Chapter 6
p.213

17

Taken from a promotional document produced by Air France. Our emphasis.

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This document is accessible online: http://corporate.airfrance.com/fileadmin/dossiers/documents/dossiers_de_presse/PV04_fr.pdf.

18

Albert Camus, “On a Philosophy of Expression by Brice Parain” (1944), in Lyrical and Critical Essays, ed. Philip Thody and trans. Ellen Conroy Kennedy (1969), 231.

19

Christophe Huss, “Metropolitan Opera—Votre cinéma n’est pas un cinéma . . . ,” Le Devoir, December 17, 2007.

20

For a definition of the concept cultural paradigm, see André Gaudreault, Film and Attraction: From Kinematography to Cinema, trans. Timothy Barnard (2011), 64ff.

21

“Individual receivers were quite rare at first and they had a very small screen. As a result reception of their programming was public: one lined up in order to file past the tiny screen of a receiver placed in a public venue. Television then became a form of entertainment that brought audiences together in the same place.” François Jost, Comprendre la television et ses programmes (2009 [2005]), 25.

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The complete text of this quotation reads as follows:

Individual receivers were quite rare at first and they had a very small screen. As a result reception of their programming was public: one lined up in order to file past the tiny screen of a receiver placed in a public venue. Television then became a form of entertainment that brought audiences together in the same place: during the World’s Fair in Paris in 1937, a one-metre-square receiver was installed in the radio and television pavilion, and viewers could witness the first live “in the street interviews”: a camera located a few hundred metres away, near the Alexandre III bridge, sent back images of passers-by being asked what they thought of the fair (Blanckerman, 1961). This new form of exhibiting television images was quite similar to a remote (wireless) movie theatre. This similarity was even stronger in Germany, where television was shown in movie theatres holding up to 800 people (Berlin).

22

Promotional e-mail dated November 10, 2011 bearing the title “Cineplex: De Retour avec sa Programmation pour le Temps des Fêtes/Back with a Special Holiday Season Programming.” Our emphasis on the expression cinema events, which is a translation from the French version of the e-mail. The English version of the same press release does not refer to this concept, although it appears often in the company’s other English press releases (as “cinematic event” or “cinema event”).

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23

Emphasis in the original.

24

One can consult the company’s site, which is of course constantly changing.

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The site can be found at the following address: www.cineplex.com/evenements.

25

The trailer for this production can be viewed on YouTube.

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The video trailer is posted online at https://www.youtube.com/watch?v=NB68jgX8FOU.

Another video trailer posted online (at http://www.byexperience.net/event_leonardoHD.html) is accompanied by the following text:

“Beginning February 16, 2012, art lovers around the world will be able to experience LEONARDO LIVE, an HD presentation of the once-in-a-lifetime exhibition ‘Leonardo da Vinci: Painter at the Court of Milan’, captured at the U.K. National Gallery.

LEONARDO LIVE offers an unprecedented opportunity for audiences worldwide to experience these da Vinci works. The historic exhibition is sold out in London and, due to the fragility of the paintings, the exhibition cannot tour.

Captured live on the eve of the exhibition opening in London this fall, LEONARDO LIVE will provide a  high-definition walk-through of the landmark exhibition, in-depth commentary about featured pieces in the exhibit and extra content.”

26

“CielEcran change de nom et devient Pathé Live,” hdnumerique. com, May 25, 2011.

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The article is accessible at the following address: http://www.hdnumerique.com/actualite/articles/9276-cielecran-change-de-nom-et-devient-pathe-live.html.

27

These three videos are on YouTube.

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Le hors film nuit gravement au cinéma [The not-film causes serious harm to cinema]: https://www.youtube.com/watch?v=3wv-oR-pZ3U.

La rotation des copies nuit gravement au cinéma [The rapid turnover of copies causes serious harm to cinema]: https://www.youtube.com/watch?v=mNwO3HtACkw.

Le manque de diversité nuit gravement au cinéma [The lack of diversity causes serious harm to cinema]: http://www.youtube.com/watch?v=pgCVgHz8Usw.

28

All reference to the “Musée de l’image en mouvement” has now disappeared from the website of the Cinémathèque québécoise. Here is what could have been found there earlier: Devoted to the past and headed for the future, the Cinémathèque québécoise is Montreal’s museum of the moving image.”

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The expression appeared, however, in a press release published by the Cinémathèque québécoise on 11 October 2011, entitled “The Cinémathèque québécoise and the Daniel Langlois Foundation arrange to ensure the conservation and accessibility of the Foundation’s collection” (http://www.cinematheque.qc.ca/fr/cinematheque/communiques/la-cinematheque-quebecoise-et-la-fondation-daniel-langlois-ont-conclu-une-e or http://www.fondation-langlois.org/html/f/page.php?NumPage=2247). You may also consult the English version of the press release at the following addresses (here the expression used is “museum of moving images”): http://www.cinematheque.qc.ca/en/cinematheque/news/cinematheque-quebecoise-and-daniel-langlois-foundation-arrange-ensure-conservation or http://www.fondation-langlois.org/html/e/page.php?NumPage=2247.

29

Pierre Jutras, at the time program director and curator of international cinema, television and new media, in a personal e-mail to André Gaudreault on May 27, 2010.

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