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Colloque International organisé par Harvard University et L'École des Hautes Études en Sciences Sociales de Paris.

November 10, 11, 12, 2011 Harvard Yard

Fong Auditorium - Boylston Hall

1350 Massachusetts Avenue

CAMBRIDGE, MA 0213

ABSTRACT
It may prove extremely fruitful, though rather unusual, to draw both a conceptual and a historical parallel between the Renaissance’s « imaging speech » and the cinema’s « talking images ». Far from understating the disparities between them, speakers are invited to investigate their connections from both a technical and a poetical standpoint, addressing topics such as optics in the Renaissance, the relationship between pictorial space and cinematic space, cinematography, rhythm, the evolution of the portrait, close-up shots… Precise instances should be examined to illustrate the transition from text to screen – from still images to motion pictures.

RÉSUMÉ
Entre la « parole imageante » des Renaissants et l’image parlante du cinéma, que des siècles séparent, il est inhabituel — mais fécond — de faire apparaître des liens, tant conceptuels qu’historiques. Sans minimiser les profondes différences, le propos des intervenants serait d’étudier ces liens
d’un point de vue tant poétique que technique. Parmi les questions abordées :
l’optique à la Renaissance, les rapports entre espace pictural et espace filmique, le cadrage, le rythme,
l’évolution du portrait, le gros plan… Sur des exemples précis serait examiné le passage de l’écrit à l’écran et des images fixes aux images mouvantes.

This event is made possible thanks to : the Consulate General of France in Boston, the Harvard Department of Romance Languages and Literatures, the Polish Cultural Institute New York, the Bacon Fund, the E.H.E.S.S.-C.N.R.S. and the C.R.A.L.

November 10

7.30 p.m. : SCREENING (Sever Hall, 102)

          

A Man for All Seasons (1966), by Fred ZINNEMANN

November 11 (Fong Auditorium, Boylston Hall)

 1st session: From still images to moving images

Chair : Professor Henri ZERNER (Harvard University)

9.30 a.m.: CAFÉ DE BIENVENUE

9.45 a.m.: Welcome and opening speech by Tom CONLEY (Harvard University)

10 a.m.: Introduction by Yves HERSANT (E.H.E.S.S. Paris) : Cinema and Humanism

10.30 a.m.: Ludovic CORTADE (New York University)  From Stillness to Movement: the Myth of Cinema in Renaissance Visual Culture 

                       
11.15 a.m.: COFFEE-BREAK 

11.30 a.m.: Xavier VERT (C.E.T.H.A., E.H.E.S.S.) De l’hypothèse cinématographique au tableau vivant : Longhi, Pasolini

12.15 p.m. : LUNCH

2nd session: New sights and spaces

Chair : Professor Tom CONLEY (Harvard University)

1.45 p.m.: Clélia ZERNIK (École Nationale Supérieure des Beaux-Arts, Paris) L’oeil et l’objectif

2.30 p.m.: Yves HERSANT (E.H.E.S.S. Paris) Perspectives

 

3.15 p.m.: COFFEE-BREAK

3.30 p.m.: Irène SALAS (E.H.E.S.S. Paris): Paysages peints, paysages cinématographiés 

4.30 p.m.: Lech MAJEWSKI (Special Guest)

5 p.m.: SCREENING 

 

The Mill and the Cross (2010), by Lech MAJEWSKI

7.30 p.m.: DINNER

November 12 (Fong Auditorium, Boylston Hall)

3rd session: Framing, Editing, Narrative 

9.30 a.m.: Phillip John USHER (Barnard College) Medeaand Compassion: Jean de la Péruse, Pasolini, and the screening of the chorus

10.15 a.m.: Jean-Loup BOURGET (École Normale Supérieure, Paris) Plutarque in Hollywood

11 a.m.: COFFEE-BREAK

11.15 a.m.: Alain MASSON (POSITIF) Allégories renaissantes et "musicals" américains

12. p.m.: Douglas TREVOR (Michigan University) Entourage and Renaissance Amicitia

 

12.45 p.m. : LUNCH 

4th session: Some films about the Renaissance

Chair : Lech MAJEWSKI

2.15 p.m.: Marc CERISUELO (Université de Provence) Are Hollywood Comedies of Remarriage Really Shakespearian? Frye, Cavell and after

3 p.m.: Yulia RYZHIK (Harvard University) Shakespeare in Russian Films: What Masters Can Teach Us About Hamlet

3.45 p.m.: COFFEE-BREAK

4 p.m.: T. JEFFERSON KLINE (Boston University) On La Princesse de Montpensier by Bertrand Tavernier

4.45 p.m.: Conclusion by Tom CONLEY

5.15 p.m. : SCREENING

Il Mestiere delle Armi (2001), by Ermanno OLMI