Laurent Guido is Professor of Film History and Aesthetics at the University of Lausanne.

Olivier Lugon is Professor of Art History at the University of Lausanne.

Laurent Guido, Olivier Lugon

(University of Lausanne), Introduction

1. Founding Debates

Laurent Guido, Introduction. The Paradoxical Fits and Starts of the New "Optical Unconscious"; Tom Gunning (University of Chicago), The "Arrested "Instant: Between Stillness and Motion; Maria Tortajada (University of Lausanne), Photography/Cinema: Complementary Paradigms in the Early 20th Century; Mireille Berton (University of Lausanne), A Subjectivity Torn between Stasis and Movement: Still Image and Moving Image in Medical Discourse at the Turn of the 20th Century; Samantha Lackey (University of Manchester), 'A Series of Fragments': Man Ray's Le Retour à la raison (1923)

2. Crossings between Media

Olivier Lugon, Introduction. Between the Photograph and the Film Frame; Clément Chéroux (Centre Georges Pompidou, Paris), The Great Trade of Tricks: On Some Relations Between Conjuring Tricks, Photography, and Cinematography; Kim Timby (Musée Niépce, Chalon-sur-Saône), "Cinema in a Single Photo": the Animated Screen Portrait of the 1910s; Valérie Vignaux (Université François-Rabelais, Tours), The Pathéorama Still Film (1921): Isolated Phenomenon or Paradigm?; Christel Taillibert (Université Nice Sophia-Antipolis), The Mixed Use of Still and Moving Images in Education during the Interwar Period

3. Cinema and the Printed Page

Olivier Lugon, Introduction. Cinema Flipped Through: Film in the Press and in Illustrated Books; Thierry Gervais (Ryerson University, Toronto), "The Little Paper Cinema": the Transformations of Illustration in Belle Epoque Periodicals; Myriam Chermette (Université de Versailles, Saint Quentin-en-Yvelines), From Illustrated Narratives to Narratives in Images: Influences of the Moving Image on the French Daily Press in the Interwar Period; Michel Frizot (EHESS/CNRS, Paris), On Cinema Imaginary of Photography (1928-1930); François Albera (University of Lausanne), From the Cinematic Book to the Film-Book

4. Freeze Frames

Laurent Guido, Introduction. Between Deadly Trace and Memorial Scansion: The Frozen Image in Film; David Forgacs (University College London), Photography and the Denarrativization of Cinematic Practice in Italy, 1935-55; Diane Arnaud (Université Paris 7), After La Jetée: Cine-Photo Albums of the Disaster; Christa Blümlinger (Université Paris 3), Postcards in Agnès Varda's Cinema; Patricia Kruth (Université de Lille),

Freeze Frame, Photograph, and Re-animation in Martin Scorsese's Films; André Habib (Université de Montréal), Viva Paci (Université du Québec à Montréal), Photo Browse and Film Browse: Between Images that Move and Images that Remain (in Chris Marker's Work)

5. Contemporary Sequences

Olivier Lugon, Laurent Guido, Introduction. Sequencing, Looping; Guillaume Le Gall (Université Paris 4), The Suspended Time of Movement: Muybridge, a Model for Conceptual Art; Wolfgang Brückle (University of Essex), Chronophotography of Another Order: Nan Goldin's Life Told in Her Slide Shows; Barbara Le Maître (Université Paris 3),

Pensive Hybrids: On some of Raymond Depardon's Filmo-photographic Setups; Alain Boillat (University of Lausanne), The Paradoxical Status of the Referent of Stillness in Comics

Biographical Notes on the Contributors/

Index