Publications 2002

Books

• 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.

Peer-reviewed articles and contributions to edited collections

• “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”).