L’illustration de la presse au xixe siècle

Tétu, Jean-François

doi:10.4000/semen.8227

Cited by 5 publications

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“…The replacement of long-grain-woodcut by end-grain wood-engraving and the development of mechanical transfer techniques in relief (thus compatible with typography) entailed and valorized a constant refinement of the line. 35 This evolution of etching style interrelated with the academic standards of the time, praising authenticity and exactitude through meticulously realistic and 'licked' paintings -that Émile Zola mockingly said were made only to be printed. 36 The painter aptly named Detaille was a master of this academic style: in front of his paintings, viewers marvelled at the 'prodigy' of this 'total truth placed exactly, equally, in all parts of the canvas' .…”

Section: The Part Of the Eyementioning

confidence: 99%

Attraction/Narration/Illustration: A Third Paradigm for Early Cinema

Robert¹

2022

New Perspectives on Early Cinema History

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The challenge of rethinking the attraction-narration dialectics launched by Daniël Biltereyst and Mario Slugan for the 2018 Ghent Conference and for this volume appeared to me as stimulating and necessary in early cinema studies .. lt led me to a daring proposai, which I submit here as a hypothesis, a programmatic idea rather than a conclusion, which will need future developments and verifications. My proposai is to extend the attraction/narration dialectics into a triad enlightening early cinema with a third and complementary theoretical paradigm, that I will call 'illustration' (Figure 2.1 ). Taking Biltereyst and Slugan's 'theoretical challenge' as a starting point to reconceive my methodological process, this article will not provide a proper demonstration -only converging ideas, examples and lines of research. Nevertheless, 1 hope that the notion of 'illustration', which I identify as a complementary concept refining the dichotomy between attraction and narration in a triad, will prove to shed a new and promising light on early cinema aesthetics.ln order to make a theoretical concept out of the term 'illustration', 1 needed to identify a broader and historical sense, getting back to relevant uses, meanings, nuances-and 'illustration' quickly proved to be as difficult to define as 'attraction' or 'narration!' But the etymological and historical fortune of the word 'illustration' attested its theoretical potential and relevance, more significant than 'figuration' , 'realization' , 'monstration', 'description', 'composition' or even 'contemplation'. This article is indeed in the direct continuation of Charles Musser's writings and of what he called a 'cinema of contemplation' . 1 Nevertheless, the notion of 'illustration' tends to involve a level of analysis more similar to the one implied by the concepts of 'attraction' and 'narration', and to allow for a better triangular

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Section: The Part Of the Eyementioning

confidence: 99%

Attraction/Narration/Illustration: A Third Paradigm for Early Cinema

Robert¹

2022

New Perspectives on Early Cinema History

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“…Mais surtout, dans les occasionnels comme dans l'ensemble des périodiques de la presse ancienne, il ne semble pas que, jusqu'au XIXe siècle, on se souciât de la moindre fidélité à une quelconque réalité 1 ; le plus souvent on se contentait, au besoin, de réutiliser des gravures disponibles. Il faut donc attendre le XIXe siècle, une nouvelle technique (le « bois de bout ») et une nouvelle disposition des esprits (l'idée même d'actualité) pour que l'illustration, peu à peu, s'impose dans la presse, en plusieurs étapes qui marquent la montée de l'actualité illustrée (Tétu, 2008). Cette montée fut lente avant que la photographie, puis le cinéma et la télévision, n'imposent l'image comme un support majeur, ou écrasant, de l'information.…”

Section: De La Gravure a La Photographie : L'image-discoursunclassified

L’image d’actualité. Entre continuités et transformations - Introduction

Tétu,

Touboul

2014

slj

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“…More to the point, in both one-time printings and all periodicals of the ancient press, it appears that until the nineteenth century little care was given to the rendering of reality 1 , publishers being most often content to reuse available engravings as the need dictated. It was not until the nineteenth century with the advent of a new technique (the "end-grain") and a new mindset (the very idea of "news"), that images slowly made inroads into the press, marking the rise of illustrated news (Tétu, 2008). This appearance was slow, before photography, followed by film and television, established the image as a cornerstone of news, or trampler of it, as the case may be.…”

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confidence: 99%