André Gaudreault
Biographic Data
| ID | 1484964 |
|---|---|
| NAME | André Gaudreault |
| GIVEN NAMES | André |
| FAMILY NAME | Gaudreault |
| SIGNATURE | GAUDREAULT A |
| AFFILIATIONS | Université de Montréal |
| VERIFIED | No |
| TOTAL WORKS | 22 |
| TOTAL CITATIONS | 14 |
| AUTHOR COUNT | 21 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1979 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
Les intervalles sériels à l’aune des « séries culturelles »
Dans la mesure ou elle s’inscrit par definition en creux, et comme en negatif, la notion d’intervalle permet d’explorer avec un regard nouveau la genealogie et l’intermedialite, et plus particulierement, ici, la comprehension du cinema quant aux manieres multiples et changeantes qu’il a de se situer dans son environnement mediatique. A cette fin, le present article propose de mettre en perspective le concept d’intervalle avec celui de serie cultu…
O Cinema Dito dos Primeiros Tempos
A noção de séries culturais permite pensar visões e discursos alternativos sobre as condições para o advento do cinema. Numa perspectiva que considera a "polifonia" institucional e cultural que precede e caracteriza os primeiros tempos do cinema, onde se inscrevem notadamente o praxinoscópio, a lanterna mágica e o kinetoscópio de Edison, trata-se de estabelecer a série cultural da animação como quadro de referência para o conjunto da rescinematog…
L’invention littéraire des médias
Les médias existeraient-ils sans la littérature? Pourrait-on parler de « télévision », de « photographie », de « cinéma » ou du « numérique » sans que ces dispositifs aient aussi été construits, institutionnalisés et même parfois déconstruits dans l’imaginaire collectif par la littérature et son discours? À l’heure où le numérique semble encore s’inventer, le présent dossier vise à souligner le rôle du fait littéraire dans la construction de nos …
Le récit cinématographique
Measuring the ‘double birth’ model against the digital age
The model of the ‘double birth’ of cinema relates the invention of an apparatus for capturing and restoring moving images to the establishment of an institution for the production and exhibition of moving images. This model rejects any singular conception of a phenomenon as complex as cinema. While its ‘second birth’, that of the medium’s institutionalisation, consists in fixing for a period of time the federation of cultural series which make up…
A Companion to Early Cinema
Companion to Early Cinema
The mysterious affair of styles in the age of kine‐attractography
In the beginning, the kinematograph was intended to be a simple reproductive device for recording what lay before its lens, whether natural views or artificially arranged scenes. On the one hand were scenes whose unfolding owed nothing to the person recording them, and on the other scenes whose arrangement and unfolding were the responsibility of the camera operator or one of his adjuvants (director, actor, accomplice, stage manager, etc.). There…
From Plato to Lumière
With this lucid translation of Du litteraire au filmique , André Gaudreault's highly influential and original study of film narratology is now accessible to English-language audiences for the first time.
Cross‐cutting in the face of history
This article explores, from historiographical and archival perspectives, the tumultuous trajectory of Attack on a China Mission (1900) by James Williamson. Seen by traditional historians as a precursor to cross‐cutting, for several years the film existed only in the form of a sales catalogue description. No copies of it seemed to exist in the archives. The discovery of two copies in 1950 and 1985 raised many questions among historians, since neit…
One and many
This article is concerned with the essential paradox of cinematography, a serial phenomenon that has as its goal the creation of an illusion of continuity and unity from diversity and multiplicity. It is concerned fundamentally with the dialectical movement in cinematography from one to many and from there to a new unity. The author argues that there existed a similar tension in early photography, which sought initially to isolate a single ‘virtu…
Méliès the Magician
A medium is always born twice …1
Un média naît toujours deux fois
L'étude de la « naissance » du cinéma, qui a été un processus relativement lent, révèle que l'affirmation de l'identité singulière du média cinématographique a été loin de s'imposer d'emblée. L'histoire du cinéma des premiers temps pourrait se lire comme un passage articulé selon trois termes en gradation : l'apparition d'une technologie, les « machines à vues », l'émergence d'un dispositif, celui des « vues animées », puis l'avènement d'une inst…
Présentation
Le corps, le regard et le miroir
De l'histoire du cinema. Methode historique et histoire du cinema
L'histoire du cinema. Nouvelles approches
Theatricality, Narrativity, and Trickality
(1987). Theatricality, Narrativity, and Trickality: Reevaluating the Cinema of Georges Melies. Journal of Popular Film and Television: Vol. 15, The Silent Cinema, pp. 110-119
Présentation
Temporalité et narrativité
But vlrtually the most important and most significant fact from thls point of view is the assumption of an increasingly greater rôle in the twentieth century by the temporal art for which time is almost the fundamental (and sole) structural principle -the cinéma.»Vjaceslav V. IVANOV Le cinéma sait si bien raconter qu'on a parfois l'impression qu'il en a toujours été ainsi.L'intérêt majeur que peut pré senter la production cinématographique du déb…
Detours in Film Narrative
For some time now the appearance of cross-cutting has been a problem for film historians. An earlier generation of historians traced it to the Brighton school (Attack on a China Mission, among other films) and the films of Edwin Porter. Many of them agreed that Porter discovered this form of editorial construction, relying on certain documents to suggest its presence in Life of an American Fireman (1903). They were, however, unable to see the fil…
Un média naît toujours deux fois
L'étude de la « naissance » du cinéma, qui a été un processus relativement lent, révèle que l'affirmation de l'identité singulière du média cinématographique a été loin de s'imposer d'emblée. L'histoire du cinéma des premiers temps pourrait se lire comme un passage articulé selon trois termes en gradation : l'apparition d'une technologie, les « machines à vues », l'émergence d'un dispositif, celui des « vues animées », puis l'avènement d'une inst…
Measuring the ‘double birth’ model against the digital age
The model of the ‘double birth’ of cinema relates the invention of an apparatus for capturing and restoring moving images to the establishment of an institution for the production and exhibition of moving images. This model rejects any singular conception of a phenomenon as complex as cinema. While its ‘second birth’, that of the medium’s institutionalisation, consists in fixing for a period of time the federation of cultural series which make up…
The mysterious affair of styles in the age of kine‐attractography
In the beginning, the kinematograph was intended to be a simple reproductive device for recording what lay before its lens, whether natural views or artificially arranged scenes. On the one hand were scenes whose unfolding owed nothing to the person recording them, and on the other scenes whose arrangement and unfolding were the responsibility of the camera operator or one of his adjuvants (director, actor, accomplice, stage manager, etc.). There…
Méliès the Magician
Présentation
L'histoire du cinema. Nouvelles approches
Temporalité et narrativité
But vlrtually the most important and most significant fact from thls point of view is the assumption of an increasingly greater rôle in the twentieth century by the temporal art for which time is almost the fundamental (and sole) structural principle -the cinéma.»Vjaceslav V. IVANOV Le cinéma sait si bien raconter qu'on a parfois l'impression qu'il en a toujours été ainsi.L'intérêt majeur que peut pré senter la production cinématographique du déb…
Detours in Film Narrative
For some time now the appearance of cross-cutting has been a problem for film historians. An earlier generation of historians traced it to the Brighton school (Attack on a China Mission, among other films) and the films of Edwin Porter. Many of them agreed that Porter discovered this form of editorial construction, relying on certain documents to suggest its presence in Life of an American Fireman (1903). They were, however, unable to see the fil…
Detours in Film Narrative
For some time now the appearance of cross-cutting has been a problem for film historians. An earlier generation of historians traced it to the Brighton school (Attack on a China Mission, among other films) and the films of Edwin Porter. Many of them agreed that Porter discovered this form of editorial construction, relying on certain documents to suggest its presence in Life of an American Fireman (1903). They were, however, unable to see the fil…
Présentation
Temporalité et narrativité
But vlrtually the most important and most significant fact from thls point of view is the assumption of an increasingly greater rôle in the twentieth century by the temporal art for which time is almost the fundamental (and sole) structural principle -the cinéma.»Vjaceslav V. IVANOV Le cinéma sait si bien raconter qu'on a parfois l'impression qu'il en a toujours été ainsi.L'intérêt majeur que peut pré senter la production cinématographique du déb…
Theatricality, Narrativity, and Trickality
(1987). Theatricality, Narrativity, and Trickality: Reevaluating the Cinema of Georges Melies. Journal of Popular Film and Television: Vol. 15, The Silent Cinema, pp. 110-119
L'histoire du cinema. Nouvelles approches
De l'histoire du cinema. Methode historique et histoire du cinema
Le corps, le regard et le miroir
Un média naît toujours deux fois
L'étude de la « naissance » du cinéma, qui a été un processus relativement lent, révèle que l'affirmation de l'identité singulière du média cinématographique a été loin de s'imposer d'emblée. L'histoire du cinéma des premiers temps pourrait se lire comme un passage articulé selon trois termes en gradation : l'apparition d'une technologie, les « machines à vues », l'émergence d'un dispositif, celui des « vues animées », puis l'avènement d'une inst…
Présentation
A medium is always born twice …1
One and many
This article is concerned with the essential paradox of cinematography, a serial phenomenon that has as its goal the creation of an illusion of continuity and unity from diversity and multiplicity. It is concerned fundamentally with the dialectical movement in cinematography from one to many and from there to a new unity. The author argues that there existed a similar tension in early photography, which sought initially to isolate a single ‘virtu…
Méliès the Magician
From Plato to Lumière
With this lucid translation of Du litteraire au filmique , André Gaudreault's highly influential and original study of film narratology is now accessible to English-language audiences for the first time.
Cross‐cutting in the face of history
This article explores, from historiographical and archival perspectives, the tumultuous trajectory of Attack on a China Mission (1900) by James Williamson. Seen by traditional historians as a precursor to cross‐cutting, for several years the film existed only in the form of a sales catalogue description. No copies of it seemed to exist in the archives. The discovery of two copies in 1950 and 1985 raised many questions among historians, since neit…
The mysterious affair of styles in the age of kine‐attractography
In the beginning, the kinematograph was intended to be a simple reproductive device for recording what lay before its lens, whether natural views or artificially arranged scenes. On the one hand were scenes whose unfolding owed nothing to the person recording them, and on the other scenes whose arrangement and unfolding were the responsibility of the camera operator or one of his adjuvants (director, actor, accomplice, stage manager, etc.). There…
A Companion to Early Cinema
Companion to Early Cinema
Measuring the ‘double birth’ model against the digital age
The model of the ‘double birth’ of cinema relates the invention of an apparatus for capturing and restoring moving images to the establishment of an institution for the production and exhibition of moving images. This model rejects any singular conception of a phenomenon as complex as cinema. While its ‘second birth’, that of the medium’s institutionalisation, consists in fixing for a period of time the federation of cultural series which make up…
Le récit cinématographique
O Cinema Dito dos Primeiros Tempos
A noção de séries culturais permite pensar visões e discursos alternativos sobre as condições para o advento do cinema. Numa perspectiva que considera a "polifonia" institucional e cultural que precede e caracteriza os primeiros tempos do cinema, onde se inscrevem notadamente o praxinoscópio, a lanterna mágica e o kinetoscópio de Edison, trata-se de estabelecer a série cultural da animação como quadro de referência para o conjunto da rescinematog…
L’invention littéraire des médias
Les médias existeraient-ils sans la littérature? Pourrait-on parler de « télévision », de « photographie », de « cinéma » ou du « numérique » sans que ces dispositifs aient aussi été construits, institutionnalisés et même parfois déconstruits dans l’imaginaire collectif par la littérature et son discours? À l’heure où le numérique semble encore s’inventer, le présent dossier vise à souligner le rôle du fait littéraire dans la construction de nos …
Les intervalles sériels à l’aune des « séries culturelles »
Dans la mesure ou elle s’inscrit par definition en creux, et comme en negatif, la notion d’intervalle permet d’explorer avec un regard nouveau la genealogie et l’intermedialite, et plus particulierement, ici, la comprehension du cinema quant aux manieres multiples et changeantes qu’il a de se situer dans son environnement mediatique. A cette fin, le present article propose de mettre en perspective le concept d’intervalle avec celui de serie cultu…
Art (16 works) · Movie theater (9 works) · Art history (8 works) · Cinema and Media Studies (8 works) · Philosophy (8 works) · Humanities (7 works) · Visual arts (7 works) · History (4 works) · Philosophy (4 works) · Computer Science (3 works)