003), pp. 33-48 (German version of an unpublished article in French entitled “L’avènement du cinématographe”). In Polish “Pojawienie się kinematografu,” in Andrzej Dębski and Martin Loiperdinger (eds.), KINtop. Antologia wczesnego kino. Część I, 2016, pp. 119-42.
-
“Du simple au multiple : le cinéma comme série de séries,” Cinémas 13, nos. 1-2 (Fall 2002), pp. 33-47 (article derived from a conference paper presented in March 2002 at the 9th international Udine conference). In Italian “Dal semplice al multiplo o il cinema come serie di serie,” in Anna Antonini (ed.), Film and its Multiples/Il film e i suoi multipli, Udine: Forum, 2003, pp. 29-38. In English “One and Many: Cinema as a Series of Series,” History of Photography 31, no. 1 (Spring 2007), pp. 31-39.
-
“A Temporary Truce, Lena and the Geese, The Spirit Awakened, The School Teacher and the Waif,” in Paolo Cherchi Usai (ed.), The Griffith Project, Volume 6: Films Produced in 1912, London and Pordenone: BFI Publishing/Le Giornate del Cinema Muto, 2002, pp. 66-77.
-
“Fragmentation et segmentation dans les « vues animées » : le corpus Lumière” (with the collaboration of Jean-Marc Lamotte), in François Albera, Marta Braun and André Gaudreault (eds.), Arrêt sur image, fragmentation du temps. Aux sources de la culture visuelle moderne/Stop Motion, Fragmentation of Time: Exploring the Roots of Modern Visual Culture, Lausanne: Payot Lausanne, 2002, pp. 225-45 (article derived from a conference paper entitled “Fragmentation des prises de vues Lumière” presented in Montreal in 2000 at the international conference Arrêt sur image et fragmentation du temps. Cinématographie, kinétographie, chronophotographie, under the auspices of the 13e Entretiens Jacques Cartier). In English “Fragmentation and Segmentation in the Lumière ‘Animated Views’,” The Moving Image 3, no. 1, Spring 2003, pp. 110-31.
-
“L’acteur comme opérateur de continuité ou Les aventures du corps mis en cadre, mis en scène et mis en chaîne” (with Frank Kessler), in Laura Vichi (ed.), L’uomo visibile. L’attore dalle origini del cinema alle soglie del cinema moderno/The Visible Man: Film Actor from Early Cinema to the Eve of Modern Cinema, Udine: Forum, 2002, pp. 23-32 (article derived from a conference paper presented in 2001 at the 8th international Udine conference).
-
“Fragmentation et assemblage dans les vues Lumière,” Visio: International Journal of Visual Semiotics 7, nos. 1-2 (Spring-Summer 2002), pp. 59-73 (article derived from a conference paper entitled “Contraintes du dispositif et consignes « institutionnelles » chez Lumière, eu égard à la continuité photogrammatique,” presented in 1999 at the 6th international Udine conference). In Italian “Frammentazione e assemblaggio nelle vedute Lumière,” in Leonardo Quaresima, Alessandra Raengo and Laura Vichi (eds.), I limiti della rappresentazione: Censura, visibile, modi di rappresentazione nel cinema, Udine: Forum, 2000, pp. 23-48. In English “Fragmentation and Assemblage in the Lumière Animated Pictures,” Film History 13, no. 1 (2001), pp. 76-88; reprinted in Richard Abel (ed.), Early Cinema, Volume III: Filmic Developments, Abingdon: Routledge, 2014, pp. 206-28.
-
“The Cinema as a Model for the Genealogy of Media” (with Philippe Marion), Convergence: The International Journal of Research into New Media Technologies 8, no. 4 (Winter 2002), pp. 12-18 (article derived from a conference paper presented at the annual Society for Cinema Studies (SCS) conference in Denver in 2002; part of this text was reworked in French in 2006 in an article entitled “Cinéma et généalogie des médias”).
-
“Les vues cinématographiques selon Eisenstein ou Que reste-t-il de l’ancien (le cinéma des premiers temps) dans le nouveau (les productions filmiques et scripturales d’Eisenstein)?,” in Dominique Chateau, François Jost and Martin Lefebvre (eds.), Eisenstein : l’ancien et le nouveau, Paris: Publications de la Sorbonne, 2001, pp. 23-43 (derived from a conference paper presented in 1998 at the Cerisy conference Eisenstein : l’ancien et le nouveau).
-
“Il ritorno del pendolo, overro storia di un ritorno in forza… della Storia,” in Gian Piero Brunetta (ed.), Storia del cinema mondiale, vol. 5, Turin: Einaudi, 2001, pp. 221-44.
-
“The Noises of Spectators, or the Spectator as Additive to the Spectacle” (with Jean Châteauvert), in Richard Abel and Rick Altman (eds.), The Sounds of Early Cinema, Bloomington and Indianapolis, Indiana University Press, 2001, pp. 183-91, https://monoskop.org/images/0/02/Abel_Richard_Altman_Rick_eds_The_Sounds_of_Early_Cinema.pdf (article derived from a conference paper presented in Washington in 1998 at the 5th Domitor conference). In French “Les bruits du spectateur ou Le spectateur comme adjuvant du spectacle” in Richard Abel and Rick Altman (eds.), The Sounds of Early Cinema, Bloomington and Indianapolis, Indiana University Press, 2001, pp. 295-302. In Italian “I rumori degli spettatori o lo spettatore come adiuvante dello spettacolo,” Comunicazioni sociali 22, new series, no. 2 (May-August 2001), pp. 144-51.
-
“Le Cinématographe, un « enfant prodige » ou L’enfance de l’art cinématographique” (with Roger Odin), in Leonardo Quaresima and Laura Vichi (eds.), La decima musa. Il cinema e le altre arti/The Tenth Muse: Cinema and Other Arts, Udine: Forum, 2001, pp. 67-81 (article derived from a conference paper presented at Udine in 2000 at the 6th Domitor conference).
-
“Le Centre de recherche sur l’intermédialité,” Visio: International Journal of Visual Semiotics 6, nos. 2-3 (Summer-Fall 2001), pp. 317-26 (article by Marion Froger, with Thierry Bardini, André Gaudreault and Silvestra Mariniello).
-
“Le cinéma naissant et ses dispositions narratives” (with Philippe Marion), Cinéma & Cie 1 (Spring 2001), pp. 34-41.
-
“Mais où est passé le bonimenteur italien?” (with Stéphanie Côté), in Michele Canosa (ed.), A nuova luce: Cinema muto italiano. I/Italian Silent Cinema. I, Bologna: Clueb, 2000, pp. 103-21 (article derived from a conference paper presented in Bologna in 1999 at the conference Italian Silent Cinema).
-
“The Englishman and the Girl, His Last Burglary, The Final Settlement, Taming a Husband, The Newlywed,” in Paolo Cherchi Usai (ed.), The Griffith Project, Volume 4: Films Produced in 1910, London and Pordenone: BFI Publishing/Le Giornate del Cinema Muto, 2000, pp. 1-18.
-
“The Diversity of Cinematographic Connections in the Intermedial Context of the Turn of the 20th Century,” in Vanessa Toulmin and Simon Popple (eds.), Visual Delights: Essays on the Popular and Projected Image in the 19th Century, Trowbridge: Flicks Books, 2000, pp. 8-15 (article derived from a conference paper presented in Sheffield in 1999 at the conference Visual Delights: The Popular and Projected Image in the 19th Century).
-
“Un média naît toujours deux fois…” (with Philippe Marion), Sociétés & Représentations 9 (2000), pp. 21-36 (article derived from a conference paper presented in Montreal in 1999 at the first CRI conference). In Czech “Médium se vždycky rodí dvakrát,” in Petr Szczepanik (ed.), Nová filmová historie, Prague: Nakladatelstvi Herrmann & synové, 2004, pp. 439-51. In English “A Medium Is Always Born Twice. . . ,” Early Popular Visual Culture 3, no. 1 (May 2005), pp. 3-15; reprinted in Richard Abel (ed.), Early Cinema, Volume I: Theory and Methodology, Abingdon: Routledge, 2014, pp. 69-83.
-
“Les paradigmes de l’histoire du cinéma des premiers temps,” Bulletin du C.R.E.D.H.E.S.S. 10 (April 2000), pp. 12-13.
-
“Pour une approche narratologique intermédiale,” Recherches en communication 11 (1999), pp. 133-42 (article derived from a conference paper entitled “Histoire et perspectives de la narratologie” presented at the Université catholique de Louvain in 1997 at the conference Cinquantième anniversaire des études en communication à l’UCL).
-
“Les genres vus à travers la loupe de l’intermédialité ou Le cinéma des premiers temps : un bric-à-brac d’institutions,” in Leonardo Quaresima, Alessandra Raengo and Laura Vichi (eds.), La nascita dei generi cinematografici, Udine: Forum, 1999, pp. 87-97 (article derived from a conference paper presented in 1998 at the 5th international Udine conference).
-
“Le bonimenteur de vues animées au Québec” (with Germain Lacasse), in Claire Dupré La Tour, André Gaudreault and Roberta Pearson (eds.), Le cinéma au tournant du siècle/Cinema at the Turn of the Century, Quebec City and Lausanne: Nota bene/Payot Lausanne, 1999, pp. 273-82 (article derived from a conference paper presented in New York in 1994 at the 3rd Domitor conference).
-
“Distance et historicité : problèmes et méthodes de la « reconstitution » historique,” La Valle dell’Eden 1, no. 1 (January-April 1999), pp. 23-36; reprinted in André Gaudreault, Germain Lacasse and Isabelle Raynauld (eds.), Le cinéma en histoire. Institution cinématographique, réception filmique et reconstitution historique, Quebec City and Paris: Nota bene/Méridiens Klincksieck, 1999, pp. 107-50.
-
“They Would Elope, The Mills of the Gods, ‘Oh, Uncle’, The Sealed Room, Pranks, The Heart of an Outlaw,” in Paolo Cherchi Usai (ed.), The Griffith Project, Volume 3: Films Produced in July-December 1909, London and Pordenone: BFI Publishing/Le Giornate del Cinema Muto, 1999, pp. 16-30.
-
“Les traces du montage dans la production Lumière” (with the collaboration of Anne Gautier and Jean-Marc Lamotte), in Philippe Dujardin, André Gardies, Jacques Gerstenkorn and Jean-Claude Seguin (eds.), L’aventure du Cinématographe, Lyon: Aléas, 1999, pp. 299-306 (article derived from a conference paper presented in Lyon in 1995 at the Congrès mondial Lumière). In English “Evidence of Editing in the Lumière Films,” in Christopher Williams (ed.), Cinema: The Beginnings and the Future, London: University of Westminster Press, 1996, pp. 72-81.
-
“De quelques figures de montage dans la production Lumière,” in Michel Bouvier, Michel Larouche and Lucie Roy (eds.), Cinéma : acte et présence, Quebec City: Nota bene, 1999, pp. 27-39 (article derived from a conference paper presented at the eponymous conference held in Quebec City in 1995 under the aegis of the Centre Jacques Cartier in Lyon). In Spanish “Sobre algunas figuras de montaje en la producción Lumière,” Archivos de la filmoteca 19 (February 1995), pp. 48-57.
-
“Enunciation and Narration” (with François Jost), in Toby Miller and Robert Stam (eds.), A Companion to Film Theory, Oxford: Blackwell, 1999, pp. 45-63. English version of the second chapter of Le récit cinématographique (1990), “Énonciation et narration.”
-
“Lo spazio mobile. Del montaggio e del carrello in Cabiria” (with Elena Dagrada and Tom Gunning), in Paolo Bertetto and Gianni Rondolino (eds.), Cabiria e il suo tempo, Turin and Milan: Museo Nazionale del Cinema/Il Castoro, 1998, pp. 150-83. In French “Composition en profondeur, mobilité et montage dans Cabiria (Pastrone, 1914),” Cinémas 10, no. 1 (Fall 1999), pp. 55-78, and “Regard oblique, bifurcation et ricochet ou De l’inquiétante étrangeté du carrello,” Cinémas 10, nos. 2-3 (Spring 2000), pp. 207-23.
-
“Des cris du bonimenteur aux chuchotements des intertitres…,” in Francesco Pitassio and Leonardo Quaresima (eds.), Scrittura e immagine: La didascalia nel cinema muto, Udine: Forum, 1998, pp. 53-69 (article derived from a conference paper presented in 1997 at the 4th international Udine conference). In Spanish “De los gritos del lector público a los susurros de los intertítulos,” Versión: Estudios de Comunicación y Política 8 (October 1998), pp. 125-42.
-
“Variations sur une problématique,” in André Gaudreault and Thierry Groensteen (eds.), La transécriture. Pour une théorie de l’adaptation, Quebec City and Angoulême: Nota bene/Centre national de la bande dessinée et de l’image, 1998, pp. 267-71.
-
“Transécriture et médiatique narrative : l’enjeu de l’intermédialité…” (with Philippe Marion), in André Gaudreault and Thierry Groensteen (eds.), La transécriture. Pour une théorie de l’adaptation, Quebec City and Angoulême: Nota bene/Centre national de la bande dessinée et de l’image, 1998, pp. 31-52. In Spanish “Transecritura y mediática narrativa: el envite de la intermedialidad,” Semiosfera 8 (Spring 1998), pp. 41-63. In English “Transécriture and Narrative Mediatics: The Stakes of Intermediality,” in Robert Stam and Alessandra Raengo, A Companion to Literature and Film, Oxford: Blackwell Publishing, 2004, pp. 58-70. In Portuguese « Transescritura e midiática narrativa: questões de intermidialidade », in Thais Flores Nogueira Diniz (ed.), Intermidialidade e estudos interartes: desafios da arte contemporânea, Belo Horizonte: Editora UFMG, 2012, pp. 107-28.
-
“El cine de los primeros tiempos situado, y mantenido, a distancia…,” Archivos de la filmoteca 28 (February 1998), pp. 72-79 (“Le cinéma des premiers temps mis et tenu à distance,” unpublished article in French).
-
“Sistema del relato de un film con narrador verbal: Citizen Kane de Orson Welles,” Archivos de la filmoteca 27 (October 1997), pp. 128-141 (article derived from a conference paper presented at the 57th ACFAS congress in Montreal in 1989). In French “Système du récit d’un film à narrateur verbal : Citizen Kane d’Orson Welles,” in Jeanette den Toonder and Hilligje van’t Land (eds.), Les voix du temps et de l’espace, Quebec City: Nota bene, 2007, pp. 143-59.
-
“Les vues cinématographiques selon Georges Méliès ou Comment Mitry et Sadoul avaient peut-être raison d’avoir tort (même si c’est surtout Deslandes qu’il faut lire et relire),” in Jacques Malthête and Michel Marie (eds.), Georges Méliès, l’illusionniste fin de siècle?, Paris: Presses de la Sorbonne Nouvelle, 1997, pp. 111-31 (article derived from a conference paper presented in 1996 at the Cerisy conference Georges Méliès et le second siècle du cinéma).
-
“Les « champs de l’intervention cinéastique » à l’époque du cinéma des premiers temps,” in Anja Franceschetti and Leonardo Quaresima (eds.), Prima dell’autore, Udine: Forum, 1997, pp. 27-35 (article derived from a conference paper presented in 1996 at the 3rd international Udine conference).
-
“The Introduction of the Lumière Cinematograph in Canada” (with Germain Lacasse and Jean-Pierre Sirois-Trahan), Canadian Journal of Film Studies/Revue canadienne d’études cinématographiques 5, no. 2 (Fall 1996), pp. 113-23 (English version of the first chapter of the book Au pays des ennemis du cinéma… Pour une nouvelle histoire des débuts du cinéma au Québec, a chapter which itself is a revised and expanded version of an article entitled “L’arrivée du cinématographe Lumière en sol canadien” published in the magazine 24 images in 1992).
-
“Le retour du [bonimenteur] refoulé… (ou serait-ce le bonisseur-conférencier, le commentateur, le conférencier, le présentateur ou le « speacher »?)” (with Jean-Pierre Sirois-Trahan), Iris 22 (Fall 1996), pp. 17-32.
-
“Le corps, le regard et le miroir” (with Jean Châteauvert), Semiotica 112, nos. 1-2 (1996), pp. 93-107.
-
“Des sujets hauts en couleur, dès les premiers temps du cinéma” (with Jean-Pierre Sirois-Trahan), in Monica Dall’Asta, Guglielmo Pescatore and Leonardo Quaresima (eds.), Il colore nel cinema muto, Bologna: Mano, 1996, pp. 77-84 (expanded version of an article entitled “À Montréal, des sujets hauts en couleur, dès 1897…” published in the magazine 24 images in 1995).
-
“Sémiologie du cinéma et cinéma des premiers temps” (with Denis Simard), Les Cahiers du CIRCAV 6-7 (1995), pp. 111-23.
-
“L’extranéité du cinéma des premiers temps : bilan et perspectives de recherche” (with Denis Simard), in Jean A. Gili, Michèle Lagny, Michel Marie and Vincent Pinel (eds.), Les vingt premières années du cinéma français, Paris: Presses de la Sorbonne nouvelle/Association française de recherche sur l’histoire du cinéma, 1995, pp. 15-28.
-
“L’internationalité du cinéma des premiers temps,” in François Albera and Roland Cosandey (eds.), Cinéma sans frontières/Images across Borders, Quebec City and Lausanne: Nuit blanche/Payot Lausanne, 1994, pp. 193-205.
-
“Québec et les débuts du cinématographe” (with Kareen Dionne and Germain Lacasse), in John R. Porter and Didier Prioul (eds.), Québec plein la vue, Quebec City: Musée du Québec/Publications du Québec, 1994, pp. 208-9.
-
“Dieu est l’auteur des documentaires…” (with Philippe Marion), Cinémas 4, no. 2 (Winter 1994), pp. 11-26.
-
“Fonctions et origines du bonimenteur du cinéma des premiers temps” (with the collaboration of Germain Lacasse), Cinémas 4, no. 1 (Fall 1993), pp. 132-47. In Portuguese “O comentador do cinema dos primeiros tempos,” Imagens 4 (April 1995), pp. 92-98.
-
“Des « films parlant français », en 1913, au Canada français…” (with Germain Lacasse and Jean-Marc Larrue), 1895. Revue de l’association française de recherche sur l’histoire du cinéma, unnumbered (October 1993), pp. 265-72. In German “Das Kino in Quebek zur Zeit des Stummfilms” (with Germain Lacasse and Jean-Marc Larrue), in Michel Larouche and Jürgen Müller (eds.), Quebec und Kino: Die Entwicklung eines Abenteuers, Münster: Nodus Publikationen, 2002, pp. 47-53.
-
“De la narratologie littéraire à la narratologie cinématographique,” in Claude Duchet and Stéphane Vachon (eds.), La recherche littéraire. Objets et méthodes, Montreal and Paris: XYZ/Centre de la coopération interuniversitaire franco-québécoise/Presses universitaires de Vincennes, 1993, pp. 267-74 (article derived from a conference paper presented in Paris in 1991 at the conference Méthodes et objets de la recherche littéraire au Québec).
-
“Premier regard : les « néo-spectateurs » du Canada français” (with Germain Lacasse), Vertigo 10, 1993, pp. 18-24.
-
“La Passion du Christ : un genre, un discours, une forme,” in Roland Cosandey, André Gaudreault and Tom Gunning (eds.), Une invention du diable? Cinéma des premiers temps et religion/An Invention of the Devil? Religion and Early Cinema, Lausanne and Sainte-Foy: Payot Lausanne/Presses de l’Université Laval, 1992, pp. 91-101 (article derived from a conference paper presented at the 1st Domitor conference in Quebec City in 1990). In Russian “‘Strasti Khristovy’: forma, janr, discours,” Kinovedcheskie Zapiski 22 (1994), pp. 178-85. In English “The Passion of Christ: A Form, a Genre, a Discourse,” in David J. Shepherd (ed.), The Silents of Jesus in the Cinema (1897-1927), Abingdon, Routledge, 2016, pp. 15-23.
-
“La métaphore au cinéma : un tro[m]pe-l’œil?,” in Joseph Melançon (ed.), Les métaphores de la culture, Sainte-Foy: Presses de l’Université Laval, 1992, pp. 281-92.
-
“Por una reconstruccion del desarrollo de las ‘formas artisticas’ del cine,” Archivos de la filmoteca 13 (Fall 1992), pp. 30-44 (“Pour une reconstruction du développement des « formes artistiques » du cinéma,” unpblished article in French).
-
“La cinémathèque de l’an 2000. Entretien avec Raymond Borde,” 24 images 58 (November-December 1991), pp. 52-54.
-
“Chaplin’s Short Films: Between Narration and Monstration,” in Adolphe Nysenholc (ed.), Charlie Chaplin: His Reflection in Modern Times, Berlin: Mouton de Gruyter, 1991, pp. 77-82 (“Les courts métrages de Chaplin : entre narration et monstration,” unpublished article in French, derived from a conference paper presented in Paris in 1989 at the conference Charlie Chaplin).
-
“Le cinématographe : une machine historiographique,” Protée 19, no. 1 (Winter 1991), pp. 25-30 (article derived from a conference paper presented at the University of Iowa in 1990 at the conference Meanings in Texts and Actions: The Questions of Paul Ricoeur). In English (revised version) “The Cinematograph: A Historiographical Machine,” in David E. Klemm and William Schweiker (eds.), Meanings in Texts and Actions: Questioning Paul Ricœur, Charlottesville: University Press of Virginia, 1993, pp. 90-97.
-
“Les aventures d’un concept : la narrativité,” in Michel Marie and Marc Vernet (eds.), Christian Metz et la théorie du cinéma, Paris: Iris-Méridiens Klincksieck, 1990, pp. 121-31 (article derived from a conference paper entitled “Christian Metz et les origines de la narratologie filmique,” presented in 1989 at the Cerisy conference Christian Metz et la théorie du cinéma). In Spanish “Las aventuras de un concepto: la narratividad,” in Michel Marie and Marc Vernet (eds.), Christian Metz y la teoria del cine, Buenos Aires: Catalogos Editora, 1992, pp. 137-49.
-
“Christian Metz. Entretien,” 24 images 49 (Summer 1990), pp. 63-65. In English “Christian Metz: Interview,” in Warren Buckland and Daniel Fairfax (eds.), Conversations with Christian Metz: Selected Interviews on Film Theory (1970-1991), Amsterdam: Amsterdam University Press, 2017, pp. 275-82.
-
“Mimèsis et diègèsis chez Aristote,” Cahiers des études anciennes 24 (1990), pp. 257-71.
-
“Mimèsis et diègèsis chez Platon,” Revue de métaphysique et de morale 1 (1989), pp. 79-92.
-
“Le cinéma des premiers temps : un défi à l’histoire du cinéma?” (with Tom Gunning), in Jacques Aumont, André Gaudreault and Michel Marie (eds.), L’histoire du cinéma. Nouvelles approches, Paris: Publications de la Sorbonne, 1989, pp. 49-63 (article derived from a conference paper presented in 1985 at the Cerisy conference Nouvelles approches de l’histoire du cinéma). In Japanese “Eigashi No Hohoron,” Gendai Shiso 14, no. 12 (November 1986), pp. 164-86. In English “Early Cinema as a Challenge to Film History,” in Wanda Strauven (ed.), The Cinema of Attractions Reloaded, Amsterdam: Amsterdam University Press, 2006, pp. 365-80. In Chinese “Zao Qi Dian Ying: Dui Dian Ying Shi De Tiao Zhan,” World Cinema 4 (2021), pp. 15-28.
-
“Ce que je vois de mon ciné… ou Le regardant regardé,” in André Gaudreault (ed.), Ce que je vois de mon ciné… La représentation du regard dans le cinéma des premiers temps, Paris: Méridiens Klincksieck, 1988, pp. 13-17.
-
“L’histoire du cinéma revisitée : le cinéma des premiers temps,” CinémAction 47 (1988), pp. 102-108.
-
“Le film, ce lumineux objet du désir,” in Claude Chabot and Denise Pérusse (eds.), Cinéma et sexualité, Quebec City: Prospec, 1988, pp. 53-63, reprinted in Les Cahiers du CIRCAV 9 (1997), pp. 29-38 (article derived from a conference paper entitled “Le défilement de la bande : un spectacle voyeuriste” presented in 1987 at the AQEC conference). In Spanish “El film, ese luminoso objeto de deseo,” Archivos de la filmoteca 17 (June 1994), pp. 92-99.
-
“Système du récit filmique,” Mana 7 (1987), pp. 267-77.
-
“And the Villain Still Pursued Her (1906) e The Jailbird and How He Flew (1906): due analisi filmografiche” (with the collaboration of Andrée Michaud and Suzanne Richard) in Paolo Cherchi Usai (ed.), Vitagraph Co. of America: Il cinema prima di Hollywood, Pordenone: Edizione Studio Tesi, 1987, pp. 323-74. In English “Filmographic Analysis and Early Cinema” (with the collaboration of Andrée Michaud), Canadian Journal of Film Studies/Revue canadienne d’études cinématographiques 1, no. 1 (April 1990), pp. 57-73.
-
“Narrator et narrateur,” Iris 7, second semester (1986), pp. 29-36 (article derived from a conference paper presented at the 54th ACFAS congress in Montreal in 1986); reprinted in Michel Larouche (ed.), Le cinéma aujourd’hui. Films, théories, nouvelles approches, Montreal: Guernica, 1988, pp. 173-84.
-
“Mimèsis, diègèsis et cinéma,” Recherches sémiotiques/Semiotic Inquiry 5, no. 1 (1985), pp. 32-45 (article derived from a conference paper entitled “Mimesis and Diegesis in the Cinema” presented at the University of Toronto in 1984 at the Fifth International Summer Institute for Semiotic and Structural Studies).
-
“Lo storico del cinema di fronte alle cineteche,” Comunicazione di massa 6, no. 3, (September-December 1985), pp. 8-12.
-
“Bruitage, musique et commentaires aux débuts du cinéma,” Protée 13, no. 2 (Summer 1985), pp. 25-29 (article derived from a conference paper presented in Montreal in 1984 at the AQEC conference). In English (revised version) “Showing and Telling: Image and Word in Early Cinema,” in Thomas Elsaesser (ed.), Early Cinema: Space, Frame, Narrative, London: BFI Publishing, 1990, pp. 274-81; reprinted in Mieke Bal (ed.), Narrative Theory: Critical Concepts in Literary and Cultural Studies, Volume IV: Interdisciplinarity, Abingdon: Routledge, 2004, pp. 359-68.
-
“Récit itératif, récit singulatif : Au bagne (Pathé, 1905),” in Pierre Guibbert (ed.), Les premiers ans du cinéma français, Perpignan: Institut Jean Vigo, 1985, pp. 233-41 (article derived from a conference paper presented in French in Perpignan in 1984 and in English in Toronto in 1985, at the annual FSAC conference). In English “Singular Narrative, Iterative Narrative: Au Bagne (Pathé, 1905),” Persistence of Vision 9 (1991), pp. 66-74.
-
“De L’arrivée d’un train à The Lonedale Operator : une trajectoire à parcourir,” in Jean Mottet (ed.), David Wark Griffith, Paris: L’Harmattan/Publications de la Sorbonne, 1984, pp. 44-71 (article derived from a conference paper presented at Université Paris 1 in 1983 at the conference D. W. Griffith). In Italian “Da L’arrivée d’un train a The Lonedale Operator,” in Riccardo Redi (ed.), Da Edison a Griffith, Rome: Di Giacomo Editore, 1992, pp. 13-31.
-
“La transgression des lois du copyright aux débuts du cinéma : conséquences pratiques et séquelles théoriques,” Filméchange 28 (1984), pp. 41-49 (article derived from a conference paper presented at York University in 1984 at the annual FSAC conference). In English “The Infringement of Copyright Laws and Its Effects (1900-1906),” Framework 29 (1985), pp. 2-14; reprinted in Thomas Elsaesser (ed.), Early Cinema: Space, Frame, Narrative, London: BFI Publishing, 1990, pp. 114-22.
-
“Film, récit, narration : le cinéma des frères Lumière,” Iris 2, no. 1, first semester (1984), pp. 61-70. In English “Film, Narrative, Narration: The Cinema of the Lumière Brothers,” in Thomas Elsaesser (ed.), Early Cinema: Space, Frame, Narrative, London: BFI Publishing, 1990, pp. 68-75; reprinted in Mieke Bal (ed.), Narrative Theory: Critical Concepts in Literary and Cultural Studies, Volume IV: Interdisciplinarity, Abingdon: Routledge, 2004, pp. 350-58.
-
“Histoire et discours au cinéma,” Les Dossiers de la Cinémathèque 12 (1984), pp. 43-46. (“Histoire and Discours in the Cinema,” article derived from a conference paper presented in French in Montreal in 1983 at the AQEC conference and in English at the University of Toronto in 1984 at the conference Semiotics of the Cinema: The State of the Art).
-
“Narration et monstration au cinéma,” Hors cadre 2 (April 1984), pp. 87-98. In English “Narration and Monstration in the Cinema,” Journal of Film and Video 39, no. 2 (Spring 1987), pp. 29-36.
-
“« Théâtralité » et « narrativité » dans l’œuvre de Georges Méliès,” in Madeleine Malthête-Méliès (ed.), Méliès et la naissance du spectacle cinématographique, Paris: Klincksieck, 1984, pp. 199-219 (article derived from a conference paper presented in 1981 at the Cerisy conference Méliès et la naissance du spectacle cinématographique). In Spanish “Teatralidad y narratividad en la obra de Georges Méliès,” in Georges Méliès Mexico: Filmoteca de la UNAM, 1982, pp. 81-100. In Italian “Teatralità e narratività nell’opera di Georges Méliès,” in Riccardo Redi (ed.), Méliès, Rome: Di Giacomo Editore, 1987, pp. 23-39. In English “Theatricality” and “Narrativity” in the Work of Georges Méliès, Working Paper Series, Graduate Communication Program, McGill University, September 1982, 14 pp. Translation by Paul Attallah reprinted in an abridged version (adapted and revised by Tom Gunning and Vivian Sobchak), entitled “Theatricality, Narrativity, and Trickality: Reevaluating the Cinema of Georges Méliès,” Journal of Popular Film and Television 15, no. 3 (Fall 1987), pp. 110-19, reprinted in Matthew Solomon (ed.), Fantastic Voyages of the Cinematic Imagination: Georges Méliès’s Trip to the Moon, Albany: State University of New York Press, 2011, pp. 31-47, and in Richard Abel (ed.), Early Cinema, Volume III: Filmic Developments, Abingdon: Routledge, 2014, pp. 242-55. In German “Theatralität, Narrativität und ‘Trickästhetik’: Eine Neuberwertung der Filme von Georges Méliès,” KINtop 2 (1993), pp. 31-44. In Polish “Teatralnosc, narracyjnosc i ‘trickowosc’: Oceniajac kino Georges’a Mélièsa,” in Malgorzata Hendrykowska (ed.), Cienu Braci Lumière, Poznan: Ars Nova, 1995, pp. 24-36.
-
“Temporalité et narrativité : le cinéma des premiers temps (1895-1908),” Études littéraires 13, no. 1 (April 1980), pp. 109-37. In Spanish “Temporalidad y narratividad: el cine de los primieros tiempos (1895-1908),” Video-Forum 13 (December 1981), pp. 59-89. In English “Temporality and Narrativity in Early Cinema (1895-1908),” in Roger Holman (ed.), Cinema 1900-1906: An Analytical Study, vol. 1, Brussels: International Federation of Film Archives (FIAF), 1982, pp. 201-15; reprinted in John Fell (ed.), Film Before Griffith, Berkeley, University of California Press, 1983, pp. 311-29.
-
“Les détours du récit filmique. Sur la naissance du montage parallèle,” Les Cahiers de la Cinémathèque 29 (Winter 1979), pp. 88-107. In English (revised version, translated by Martin Sopocy and Charles Musser) “Detours in Film Narrative: The Development of Cross-Cutting,” Cinema Journal 19, no. 1 (Fall 1979), pp. 39-59; reprinted in Roger Holman (ed.), Cinema 1900-1906: An Analytical Study, vol. 1, Brussels: International Federation of Film Archives (FIAF), 1982, pp. 181-200, and in Thomas Elsaesser (ed.), Early Cinema: Space, Frame, Narrative, London: BFI Publishing, 1990, pp. 133-50. In Bulgarian in Bulgarska Nacionalna Filmoteka (ed.), Knohon Bpeme, Sofia: Bulgarska Nacionalna Filmoteka, 1980, pp. 70-100. In Spanish “Los giros del relato fílmico: sobre el nacimento del montaje paralelo,” Video-Forum 14 (May 1982), pp. 29-69. In Danish “Filmfortaellingens omveje – krydsklipningens oreindelse,” Tryllelygten (Laterna Magica) (first semester 1995), pp. 21-46. In Swedish “Omvägar i filmberänttandet: växelklippningens utveckling,” in L.G. Andersson and E. Hedling (eds.), Modern Filmtheory, Lund: Studentlitteratur, 1995, pp. 180-201.
Book reviews and non peer-reviewed articles
-
“Atrakce v kinematografii”, Cinepur 59 (October 2008), pp. 11-18. Czech translation of an excerpt from Cinéma et attraction (2008).
-
Book review of Histoire du cinéma. Problématique des sources (Irène Bessière and Jean Gili, eds.), Cinéma & Cie 7 (Fall 2005), pp. 182-85.
-
Book review of Le montage, l’espace et le temps du film (Vincent Pinel), Cinéma & Cie 2 (Spring 2003), pp. 180-84 (assisted by Jean-Pierre Sirois-Trahan).
-
“Quand les « Canadiens français » damèrent le pion au… reste du monde” (Jean-Pierre Sirois-Trahan assisted by André Gaudreault), 24 images 81 (Spring 1996), pp. 39-42. 16 images dossier (vol. 5, no. 1) edited by André Gaudreault with the assistance of Germain Lacasse, Jean-Pierre Sirois-Trahan and Jean-Marc Larrue.
-
“Quand le Nationoscope dama le pion au Ouimetoscope…” (Jean-Pierre Sirois-Trahan assisted by André Gaudreault), 24 images 80 (December 1995-January 1996), pp. 45-48. 16 images dossier (vol. 4, no. 4) edited by André Gaudreault with the assistance of Germain Lacasse, Jean-Pierre Sirois-Trahan and Jean-Marc Larrue.
-
“Lumières sur un premier film autochtone” (with Germain Lacasse), Terres en vues 3, no. 1 (1995), pp. 6-7.
-
“À Montréal, des sujets hauts en couleur, dès 1897…” (with Jean-Pierre Sirois-Trahan), 24 images 78-79 (September-October 1995), pp. 79-82. 16 images dossier (vol. 4, no. 3) edited by André Gaudreault with the assistance of Germain Lacasse.
-
“La bataille du parlant, rue Ste-Catherine, vingt ans avant The Jazz Singer” (with Jean-Pierre Sirois-Trahan), 24 images 77 (Summer 1995), pp. 33-36. 16 images dossier (vol. 4, no. 2) edited by André Gaudreault with the assistance of Germain Lacasse.
-
“Danse indienne, film Lumière no 1000 : le premier film tourné au Québec?” (with Germain Lacasse), 24 images 76 (Spring 1995), pp. 17-21. 16 images dossier (vol. 4, no. 1) edited by André Gaudreault with the assistance of Germain Lacasse, Kareen Dionne, Dominique Gosselin, Nathalie Leplongeon and Denis Simard and with special contributions by Philippe Jacquier and André Dudemaine.
-
“Montréal cinématographié en début de siècle (deuxième période : 1906-1914)” (with Germain Lacasse), 24 images 75 (December 1994-January 1995), pp. 51-54. 16 images dossier (vol. 3, no. 3) edited by André Gaudreault with the assistance of Germain Lacasse.
-
“Montréal cinématographié en début de siècle (première période : 1895-1906)” (with Kareen Dionne and Germain Lacasse), 24 images 73-74 (September-October 1994), pp. 87-90. 16 images dossier (vol. 3, no. 2) edited by André Gaudreault with the assistance of Germain Lacasse.
-
“La naissance de la censure au « pays des ennemis du cinématographe »” (with Germain Lacasse), 24 images 72 (1994), pp. 49-52. 16 images dossier (vol. 3, no. 1) edited by André Gaudreault with the assistance of Germain Lacasse and Kareen Dionne.
-
“Du cinéma primitif au cinéma… des premiers temps” (with Denis Simard), Journal of Film Preservation 23, no. 48 (April 1994), pp. 57-59.
-
“C’est arrangé avec… le gars des vues” (with Kareen Dionne and Germain Lacasse), 24 images 71 (February-March 1994), pp. 55-58. 16 images dossier (vol. 2, no. 4) edited by André Gaudreault with the assistance of Germain Lacasse, Jean Châteauvert and Denis Simard.
-
“Pour une (pré)histoire de la critique de films au Québec” (with Mario Cloutier and Germain Lacasse), 24 images 68-69 (September-October 1993), pp. 73-76. 16 images dossier (vol. 2, no. 3) edited by André Gaudreault with the assistance of Germain Lacasse and Kareen Dionne.
-
“Le spectateur des Scopes” (with Germain Lacasse), 24 images 66 (April-May 1993), pp. 63-66. 16 images dossier (vol. 2, no. 2) edited by André Gaudreault with the assistance of Germain Lacasse and Kareen Dionne.
-
“L’écran ventriloque” (with Germain Lacasse), 24 image 65 (February-March 1993), pp. 41-44. 16 images dossier (vol. 2, no. 1) edited by André Gaudreault with the assistance of Germain Lacasse.
-
“Les beautés de Québec” (with Kareen Dionne and Germain Lacasse), 24 images 64 (December 1992-January 1993), pp. 19-22. 16 images dossier (vol. 1, no. 2) edited by André Gaudreault with the assistance of Germain Lacasse.
-
“La jalousie. Scénario (fragment)”, in Germain Lacasse (ed.), Penser voir : 10 ans d’études cinématographiques, Montreal, Association québécoise des études cinématographiques, 1992, pp. 9-14.
-
“L’arrivée du cinématographe Lumière en sol canadien” (with Germain Lacasse), 24 images 62-63, (September-October 1992), pp. 73-76. 16 images dossier (vol. 1, no. 1) edited by André Gaudreault with the assistance of Germain Lacasse.
-
“Les débuts du Cinématographe au Québec”, 24 images 62-63 (September-October 1992), p. 72. 16 images dossier (vol. 1, no. 1) edited by André Gaudreault with the assistance of Germain Lacasse.
-
Book review of Pierre Perrault ou Un cinéma national (Michel Brûlé), Dictionnaire des œuvres littéraires du Québec, vol. 5, 1988, pp. 681-82.
-
“Canadees onderzoek in het Nederlands Filmmuseum”, Skrien 156 (November-December 1987), pp. 38-41.
-
Book review of L’historiographe. Les débuts du spectacle cinématographique au Québec (Germain Lacasse, with the collaboration of Serge Duigou), Communication. Information Médias Théories 9, no. 1 (Summer 1987), pp. 136-38.
-
“The Miller’s Daughter”, in Before Hollywood, New York: American Federation of Arts, 1986, p. 125.
-
Book review of Le parfum de la salle en noir (Michel Mesnil [Maurice Mourier]), Communication. Information Médias Théories 8, no. 1 (Spring 1986), pp. 210-12.
-
Book review of Méliès et la naissance du spectacle cinématographique, Madeleine Malthête-Méliès (ed.), Les Cahiers de la Cinémathèque 35-36 (Fall 1982), pp. 138-43.
-
“Jusqu’à quand le carcan?” (in collaboration), Cinécrits 4 (May 1976), pp. 30-35.
-
“Cinécrit-ique”, Cinécrits 2 (March 1975), pp. 43-47.
-
“Cinéma et dialectique : S. M. Eisenstein” (in collaboration), Cinécrits 2 (March 1975), pp. 4-25.
-
“Godard et le groupe Dziga Vertov” (in collaboration), Cinécrits 1 (January 1975), pp. 32-37.
-
“Notes critiques sur « Les Ordres »,” Cinécrits 1 (January 1975), pp. 15-16.
Introductions, prefaces and forewords
-
“Back from the Dead/D’entre les morts…”, in Thierry Lecointe, Pascal Fouché, Robert Byrne and Pamela Hutchinson, Discovering Lost Films of Georges Méliès in fin-de-siècle Flip Books (1896-1901)/Des fragments de films Méliès disparus ressuscités par des flip books (1896-1901), New Barnet: John Libbey Publishing, 2020, pp. 1-6/149-53.
-
“Techniques. Introduction: TECHNÈS” (with Benoît Turquety and Gilles Mouëllic), in Diego Cavallotti, Simone Dotto and Leonardo Quaresima (eds.), A History Without Names/3. New Research Paths and Methodological Glosses, Milan: Mimesis International, 2018, pp. 25-30.
-
“Foreword”, in Santiago Hidalgo (ed.), Technology and Film Scholarship: Experience, Study, Theory, Amsterdam: Amsterdam University Press, 2018, pp. 9-12.
-
“L’invention littéraire des médias” (with Thomas Carrier-Lafleur, Servanne Monjour and Marcello Vitali-Rosati), Sens public (2018).
-
“Technès : approches technologiques, questions esthétiques et histoire sans noms. Introduction” (with Benoît Turquety and Gilles Mouëllic), in Diego Cavallotti, Simone Dotto et Leonardo Quaresima (eds.), A History of Cinema Without Names/2. Contexts and Practical Applications, Milan, Mimesis International, 2017, p. 91-92.
-
“Présentation” (with Viva Paci), Cinémas 26, nos. 2-3 (Spring 2016), pp. 17-30.
-
“Une nouvelle direction à la revue : l’avenir et le passé d’une discipline en développement”, Cinémas 26, nos. 2-3 (Spring 2016), pp. 7-15.
-
“Présentation” (with Martin Lefebvre), in André Gaudreault and Martin Lefebvre (eds.), Techniques et technologies du cinéma. Modalités, usages et pratiques des dispositifs cinématographiques à travers l’histoire, Rennes: Presses universitaires de Rennes, 2015, pp. 9-17.
-
“Introduction” (with Laurent Le Forestier), in André Gaudreault and Laurent Le Forestier (eds.), assisted by Stéphane Tralongo, Méliès, carrefour des attractions, followed by Correspondance de Georges Méliès (1904-1937), Rennes: Presses universitaires de Rennes, 2014, pp. 9-13.
-
“Introduction” (with Laurent Le Forestier), Cinéma & Cie 13, no. 21 (2013), pp. 11-14.
-
“Introduction” (with Nicolas Dulac and Santiago Hidalgo), in André Gaudreault, Nicolas Dulac and Santiago Hidalgo (eds.), A Companion to Early Cinema, Hoboken: Wiley-Blackwell, 2012, pp. 1-12.
-
“Cinéma et technologie. Présentation/Cinema and Technology: Presentation” (with Martin Lefebvre), Recherches sémiotiques|Semiotic Inquiry 31, nos. 1-2-3 (2011), pp. 3-8/9-14.
-
“Guest Editorial: Could Kinematography Be Animation and Animation Kinematography?” (with Philippe Gauthier), Animation 6, no. 2 (July 2011), pp. 85-91.
-
“Préface”, in Caroline Chik, L’image paradoxale. Fixité et mouvement, Villeneuve d’Ascq: Presses universitaires du Septentrion, 2011, pp. 11-12.
-
“Un mot du directeur de la revue”, Cinémas 11, nos. 2-3 (Fall 2011), pp. 7-8.
-
“Introduction: American Cinema Emerges (1890-1909)” (with Tom Gunning), in André Gaudreault (ed.), American Cinema, 1890-1909: Themes and Variations, New Brunswick (NJ): Rutgers University Press, 2009, pp. 1-21.
-
“En guise d’ouverture sur la problématique cinéma/bande dessinée” (with Philippe Marion), in Leonardo Quaresima, Laura Ester Stangalli and Federico Zecca (eds.), Cinema e fumetto/Cinema and Comics, Udine: Forum, 2009, pp. 23-29.
-
“Les 20 ans d’une revue savante…”, Cinémas 19, nos. 2-3 (Fall 2009), pp. 9-11.
-
“Préface”, in Philippe Gauthier, Le montage alterné avant Griffith. Le cas Pathé, Paris: L’Harmattan, 2008, pp. 13-17.
-
“Hommage au fondateur de la revue”, Cinémas 19, no. 1 (Fall 2008), pp. 7-9.
-
“Introduction” (with François Albera and Marta Braun), in François Albera, Marta Braun and André Gaudreault (eds.), Arrêt sur image, fragmentation du temps. Aux sources de la culture visuelle moderne/Stop Motion, Fragmentation of Time: Exploring the Roots of Modern Visual Culture, Lausanne: Payot Lausanne, 2002, pp. 11-14.
-
“Présentation” (with Jean-Pierre-Sirois-Trahan), in La vie ou du moins ses apparences. Émergence du cinéma dans la presse de la Belle Époque (1894-1910), anthology selected, edited and annotated by André Gaudreault and Jean-Pierre Sirois-Trahan, Montreal: Cinémathèque québécoise/GRAFICS, 2002, pp. 11-13.
-
“Présentation” (with François Jost), Sociétés & Représentations 9 (2000), pp. 5-8.
-
“Présentation” (with Claire Dupré La Tour and Roberta Pearson), in Claire Dupré La Tour, André Gaudreault and Roberta Pearson (eds.), Le cinéma au tournant du siècle/Cinema at the Turn of the Century, Quebec City and Lausanne: Nota bene/Payot Lausanne, 1998, pp. 7-11.
-
“Le bonimenteur de vues animées/The Film Lecturer” (with Germain Lacasse), Iris 22 (1997), pp. 3-16.
-
“Présentation” (with Roland Cosandey and Tom Gunning), in Roland Cosandey, André Gaudreault and Tom Gunning (eds.), Une invention du diable? Cinéma des premiers temps et religion/An Invention of the Devil? Religion and Early Cinema, Lausanne and Sainte-Foy: Payot Lausanne/Presses de l’Université Laval, 1992, pp. XII-XVII.
-
“Introduction”, in Pierre Véronneau, Michael Dorland and Seth Feldman (eds.), Dialogue. Cinéma canadien et québécois/Canadian and Quebec Cinema, Montreal: Médiatexte Publications/Cinémathèque québécoise, 1987, pp. 13-15.
-
“Un cinéma sans foi ni loi”, Iris 2, no. 1 (1984), pp. 2-4.
-
“Présentation”, Les Dossiers de la Cinémathèque 10 (1982), pp. 3-6.
-
“Introduction to the filmography”, in André Gaudreault (ed.), Cinema 1900-1906: An Analytical Study, vol. 2, Filmographie analytique/Analytical Filmography, Brussels: FIAF, 1982, pp. 9-15.
-
“Présentation”, Études littéraires 13, no. 1 (April 1980), pp. 7-10.
-
“Présentation”, Les Cahiers de la Cinémathèque 29 (Winter 1979), pp. 3-5.