Articles, books, conferences

  • Les sources de Le mont Fuji vu d’un train en marche, dans la revue en ligne Hors champ, mai-juin 2021
  • Toucher au cinéma (To Touch Cinema), collection of essays, Somme toute, Montréal, 2021
  • Metabolic Animation, notes for the presentation of But one bird sang not at the Rotterdam International Film Festival ,  February 2019.
  • Masterclass at the Animation School of the Tokyo University for the Arts, Yokohama, December 2018.
  • Public discussion between Pierre Hébert and two Chinese specialist of André Bazin,  LI Yang and Shan Wanli, at the Beijing Film Academy during The 5th National Young Scholar Forum of Film Studies, after the screening of Bazin’s Film.
  • Master class hosted by Marcel Jean, in Fantasmagories / Images gravées at the auditorium of Musée du Louvre in Paris. The program included the world premiere of But a bird sang not.
  • Notes sur Blinkity Blank, with a frame by frame mapping of flickers in Blinkity Blank, Hors champ, nov. déc. 2018.
  • André Martin et André Bazin, ontologie du cinéma, presented during a Creation/Research seminar at the Summer School of the University of Montreal, August 2018, Hors champ, nov. déc. 2018.
  • Sur quelques idées choc d’André Martin presented at the Colloquium Écrire sur le cinéma d’animation organized by NEF animation, at the Institut National d’histoire de l’Art, Paris, November 2017.
  • Archives, found footage, internet sources, uncertain limits in an infinite space during the colloqium Uses of the Archives : From Sources to Practices organized by the University of Lausanne and Udine in collaboration with the Swiss Cinematheque.
  • Places and Monuments – Transforming the Temporal Flux, published by the author for the Berlin – The Passage of Time video installation, March 2014.
  • Animation et «expression instrumentale» dans le projet «Lieux et monuments», (Animation and instrumental expression in the Places and Monuments project) conférence, Forum des Images, Paris, March 4 2014.
  • La composition sonore chez Metler, (Sound composition in Peter Mettler work) 24 Images, no 157, May-June-July 2012.
  • Conversazionne con Pierre Hébert by Paolo Palosello published on line in Wowtoons, interview made in Berlin in July 2012.
  • Cinéma transitoire (Transitory Cinema) in Passage d’encres, 41 (Automn 2010), Cinema, XXIe S., review published in France.
  • Mamora, mise en exposition du cinéma (Mamora, the exhibition of cinema) text about the presentation of Karl Lemieux’s new film at the Museum of Contemporary Art of Montreal, 24 Images, no 146, March-April 2010.
  • Tentative de description instrumentale – autour du film Triptyque et des Exercices d’animation, (Tentative instrumental description – around the film Triptych and Animation Exercises) septembre 2009, not published, may be read HERE (in french).
  • Cinéma d’animation et improvisation, (Animation cinema and improvisation) janvier 2009, communication at the colloquium L’improvisation, ordres et désordres, Université Paris 7, Sons d’hiver , may be read HERE (in french). Published in Textuel no 60 (journal of the UFR Lettres, Arts, Cinéma, Université Paris-Diderot) January 2010.
  • L’idée de l’animation et l’expression instrumentale, (The idea of animation and instrumental expression) march 2009, not published, may be read HERE (in french).
  • Matériaux pour l’étude de la pensée d’andré Martin, (Elements for the study of the thought of André Martin) in progress, not published, may be read HERE (in french)
  • Cinéma et cinéma d’animation à l’âge du numérique (Cinema and Animation Cinema in the Digital Age), communication at the colloquium “Mutations technologiques : histoire et effets culturels”, June 17-18 2008, at INHA (Institut National d’Histoire de l’Art) Paris. READ THE TEXT (in french)
  • El angel y el automata (Spanish translation of L’ange et l’automate), BAFICI, Buenos Aires, 2008.
  • Un instant de lumière à Minneapolis (A moment of light in Minneapolis), in Conjoncture no 43, Winter 2007.
  • Master class with master students at St-Joseph University, Beirut, March 26-30, 2007.
  • Conférence about the Living Cinema project at the Computational Poetics Gathering, Simon Frazer University, Vancouver, May 17-19, 2007.
  • Les trois âges de la rotoscopie, (The three Ages of Rotoscopy) in Quand le cinéma d’animation rencontre le vivant, Les 400 coups cinema, Montreal 2007, under the direction of Marcel Jean. READ THE TEXT.
  • Corps, langage, technologie (Body, Language, Technology) collection of short essays published in different magazines from 1985, published by Les 400 coups, Montreal, 2006.
  • William Kentridge et le monde des ombres (William Kentridge and the world of shadows), 24 images, no 125, Dec.. 2005-Jan.. 2006, pp 22-25. READ THE TEXT.
  • Animation in the era of digital cinema, 20 proposals for a poetic of the moving images, opening conference of the 9th encounters of cinema, Cineclube de Faro, Dec. 9 -1, Faro, Portugal, 2005. READ THE TEXT
  • Multidisciplinarité et historicité (Multidisciplinary practices and history), in L’espace traversé, Éditions d’Art Le Sabord, Trois-Riviéres 2002, publication of the colloqium Art and multidisciplinary practices, February 2000, Concordia University, Montreal.
  • Qu’apporte la ville au cinéaste ? (What does the city brings to the filmaker ?) opening conference of the public debate Le cinéma, la ville et la culture, during the symposium De la ville et des restes urbains, Montreal, May, 14, 2002.
  • Réflexions très personnelles sur l’état du cinéma d’animation (Very personal thoughts about the current state of animation) , 24 Images, no 106, Spring 2001, first written for the catalogue of the Holland Animation Festival 2000, Utrecht, Nederlands. READ THE TEXT
  • Scratching The Surface, participation at the panel Unknown Histories within the symposium Other cinema – a Symposium on film at the Age of Electronic Reproduction, Toronto. April 14, 2001.
  • Animation and other arts, an unanswered question, Symposium on animation and other arts, Casa da animacao, Porto, Portugal, 22-24 November, 2001. Published in The Sharpest Point, animation at the end of cinema (YYZ Books, Toronto, 2005). READ THE TEXT.
  • Suzanne Gervais, painter and filmaker, catalogue of Ottawa 2000 International Animation festival.
  • I like your bombs, (in french) in Jazz et blues magiques, Les Heures bleues, 1999.
  • René Jodoin – De Ronde carrée à Entre temps et lieu (René Jodoin, Between Danced Square and Between Times and Places) in L’œuvre de René Jodoin, ONF, 1999.
  • Corps, langage, technologie. (Body, Language and Technology) Communication presented at the symposium «Manière de travailler» organised by the art magazine Parachute and l’Atelier psychanalytique, Montreal, April 9 – 10 1999 at The Canadian Museum of Architecture. The conferences of the colloquium were published in 2002 by Parachute.
  • L’Ange et l’automate, (The Angel and the Automaton) essay published by Les 400 coups, Montréal, 1999.
  • La gravure sur pellicule, une approche personnelle. (Scratching on film – a Personnal aproach) Conférence, Annecy International animation Festivas, France, June 1997.
  • La métaphore de “l’autre” discipline ou le paradis perdu du sens, (The metaphore of the «other discipline» or the lost paradise of meaning) communication at the symposium Autres pas (la danse, recherche et fabrication du sens) Montreal, July 18 – 24 1994, Agora de la danse.
  • Notes sur l’improvisation, (Notes on Improvisation) Revue et corrigée, hiver 1994, Grenoble, France, no hors série Improvisation, quoi de neul?
  • Égarements volontaires, (Willingly misled) in LES VENDREDIS DU CORPS Le corps en scène, vision plurielle, Cahier de théatre Jeu/Festival international de la nouvelle danse, Montreal, 1993.
  • Musicalité ou oralité? (Réflexions d’un cinéaste qui voulait “faire comme un musicien”), (Music or speech – Reflections of a Filmaker who wanted to act like a Musician) Cinémas, vol.3 No1, automn 1992, Montréal.
  • Le cinéma d’animation : entre la nostalgie du dessin et le désir de la danse, (Animation Cinema : Between the nostalgia of Drawing and the Desire of Dance) Esquisses psychanalitiques , no 17, spring 1992, Paris.
  • Montréal animée, in Montréal, ville de cinéma, Cinémathèque québécoise, 1992.
  • Critique de l’idéologie hypermédiatique, (Critique of Hypermedia) 24 Images, no 54, spring 1991.
  • Description technique de la gravure sur pellicule, (Technical Description of Sratching Directly on Film) Perforation, vol. 10 no 2, 1991.
  • The portrayal and presence of the body in animated films, presented at the Society for Animation Studies, Carleton University, Ottawa, October 1990.
  • Un cinéaste face aux nouvelles technologies, (A Filmaker and New Technology) La revue de la Cinémathèque, Dec. Jan. 1990.
  • Les enjeux de l’art à l’ère des machines. Effacement et présence du corps, (Art at the Era of Machines – the body fading away) 24 Images, no 43,summer 1989.
  • Pierre Hébert, lettre du Canada, (Pierre Hébert – Letter from Canada) CinémAction, no 51 (Le cinéma d’animation), Paris, April 1989.
  • Journal d’un cinéaste à la redécouverte du direct, (Diary of a Filmaker Discovering Direct Cinema)Cinébulle, vol. 7 no 3, March/April 88.
  • Nous sommes, dit-on, dans la civilisation de l’image, (They Say This is a Civilasation of Images) Obscure 1982-88, Quebec City.
  • Éloge de la table de cuisine, (Celebrating the kitchen table) Cahiers des arts visuels du Québec, no 31, automn 1986.
  • Éloge de la fixité, (Celebrating Stillness) no 1 à 4, Format Cinéma, 1985-86.
  • Notes de court métrage…, (Notes of Short Subjects…) Copie zéro, no 25, sept. 85.
  • Chants et danses du monde inanimé : le métro. Notes sur une expérimentation sonore en cinéma d’animation. (Songs and Dances of the Unanimated World – notes about a sound experimentation in animation cinema) Protée, vol. 13 no 2, Summer 1985 (Université du Québec à Chicoutimi).
  • Survivre ou non comme cinéaste d’animation, (To Survive or Not as an Animation Filmaker) Dossier de la Cinémathèque, no 14, 1984.
  • Etienne et Sara, livre (poèmes, textes, dessins) avec Serge Meurant, Edition du Noroît/ Le Cormier l984, collection L’instant d’après, no 20.
  • Réflexion à haute voix sur un cinéma improbable – Souvenirs de guerre, (Improbable Reflections on Cinema) text published by the NFB, 1983.
  • Len Lye, 18 ans plus tard, (Len Lye, 18 Years Later) Bulletin de l’association internationale du film d’animation (ASIFA) – Canada, vol. 11 no 3, dec.. 1983.