Photographie et cinéma chez Henri Focillon : illustrer, sérier, diffuser et enseigner. Le renouvellement d’une discipline
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2006
- doi: 10.7202/1069623ar
Ce document est lié à :
RACAR : Revue d'art canadienne ; vol. 31 no. 1-2 (2006)
Tous droits réservés © UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada), 2006
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Generation Procreation Pangenesis Amphimixis Feature films--History and criticism Movies Films Moving-pictures Cinema Foundry practice CastingCiter ce document
Colin Lemoine, « Photographie et cinéma chez Henri Focillon : illustrer, sérier, diffuser et enseigner. Le renouvellement d’une discipline », RACAR: Revue d'art canadienne / RACAR: Canadian Art Review, ID : 10.7202/1069623ar
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Résumé
Henri Focillon is representative of a period in art history when the reproducibility of the image was established. The exponential conditions of access to images invite us to rethink art history as a theoretical discipline animated by increasingly operative scholarly analysis. Concreteness, which brings image culture into teaching and the dissemination of knowledge, has determining foundations in photography (reproduction and circulation), in “casting” – lax vehicle and figure of the double – and cinema. Thus, after founding the medieval department of the Musée des moulages in Lyon, Focillon conceived a Bureau International de Reproduction Photographique, a veritable “database” before its time. He also researched “educational” cinema, an enterprise that was symptomatic of a “life of forms,” which found in the reproducibility of images a decisive and innovative medium.