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Lazzaro.
THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and Health CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
CRAFTS AND TECHNIQUES OF EARLY CINEMA IN THE 1900S RIO DE Crafts and Techniques of Early Cinema in the 1900s Rio de Janeiro between the Theater, the Newspaper, and the Screen THE PAPER MIRROR: THE ROLES OF THE CAMERAMAN AND With few exceptions, significant but unfortunately not lasting, in Italy the discourses on the cinema begin to find stable and important spaces in the newspapers ÉTAT DES LIEUX DES RECHERCHES SUR LE « REPÈRE DE CONTRÔLE Inventory of research on the “control marker”, the evolution of a little-known workshop practice. At a time when the Pathé company was intensifying and organizing its assembly line approach to film production, a system of markers appeared (black and white stripes) began to appear in the image on many films shot in the studio by 1904and onwards.
COLLOQUE DOMITOR 2020 CONFERENCE Crafts, Trades, and Techniques of Early Cinema. ONLINE, 17–20 NOVEMBER 2020. Call for participants >>. On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and THE LAZZARO FAMILY AND THEIR INTERMEDIAL CRAFTS AND TRADES < Program < PANEL NO. 5: Early Latin American Cinema. Luciana-Correa-de-Araujo_Domitor-2020. Download communication. The Lazzaro Troupe, which performed stage shows between 1908 and 1910 in Rio de Janeiro and other cities, was directed by Salvatore Lazzaro and had among other attractions his daughters Griselda and BraziliaLazzaro.
THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and Health CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
CRAFTS AND TECHNIQUES OF EARLY CINEMA IN THE 1900S RIO DE Crafts and Techniques of Early Cinema in the 1900s Rio de Janeiro between the Theater, the Newspaper, and the Screen THE PAPER MIRROR: THE ROLES OF THE CAMERAMAN AND With few exceptions, significant but unfortunately not lasting, in Italy the discourses on the cinema begin to find stable and important spaces in the newspapers ÉTAT DES LIEUX DES RECHERCHES SUR LE « REPÈRE DE CONTRÔLE Inventory of research on the “control marker”, the evolution of a little-known workshop practice. At a time when the Pathé company was intensifying and organizing its assembly line approach to film production, a system of markers appeared (black and white stripes) began to appear in the image on many films shot in the studio by 1904and onwards.
WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
UNIDENTIFIED FILMS: STILLS Eastern Standard Time (UTC -5:00) America/New_York. Log In CRAFTING THE FLICKERSCAPE OF EARLY CINEMA Guy Edmonds is an Associate Researcher with Transtechnology Research at Plymouth University where he completed his doctoral thesis, Vibrating Existence: Early Cinema and Cognitive Creativity as a Marie Curie Fellow on the CogNovo doctoral training programme. His research interests revolve around exploring and understanding the affective potential of the moving image, especially in regard to PANEL NO. 5: EARLY LATIN AMERICAN CINEMA Carolina Cappa (Independent) – Argentinian Nitrate, An Early Cinema History. Luciana Corrêa de Araújo (Federal University of São Carlos) – The Lazzaro Family and Their Intermedial Crafts and Trades in Early Brazilian Cinema. Danielle Crepaldi Carvalho (Universidade de São Paulo) – Crafts and Techniques of Early Cinema in the 1900s Rio de Janeiro between the Theater, the Newspaper THE PAPER MIRROR: THE ROLES OF THE CAMERAMAN AND With few exceptions, significant but unfortunately not lasting, in Italy the discourses on the cinema begin to find stable and important spaces in the newspapers ÉTAT DES LIEUX DES RECHERCHES SUR LE « REPÈRE DE CONTRÔLE Inventory of research on the “control marker”, the evolution of a little-known workshop practice. At a time when the Pathé company was intensifying and organizing its assembly line approach to film production, a system of markers appeared (black and white stripes) began to appear in the image on many films shot in the studio by 1904and onwards.
FROM BRUSSELS TO AMSTERDAM: HOW “ALL THE FILMS OF THE Elif Rongen-Kaynakçi is the Curator of Silent Film at Eye Filmmuseum. After graduating from the University of Amsterdam, Film & TV Studies in 1997, she completed the Archimedia training program in LES MUSICIENS DANS LES PROGRAMMES DES SALLES DE CINÉMA Musicians in Parisian Cinema Programs Between 1906 and 1914. This contribution proposes to study the musicians’ practice in Parisian cinemas through the analysis of programs published between 1906 and 1914 and preserved by the Bibliothèque Historique de la Ville deParis.
ROADSHOWING THE LIFE OF OUR SAVIOUR (1914): FEATURE This paper examines holdovers of practices from legitimate theater into the early years of standardized feature film distribution. It takes as its case study the Shubert Organization’s distribution of the seven-reel Pathé Freres passion play The Life of Our Saviour in early 1914, which was coordinated by Robert W. Priest, head of the Shubert Motion Picture Department and publicity director COLLOQUE DOMITOR 2020 CONFERENCE Crafts, Trades, and Techniques of Early Cinema. ONLINE, 17–20 NOVEMBER 2020. Call for participants >>. On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and HealthUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
CRAFTS AND TECHNIQUES OF EARLY CINEMA IN THE 1900S RIO DE Crafts and Techniques of Early Cinema in the 1900s Rio de Janeiro between the Theater, the Newspaper, and the Screen THE PAPER MIRROR: THE ROLES OF THE CAMERAMAN AND With few exceptions, significant but unfortunately not lasting, in Italy the discourses on the cinema begin to find stable and important spaces in the newspapers ÉTAT DES LIEUX DES RECHERCHES SUR LE « REPÈRE DE CONTRÔLE Inventory of research on the “control marker”, the evolution of a little-known workshop practice. At a time when the Pathé company was intensifying and organizing its assembly line approach to film production, a system of markers appeared (black and white stripes) began to appear in the image on many films shot in the studio by 1904and onwards.
COLLOQUE DOMITOR 2020 CONFERENCE Crafts, Trades, and Techniques of Early Cinema. ONLINE, 17–20 NOVEMBER 2020. Call for participants >>. On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and HealthUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
CRAFTS AND TECHNIQUES OF EARLY CINEMA IN THE 1900S RIO DE Crafts and Techniques of Early Cinema in the 1900s Rio de Janeiro between the Theater, the Newspaper, and the Screen THE PAPER MIRROR: THE ROLES OF THE CAMERAMAN AND With few exceptions, significant but unfortunately not lasting, in Italy the discourses on the cinema begin to find stable and important spaces in the newspapers ÉTAT DES LIEUX DES RECHERCHES SUR LE « REPÈRE DE CONTRÔLE Inventory of research on the “control marker”, the evolution of a little-known workshop practice. At a time when the Pathé company was intensifying and organizing its assembly line approach to film production, a system of markers appeared (black and white stripes) began to appear in the image on many films shot in the studio by 1904and onwards.
WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
THE LAZZARO FAMILY AND THEIR INTERMEDIAL CRAFTS AND TRADES < Program < PANEL NO. 5: Early Latin American Cinema. Luciana-Correa-de-Araujo_Domitor-2020. Download communication. The Lazzaro Troupe, which performed stage shows between 1908 and 1910 in Rio de Janeiro and other cities, was directed by Salvatore Lazzaro and had among other attractions his daughters Griselda and BraziliaLazzaro.
PANEL NO. 2: THE PROFESSIONALIZATION OF FILMMAKING Oksana Chefranova (Yale University) – Techniques of Set Design, Technologies of Atmosphere: Professionalization of Film Director in Early Russian Cinema. Clara Auclair ((University of Rochester & Université Paris Diderot)- Récits de décorateurs : regards croisés de Ben Carré et Henri Ménessier sur leurs trajectoires transatlantiques. Anna Kovalova (European University of St. Peterburg CRAFTING THE FLICKERSCAPE OF EARLY CINEMA Guy Edmonds is an Associate Researcher with Transtechnology Research at Plymouth University where he completed his doctoral thesis, Vibrating Existence: Early Cinema and Cognitive Creativity as a Marie Curie Fellow on the CogNovo doctoral training programme. His research interests revolve around exploring and understanding the affective potential of the moving image, especially in regard to UNIDENTIFIED FILMS: STILLS Eastern Standard Time (UTC -5:00) America/New_York. Log In PANEL NO. 5: EARLY LATIN AMERICAN CINEMA Carolina Cappa (Independent) – Argentinian Nitrate, An Early Cinema History. Luciana Corrêa de Araújo (Federal University of São Carlos) – The Lazzaro Family and Their Intermedial Crafts and Trades in Early Brazilian Cinema. Danielle Crepaldi Carvalho (Universidade de São Paulo) – Crafts and Techniques of Early Cinema in the 1900s Rio de Janeiro between the Theater, the Newspaper THE PAPER MIRROR: THE ROLES OF THE CAMERAMAN AND With few exceptions, significant but unfortunately not lasting, in Italy the discourses on the cinema begin to find stable and important spaces in the newspapers ÉTAT DES LIEUX DES RECHERCHES SUR LE « REPÈRE DE CONTRÔLE Inventory of research on the “control marker”, the evolution of a little-known workshop practice. At a time when the Pathé company was intensifying and organizing its assembly line approach to film production, a system of markers appeared (black and white stripes) began to appear in the image on many films shot in the studio by 1904and onwards.
ROADSHOWING THE LIFE OF OUR SAVIOUR (1914): FEATURE This paper examines holdovers of practices from legitimate theater into the early years of standardized feature film distribution. It takes as its case study the Shubert Organization’s distribution of the seven-reel Pathé Freres passion play The Life of Our Saviour in early 1914, which was coordinated by Robert W. Priest, head of the Shubert Motion Picture Department and publicity director LES MUSICIENS DANS LES PROGRAMMES DES SALLES DE CINÉMA Musicians in Parisian Cinema Programs Between 1906 and 1914. This contribution proposes to study the musicians’ practice in Parisian cinemas through the analysis of programs published between 1906 and 1914 and preserved by the Bibliothèque Historique de la Ville deParis.
COLLOQUE DOMITOR 2020 CONFERENCE Crafts, Trades, and Techniques of Early Cinema. ONLINE, 17–20 NOVEMBER 2020. Call for participants >>. On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle PANEL NO. 6: STUDIO LABOR AND ORGANIZATION Ian Christie (Birkbeck College, University of London) – Staffing an Early Moving Picture Works: Evidence from Paul’s and Hepworth’s Studios. Wyatt D. Phillips (Texas Tech University) – Accounting for the Accountants: The Articulation of “Modern” Business Practices in American Motion Picture Trade Papers to 1915. Hannah Garibaldi (University of California Santa Barbara ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and HealthUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
ARGENTINIAN NITRATE, AN EARLY CINEMA HISTORY Early cinema in Argentina had a slightly different development than those of North American or European countries. It could be said that it had something to do with the worldwide position in which Argentina was placed during the first years of the 20 th century as an agricultural and livestock supplier of raw materials for European markets. This economic dependency was also cultural and it COLLOQUE DOMITOR 2020 CONFERENCE Crafts, Trades, and Techniques of Early Cinema. ONLINE, 17–20 NOVEMBER 2020. Call for participants >>. On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle PANEL NO. 6: STUDIO LABOR AND ORGANIZATION Ian Christie (Birkbeck College, University of London) – Staffing an Early Moving Picture Works: Evidence from Paul’s and Hepworth’s Studios. Wyatt D. Phillips (Texas Tech University) – Accounting for the Accountants: The Articulation of “Modern” Business Practices in American Motion Picture Trade Papers to 1915. Hannah Garibaldi (University of California Santa Barbara ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and HealthUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
ARGENTINIAN NITRATE, AN EARLY CINEMA HISTORY Early cinema in Argentina had a slightly different development than those of North American or European countries. It could be said that it had something to do with the worldwide position in which Argentina was placed during the first years of the 20 th century as an agricultural and livestock supplier of raw materials for European markets. This economic dependency was also cultural and it WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
PANEL NO. 6: STUDIO LABOR AND ORGANIZATION Ian Christie (Birkbeck College, University of London) – Staffing an Early Moving Picture Works: Evidence from Paul’s and Hepworth’s Studios. Wyatt D. Phillips (Texas Tech University) – Accounting for the Accountants: The Articulation of “Modern” Business Practices in American Motion Picture Trade Papers to 1915. Hannah Garibaldi (University of California Santa BarbaraUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. UNIDENTIFIED FILMS: STILLS Eastern Standard Time (UTC -5:00) America/New_York. Log In PANEL NO. 2: THE PROFESSIONALIZATION OF FILMMAKING Oksana Chefranova (Yale University) – Techniques of Set Design, Technologies of Atmosphere: Professionalization of Film Director in Early Russian Cinema. Clara Auclair ((University of Rochester & Université Paris Diderot)- Récits de décorateurs : regards croisés de Ben Carré et Henri Ménessier sur leurs trajectoires transatlantiques. Anna Kovalova (European University of St. Peterburg PANEL NO. 4: THE POLITICS OF DISTRIBUTION AND EXHIBTION Martin L. Johnson (University of North Carolina at Chapel Hill) – Crafting A Motion Picture Show: Early Efforts to Bring Cinema to Nontheatrical Places. Derek Long (University of Illinois at Urbana-Champaign) – Roadshowing The Life of Our Saviour (1914): Feature Distribution at the Shubert Organization’s Motion Picture Department. Marina Dahlquist (Stockholm University) – Censorship CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
ARGENTINIAN NITRATE, AN EARLY CINEMA HISTORY Early cinema in Argentina had a slightly different development than those of North American or European countries. It could be said that it had something to do with the worldwide position in which Argentina was placed during the first years of the 20 th century as an agricultural and livestock supplier of raw materials for European markets. This economic dependency was also cultural and it ROADSHOWING THE LIFE OF OUR SAVIOUR (1914): FEATURE This paper examines holdovers of practices from legitimate theater into the early years of standardized feature film distribution. It takes as its case study the Shubert Organization’s distribution of the seven-reel Pathé Freres passion play The Life of Our Saviour in early 1914, which was coordinated by Robert W. Priest, head of the Shubert Motion Picture Department and publicity director ÉTAT DES LIEUX DES RECHERCHES SUR LE « REPÈRE DE CONTRÔLE Inventory of research on the “control marker”, the evolution of a little-known workshop practice. At a time when the Pathé company was intensifying and organizing its assembly line approach to film production, a system of markers appeared (black and white stripes) began to appear in the image on many films shot in the studio by 1904and onwards.
COLLOQUE DOMITOR 2020 CONFERENCE Crafts, Trades, and Techniques of Early Cinema. ONLINE, 17–20 NOVEMBER 2020. Call for participants >>. On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle PANEL NO. 6: STUDIO LABOR AND ORGANIZATION Ian Christie (Birkbeck College, University of London) – Staffing an Early Moving Picture Works: Evidence from Paul’s and Hepworth’s Studios. Wyatt D. Phillips (Texas Tech University) – Accounting for the Accountants: The Articulation of “Modern” Business Practices in American Motion Picture Trade Papers to 1915. Hannah Garibaldi (University of California Santa Barbara ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and HealthUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
ARGENTINIAN NITRATE, AN EARLY CINEMA HISTORY Early cinema in Argentina had a slightly different development than those of North American or European countries. It could be said that it had something to do with the worldwide position in which Argentina was placed during the first years of the 20 th century as an agricultural and livestock supplier of raw materials for European markets. This economic dependency was also cultural and it COLLOQUE DOMITOR 2020 CONFERENCE Crafts, Trades, and Techniques of Early Cinema. ONLINE, 17–20 NOVEMBER 2020. Call for participants >>. On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle PANEL NO. 6: STUDIO LABOR AND ORGANIZATION Ian Christie (Birkbeck College, University of London) – Staffing an Early Moving Picture Works: Evidence from Paul’s and Hepworth’s Studios. Wyatt D. Phillips (Texas Tech University) – Accounting for the Accountants: The Articulation of “Modern” Business Practices in American Motion Picture Trade Papers to 1915. Hannah Garibaldi (University of California Santa Barbara ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and HealthUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
ARGENTINIAN NITRATE, AN EARLY CINEMA HISTORY Early cinema in Argentina had a slightly different development than those of North American or European countries. It could be said that it had something to do with the worldwide position in which Argentina was placed during the first years of the 20 th century as an agricultural and livestock supplier of raw materials for European markets. This economic dependency was also cultural and it WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
PANEL NO. 6: STUDIO LABOR AND ORGANIZATION Ian Christie (Birkbeck College, University of London) – Staffing an Early Moving Picture Works: Evidence from Paul’s and Hepworth’s Studios. Wyatt D. Phillips (Texas Tech University) – Accounting for the Accountants: The Articulation of “Modern” Business Practices in American Motion Picture Trade Papers to 1915. Hannah Garibaldi (University of California Santa BarbaraUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. UNIDENTIFIED FILMS: STILLS Eastern Standard Time (UTC -5:00) America/New_York. Log In PANEL NO. 2: THE PROFESSIONALIZATION OF FILMMAKING Oksana Chefranova (Yale University) – Techniques of Set Design, Technologies of Atmosphere: Professionalization of Film Director in Early Russian Cinema. Clara Auclair ((University of Rochester & Université Paris Diderot)- Récits de décorateurs : regards croisés de Ben Carré et Henri Ménessier sur leurs trajectoires transatlantiques. Anna Kovalova (European University of St. Peterburg PANEL NO. 4: THE POLITICS OF DISTRIBUTION AND EXHIBTION Martin L. Johnson (University of North Carolina at Chapel Hill) – Crafting A Motion Picture Show: Early Efforts to Bring Cinema to Nontheatrical Places. Derek Long (University of Illinois at Urbana-Champaign) – Roadshowing The Life of Our Saviour (1914): Feature Distribution at the Shubert Organization’s Motion Picture Department. Marina Dahlquist (Stockholm University) – Censorship CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
ARGENTINIAN NITRATE, AN EARLY CINEMA HISTORY Early cinema in Argentina had a slightly different development than those of North American or European countries. It could be said that it had something to do with the worldwide position in which Argentina was placed during the first years of the 20 th century as an agricultural and livestock supplier of raw materials for European markets. This economic dependency was also cultural and it ROADSHOWING THE LIFE OF OUR SAVIOUR (1914): FEATURE This paper examines holdovers of practices from legitimate theater into the early years of standardized feature film distribution. It takes as its case study the Shubert Organization’s distribution of the seven-reel Pathé Freres passion play The Life of Our Saviour in early 1914, which was coordinated by Robert W. Priest, head of the Shubert Motion Picture Department and publicity director ÉTAT DES LIEUX DES RECHERCHES SUR LE « REPÈRE DE CONTRÔLE Inventory of research on the “control marker”, the evolution of a little-known workshop practice. At a time when the Pathé company was intensifying and organizing its assembly line approach to film production, a system of markers appeared (black and white stripes) began to appear in the image on many films shot in the studio by 1904and onwards.
COLLOQUE DOMITOR 2020 CONFERENCE Crafts, Trades, and Techniques of Early Cinema. ONLINE, 17–20 NOVEMBER 2020. Call for participants >>. On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle PANEL NO. 6: STUDIO LABOR AND ORGANIZATION Ian Christie (Birkbeck College, University of London) – Staffing an Early Moving Picture Works: Evidence from Paul’s and Hepworth’s Studios. Wyatt D. Phillips (Texas Tech University) – Accounting for the Accountants: The Articulation of “Modern” Business Practices in American Motion Picture Trade Papers to 1915. Hannah Garibaldi (University of California Santa Barbara ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and HealthUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
ARGENTINIAN NITRATE, AN EARLY CINEMA HISTORY Early cinema in Argentina had a slightly different development than those of North American or European countries. It could be said that it had something to do with the worldwide position in which Argentina was placed during the first years of the 20 th century as an agricultural and livestock supplier of raw materials for European markets. This economic dependency was also cultural and it COLLOQUE DOMITOR 2020 CONFERENCE Crafts, Trades, and Techniques of Early Cinema. ONLINE, 17–20 NOVEMBER 2020. Call for participants >>. On the 125th anniversary of the first projection of Workers Leaving the Lumière Factory in Lyon (1895), this 16th international conference turns its attention to all that occurs behind the factory doors: that is, the crafts, trades, and WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
JÉRÔME SEYDOUX-PATHÉ FOUNDATION: FILMS AND DOCUMENTS Jérôme Seydoux-Pathé Foundation – films and documents. Consult the following links for instructions related to each element. Pathé Cameras and Projectors. THE BRILLIANT BIOGRAPH: EARLIEST MOVING IMAGES OF EUROPE 1897-1902, 52 min, black and white / colors (hand-painted), format 1.33 / music. English intertitles, French subtitles. Netherlands, compilation made in 2020 by Frank Roumen AMERICAN DELSARTISM, GESTURAL MEANING, AND CRAFTING Download transcription. Francois Delsarte and his prescriptive system for movement expression had a powerful influence on 19 th century theatrical performance. The disciples of his system for codifying gestural meaning and cultivating an “expressive” body (Ruyter xvii) brought the work to the United States, and this American Delsartism profoundly influenced the physical training of middle PANEL NO. 6: STUDIO LABOR AND ORGANIZATION Ian Christie (Birkbeck College, University of London) – Staffing an Early Moving Picture Works: Evidence from Paul’s and Hepworth’s Studios. Wyatt D. Phillips (Texas Tech University) – Accounting for the Accountants: The Articulation of “Modern” Business Practices in American Motion Picture Trade Papers to 1915. Hannah Garibaldi (University of California Santa Barbara ROUNDTABLE NO. 1: USEFUL ANIMATION IN EARLY CINEMA Malcolm Cook (University of Southampton) – “Flashed before the gaze of a crowd”: Animation and Advertising in Early British Cinemas, 1909-1916. Michael Cowan (University of Iowa) – Animation and Cultural Geography at the Institut für Kulturforschung (Vienna 1915-1921, Berlin 1919-1933). Scott Curtis (Northwestern University) – Comandon’s Cartoons: Animation and HealthUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
ARGENTINIAN NITRATE, AN EARLY CINEMA HISTORY Early cinema in Argentina had a slightly different development than those of North American or European countries. It could be said that it had something to do with the worldwide position in which Argentina was placed during the first years of the 20 th century as an agricultural and livestock supplier of raw materials for European markets. This economic dependency was also cultural and it WELCOME AND INTRODUCTION Tami Williams (University of Wisconsin-Milwaukee), Priska Morrissey (Université Rennes 2) and Jean-Pierre Sirois-Trahan (UniversitéLaval)
PANEL NO. 6: STUDIO LABOR AND ORGANIZATION Ian Christie (Birkbeck College, University of London) – Staffing an Early Moving Picture Works: Evidence from Paul’s and Hepworth’s Studios. Wyatt D. Phillips (Texas Tech University) – Accounting for the Accountants: The Articulation of “Modern” Business Practices in American Motion Picture Trade Papers to 1915. Hannah Garibaldi (University of California Santa BarbaraUNIDENTIFIED FILMS
< Jérôme Seydoux-Pathé Foundation – films and documents. The following is an identification exercise devised in a spirit of free exchange and discovery. UNIDENTIFIED FILMS: STILLS Eastern Standard Time (UTC -5:00) America/New_York. Log In PANEL NO. 2: THE PROFESSIONALIZATION OF FILMMAKING Oksana Chefranova (Yale University) – Techniques of Set Design, Technologies of Atmosphere: Professionalization of Film Director in Early Russian Cinema. Clara Auclair ((University of Rochester & Université Paris Diderot)- Récits de décorateurs : regards croisés de Ben Carré et Henri Ménessier sur leurs trajectoires transatlantiques. Anna Kovalova (European University of St. Peterburg PANEL NO. 4: THE POLITICS OF DISTRIBUTION AND EXHIBTION Martin L. Johnson (University of North Carolina at Chapel Hill) – Crafting A Motion Picture Show: Early Efforts to Bring Cinema to Nontheatrical Places. Derek Long (University of Illinois at Urbana-Champaign) – Roadshowing The Life of Our Saviour (1914): Feature Distribution at the Shubert Organization’s Motion Picture Department. Marina Dahlquist (Stockholm University) – Censorship CRAFTING A MOTION PICTURE SHOW: EARLY EFFORTS TO BRING As film historians have long observed, the cinema was not a single thing, but an interconnected set of technologies, infrastructures, andbuilt environments.
ARGENTINIAN NITRATE, AN EARLY CINEMA HISTORY Early cinema in Argentina had a slightly different development than those of North American or European countries. It could be said that it had something to do with the worldwide position in which Argentina was placed during the first years of the 20 th century as an agricultural and livestock supplier of raw materials for European markets. This economic dependency was also cultural and it ROADSHOWING THE LIFE OF OUR SAVIOUR (1914): FEATURE This paper examines holdovers of practices from legitimate theater into the early years of standardized feature film distribution. It takes as its case study the Shubert Organization’s distribution of the seven-reel Pathé Freres passion play The Life of Our Saviour in early 1914, which was coordinated by Robert W. Priest, head of the Shubert Motion Picture Department and publicity director ÉTAT DES LIEUX DES RECHERCHES SUR LE « REPÈRE DE CONTRÔLE Inventory of research on the “control marker”, the evolution of a little-known workshop practice. At a time when the Pathé company was intensifying and organizing its assembly line approach to film production, a system of markers appeared (black and white stripes) began to appear in the image on many films shot in the studio by 1904and onwards.
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COLLOQUE 2020 (EN LIGNE) 16E COLLOQUE INTERNATIONAL DOMITOR PARTENAIRES ARCHIVES: PARIS (FRANCE): CINÉMATHÈQUE FRANÇAISE ET FONDATION JÉRÔME SEYDOUX-PATHÉ EN LIGNE, 17–20 NOVEMBRE 2020 APPEL À CONTRIBUTIONS TÉLÉCHARGER L’APPEL EN PDF >> ------------------------- MÉTIERS, SAVOIR-FAIRE ET TECHNIQUES DANS LE CINÉMA DES PREMIERSTEMPS
EN LIGNE, 17–20 NOVEMBRE 2020 APPEL À CANDIDATURES >> ------------------------- À l’occasion du 125e anniversaire de la projection de _La Sortie de l’usine Lumière à Lyon _(1895), le 16e colloque international de Domitor propose de s’intéresser à tout ce qui se passait de l’autre côté des portes de l’usine, c’est-à-dire aux métiers, savoir-faire et techniques qui, bien que peu représentés à l’écran_, _ont façonné l’expérience cinématographique. Cette entreprise de redécouverte des qualifications et des pratiques qui ont forgé le cinéma en ses premières décennies, dans laquelle l’association Domitor joue un rôle de premier plan depuis sa fondation, vise à mieux comprendre le médium dans ses divers aspects industriels et professionnels. Les savoir-faire et les pratiques des artisans du cinéma (opérateurs de prise de vues ou de projection, metteurs en scène, exploitants, éditeurs, décorateurs, bonimenteurs, journalistes, ingénieurs-chimistes, etc.), tout comme ceux des ouvriers et ouvrières (des usines, ateliers et laboratoires), se sont développés avec l’industrialisation du cinématographe, tout en restant liés aux formes culturelles et technologiques préexistantes. Ce colloque sera l’occasion d’examiner comment l’industrialisation du cinéma, la professionnalisation des travailleurs et des savoir-faire, la standardisation des outils et des gestes, parallèlement aux développement des technologies, ont conduit à la création (parfois au détournement, voire à la subversion) de normes, légitimant certains métiers, pratiques et techniques au détriment d’autres. Ces pratiques et métiers interdépendants les uns des autres et en constant mouvement, de même que les discours et les représentations qui les accompagnent, méritent une analyse historique approfondie, tout particulièrement en termes de division du travail, d’organisations spatiales, locales, (trans)nationales, de hiérarchie et d’identité de genre, d’ethnie, de classe. Nous sollicitons des propositions faisant appel à des méthodologies diverses et travaillant sur les objets les plus variés, dès lors qu’elles éclairent l’histoire des métiers, des savoir-faire, des gestes et techniques filmiques aux premiers temps du cinéma. Citons, parmi les sujets possibles : * Les nouvelles approches et théories sur les métiers, savoir-faire, artisanats, gestes et techniques. * L’histoire, les définitions et les réalités plurielles de métiers trop souvent négligés ou oubliés, comme les constructeurs d’objectifs ou d’appareils, les revendeurs de matériel ou de bandes, les coloristes, les ouvreuses et les caissières, les aboyeurs, les agents de publicité, les auteurs de manuels, les coupeuses/colleuses, les vérificatrices, les _benshi_ et autres bonimenteurs, les conférenciers ambulants, etc. * Les échanges entre les différents métiers, par exemple entre les inventeurs, les ingénieurs, les industriels et les producteurs devues.
* Le rôle joué par les réseaux intermédiaux dans les processus de professionnalisation. Citons par exemple les métiers du costume, de l’éclairage, les lanternistes, les musiciens. * Les outils et les compétences hérités de pratiques préexistantes comme les spectacles de lanterne magique, le vaudeville, le cirque ; de même que les évolutions qui ont amené de nouveaux métiers et de nouvelles pratiques à se développer et s’autonomiser avec l’industrialisation du cinéma. * Le type de professionnalisation et la nature de la formation l’intérieur des studios, laboratoires, usines, écoles, manuels,etc.
* L’environnement de travail (organisation des tâches, circulation des personnes et des informations, objets, gestes) au sein des lieux de tournage, laboratoires, salles de projection, ateliers deconstruction, etc.
* L’infrastructure professionnelle : l’organisation des départements et services ; les contrats de production ou de location ; les réseaux de diffusion des revues spécialisées ; l’émergence d’associations, groupes ou syndicats professionnels ; les lieux d’exposition et de vente du matériel ; le mouvement migratoire et le travail ; la comparaison (entre les sociétés, les pays, les périodes) des modalités de division du travail ; la question de la production et de la livraison de l’énergie nécessaire à la fabrication et à l’exploitation desfilms ; etc.
* Les méthodes et trajectoires professionnelles d’individus éclairant l’histoire d’un métier : ingénieurs, constructeurs, décorateurs, acteurs, projectionnistes, distributeurs, exploitants,etc.
* L’appropriation et l’adaptation de techniques au-delà des normes et des usages prescrits. * Les discours et les représentations des métiers et des techniques dans la presse, les ouvrages et les films. Nous sommes également intéressés par des propositions analysant l’histoire et l’héritage du cinéma des premiers temps au-del de la période 1890-1915. Le cinéma s’étant développé selon des chronologies variables dans le monde, les propositions adoptant une vision large du cinéma des premiers temps relative aux métiers, savoir-faire et techniques sont les bienvenues. MODALITÉS DE SOUMISSION DES PROPOSITIONS Les propositions doivent être envoyées à domitor2020@gmail.com jusqu’au 22 SEPTEMBRE 2019. Toute question relative au colloque doit également être envoyée à cette adresse. Les propositions de communications individuelles ne doivent pas dépasser 300 mots, plus une bibliographie de trois à cinq sources et une brève notice biographique. Les propositions peuvent être rédigées en anglais ou en français. Seules les communications dans l’une de ces deux langues pourront être présentées au colloque. Lors du colloque, les interventions ne devront pas excéder la durée maximale de 20 minutes (éléments audiovisuels inclus) et le quota de 3’000 mots. Les textes définitifs devront être soumis avant le 20 mai 2020 pour en permettre la traduction. Les propositions de panels préconstitués de trois participants sont également possibles. Celles-ci doivent être soumises par la présidente ou le président de séance et regrouper les propositions de contributions individuelles ainsi qu’une brève présentation expliquant la raison d’être du panel. Bien que l’adhésion à Domitor ne soit pas nécessaire pour soumettre une proposition, toute personne présentant une communication lors du colloque devra être membre de l’association : _DOMITOR.ORG/FR/ADHESION_.
CRÉDITS
COMITÉ D’ORGANISATION DU COLLOQUE Ian Christie (Birkbeck College, University of London) Priska Morrissey (Université Rennes 2 – délégation CNRS 2019-21 au sein du laboratoire Thalim) Louis Pelletier (Université de Montréal / Cinémathèquequébécoise)
Valentine Robert (Université de Lausanne) Jean-Pierre Sirois-Trahan (Université Laval) Tami Williams (University of Wisconsin-Milwaukee)COORDINATION
Hugo Ljungbäck (University of North Carolina at Chapel Hill) PARTENAIRES INSTITUTIONNELS CINÉMATHÈQUE FRANÇAISEÉmilie Cauquy
Wafa Ghermani
Laurent Mannoni
FONDATION JÉRÔME SEYDOUX-PATHÉAnne Gourdet-Marès
Stéphanie Salmon
ÉQUIPE TECHNIQUE ET AUXILIAIRES ÉTUDIANTS Directeur technique: Joël Lehmann (Université de Montréal) Traduction et aide à la coordination: Nadeer Djebar (UniversitéLaval)
Support informatique: Lucas Hornung (Université de Montréal) Traduction et aide à la coordination: Guillaume Lavoie (UniversitéLaval)
Conception du site web: Anne Lévesque (Université de Montréal) COMITÉ DE DIRECTION DE DOMITORPRÉSIDENTE
Tami Williams
VICE-PRÉSIDENT·E·SIan Christie
Valentine Robert
SECRÉTAIRES
Clara Auclair
Grazia Ingravalle
TRÉSORIER
Dimitrios Latsis
WEB ÉDITEUR
Colin Williamson
MEMBRES PARTICULIERS Camille Blot-WellensMichael Cowan
Patrick Ellis
Maggie Hennefeld
Louis Pelletier
DESIGN DU SITE WEB DE DOMITOR Monty George, DigitalworxREMERCIEMENTS
Conseil de recherches en sciences humaines du Canada Cinémathèque française Fondation Jérôme Seydoux-PathéEYE Filmmuseum
Indiana University PressTechnès
Université Rennes 2 (UR Arts: Pratiques et Poétiques)Université Laval
University of Wisconsin-Milwaukee Le comité d’organisation aimerait particulièrement remercier: Émilie Cauquy, Wafa Ghermani, Bernard Benoliel et Laurent Mannoni la Cinémathèque française; Anne Gourdet-Marès, Stéphanie Salmon et Sophie Seydoux à la Fondation Jérôme Seydoux-Pathé; Elif Rongen-Kayankçi au Eye Filmmuseum; le comité de direction de Domitor; Clara Auclair (University of Rochester/Université Paris Diderot) pour l’aide avec les traductions; André Gaudreault and Santiago Hidalgo au Laboratoire CinéMédias (Université de Montréal); Monty George, Digitalworx pour le design du site; et les nombreuses personnes qui ont facilité le travail de l’équipe du colloque au cours des deux dernières années. HEURE NORMALE DE L’EST (UTC -5:00)6/3/2021
9:59 AM
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FILMS ET DOCUMENTS
* Fondation Jérôme Seydoux-Pathé * Cinémathéque françaiseSUJETS RÉCENTS
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SÉANCE NO 8/PANEL NO. 8 - Performers and PerformanceBy Domitor 2020
, 6 mois ago
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SÉANCE NO 7/PANEL NO. 7 - In the TheatreBy Domitor 2020
, 6 mois ago
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SÉANCE NO 6/PANEL NO. 6 - Studio Labor and OrganizationBy Domitor 2020
, 6 mois ago
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SÉANCE NO 5/PANEL NO. 5 - Early Latin American CinemaBy Domitor 2020
, 7 mois ago
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SÉANCE NO 4/PANEL NO. 4 - The Politics of Distribution and ExhibtionBy Domitor 2020
, 7 mois ago
Voir tous les sujets Colloque Domitor 2020 Conference - DomitorDetails
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