8 N 1 (2016) S ec a ss e:

Contents

1-10 Barnaby Dicker

Editorial: “Starting, Stopping and Synthesizing Cinematographic Art”

11-18 Joseph Plateau

On a New Type of Optical Illusion (1833)

19-33 Simon Stampfer

Stroboscopic Discs: An Explanation (1833)

34-40 Jan Evangelista Purkyně

Kinesiscope (1865)

41-46 G. Maréchal
The Animated Stereoscopic Portrait (1908)

47-52 Bernhard Diebold

A New Art: The Visual Music of Film (1921)

53-61 Bernhard Diebold

The Future of Mickey Mouse (The Animated Film as a New Cinema Art) (1932)

62-68 Gus Bofa

The Animated Cartoon (and, More Generally, the Cinema Envisaged as
a Mobilization of the Absurd) (1925)

69-78 Pierre Mac Orlan

Grandville the Precursor (1934)

79-91 Hanada Kiyoteru

Cheshire Cat (1954)

92-94 Jacques Aumont and Sylvie Pierre Ulmann

Mickey Mouse Anniversary Show (La fabuleuse histoire de Mickey) (1970)

95-107 Michel Gheude

The Photogramme as Signifier (1970)

108-127 Sylvie Pierre Ulmann

Elements for a Theory of the Photogramme (1971)
 Art in Translation, 2016
Volume 8, Issue 1, pp. i, http://dx.doi.org/10.1080/17561310.2016.1197491
© 2016 Informa UK Limited, trading as Taylor & Francis Group
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Corrigendum
When the following papers were published, they were published with
errors. Michel Gheude’s surname was incorrectly spelled as ‘Ghuede’
a number of times (pp. 95–107, 2 and 109). The editors apologize for
this error.

Michel Gheude, trans. John Goodman, The Photogramme as Signifier,

Art in Translation 8 (2016): 95–107. http://dx.doi.org/10.1080/17561
310.2016.1144276

Sylvie Pierre Ulmann, trans. Richard Geroge Elliott, Elements for a The-
ory of the Photogramme, Art in Translation 8 (2016): 108–127. http://
dx.doi.org/10.1080/17561310.2016.1147233

Barnaby Dicker, Editorial: “Starting, Stopping and Synthesizing Cine-

matographic Art,” Art in Translation 8 (2016): 1–10. http://dx.doi.org/
10.1080/17561310.2016.1156340

The bibliographic data for the original publication of Gheude’s ‘The

Photogramme as Signifier’ should also have read:

First published in French as “Les Photogrammes comme signifiant,”

Stato e tendenza attuali della ricerca sulle communicazioni di massa, un
particulare riferimento al linguaggio iconico (Conference Proceedings)
(Milan: Istituto Agostino Gemelli, 1970): 256–65.

(It is a shorter version of the text that appears in Cinéthique 7/8 (1970))