Abstract
‘Technical innovation’ is a thoroughly and immediately historical notion. Its definition cannot but raise historiographical and theoretical implications: theory of history, theory of technology (as to its very notion as well as to its relations with society and general history), and, finally, for what concerns us more specifically here, theory of the cinema.These problems have been considered in the field of general history during the 1920s by Marc Bloch and Lucien Febvre, founders of the Annales d’histoire économique et sociale review in 1929. The Annales School deeply transformed the dominant conceptions of the writing of history in twentieth-century French
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