List of contributors
p. 311-316
Texte intégral
1Jean-Jacques Beucler is Spanish teacher (university Paris IV Sorbonne). Cultural actor in French embassy in Colombia, Mexico, Bosna-Herzegovina, Morocco, Spain and Algeria.
2Vincent Bouchard is Associate Professor of Francophone Studies at Indiana University – Bloomington. He currently works on the various forms of cinematographic practices developed in West Africa since the 1960’s, including the conditions experienced by early filmmakers, the popular reception of films, and the practices of educational and colonial screenings and their impact on African cinema. His recent works include the book, Pour un cinéma léger et synchrone à Montréal !, at the Septentrion University Press (2012), “The Non-Fiction Film Production at the Origins of Francophone West-African Cinema” (2017), and “Cinomade and the fight against the HIV/Aids pandemic in Burkina Faso” (2017).
3Raluca Calin is a sociologist and specialist in European cinema. Her research focuses on European cinema financing policies, European governance in the cultural field. She teaches in several universities European film production. She puts her expertise at the service of public institutions to develop studies on film markets. As a consultant she offers turnkey services to help producers optimize their requests for European funding.
4Author-director and researcher of Congolese nationality, Daddy Dibinga holds a master’s degree in information sciences and communication, performing arts option from the University of Lubumbashi in the Democratic Republic of Congo, and a master’s degree in documentary creation from the Gaston Berger University of Saint-Louis in Senegal. He is currently preparing his doctoral dissertation project on Senegalese audiences in the face of the revival of cinemas.
5Currently pursuing a PhD in cinema economics, University of Bordeaux-Montaigne, Gaëlle Fayad has conducted in-depth quantitative and qualitative research in the field. This, in addition to an exposure to different facets of the industry, has given her comprehensive knowledge of the filmmaking process from pre-production to distribution in advanced and emerging markets. Driven by know-how and passion, the founder launched Jay Dreams LLC an international consulting agency for films and series that overcomes barriers to filmmaking.
6Claude Forest is a professor in Cinema Studies. His work focuses on the economic history of the film industry (exploitation, distribution, production) in Africa and Europe, as well as on the socio-economics of demand and cultural practices. In particular, he has published: Production and Film Financing in French-Speaking South Africa. (1960–2018), 2019; Figures of dark rooms. Operators tell their century of cinema (with S. Bonvoisin and H. Valmary), 2015; Which movie to see? For a socio-economics of demand, 2010; and directed the books: Produce films. Africa and the Middle East, 2018; The film internationalization and audiovisual productions, 2017; Watch movies in Africa (with Patricia Caillé), 2017.
7Sora Hong is a PhD in History and Civilization at the Korea Research Center, UMR 8173 of the EHESS. Under the direction of Alain DELISSEN, she is preparing a thesis on the cinephilia of the Munhwawon sedae that led to the new South Korean cinema in the 1990s. She also teaches courses on the language and civilization of Korea at INALCO and in University Paris 8.
8Dhurata Hoxha is Professor at Luigj Gurakuqi University of Shkoder, Albania, since 1991. Doctor of Sciences in FFL Didactics, Lecturer in Science of language and coordinator of “Training of FFL future teachers Formation the futurs enseignants” Master. Since 2004, Director at the Alliance Française of Shkoder, responsible for cultural projects and Campus France mission. Her areas of interest and research concern interculturality, project pedagogy, art practice in FFL classroom. She has recently been dealing with the issues of variation in French teaching / learning so that this teaching could be optimized. Knight’s title in the Order of Academic Palms in 2006.
9Sezen Kayhan is a Ph.D. candidate at the Design, Technology and Society program at Koc University, Istanbul. Her research interests include film and television production and exhibition and urban studies. Her writings have appeared in various journals including Television and New Media, Space and Culture, Journal of Visual Studies and New Perspectives on Turkey. She is the author of the book Fragments of Tragedy in Postmodern Film
10Narimène Laouadi is a doctoral student in cinematographic and audiovisual studies at the Sorbonne Nouvelle Paris 3 University where she is preparing a thesis under the direction of Giusy Pisano on Algerian post-terrorism cinema. She is Associate researcher at l’IRCAV and she had produced a documentary film for Les Ateliers Varan. This documentary was selected at the 2018 edition of the International Oriental Film Festival of Geneva.
11Marylin Marignan is ATER in Film studies at the University of Lyon 2 and member of the multidisciplinary laboratory Passages XX-XXI. She wrote a thesis on the relationship between cinema and theatre during the 1930s: “Évolution de la fréquentation des cinémas et des théâtres à Lyon entre 1929 et 1939”. His most recent works focus on the economic, social and cultural history of cinema and audiovisual media.
12With a dual artistic and managerial career, actress, director, theatre manager and cultural diplomat, Fanny Aubert Malaurie has a strong artistic background combined with a solid experience in cinema, public relations and cultural management internationally. With over 20 years serving in the French cultural diplomatic network, in New York, Athens, Istanbul, Caucasius and Central Asia, she is currently Cinema Advisor at Institut français in Paris: she coordinates the theatrical management of 60 digitalized cinemas in Instituts français and Alliances françaises worldwide. She is a member of the board of the Sarlat film festival, dedicated to cinema education.
13Aurélian Michon was in charge of audiovisual policy at Institut français Indonesia from 2018 to 2019. Before, he worked in short film distribution and for the French National Film Center, where he dealt with film clubs, festivals and film diffusion. He also published on militant film history in 1895 Revue d’histoire du cinéma.
14Emna Mrabet is post-doctorant and teaches since 2010, especially a course on ‘Maghreb and middle east cinema’. Her research interests lie in Maghrebi-French cinema. She has written the book ‘Le cinéma d’Abdellatif Kechiche : Prémisses et Devenir’ (Riveneuve, 2016) and several articles on the works of films directors of Maghrebi origins, in particular, ‘Contestation et défense des droits humains chez les cinéastes Abdellatif Kechiche et Rabah Ameur-Zaïmeche’ (Studies in french cinema), ‘La question identitaire chez les cinéastes issus de l’immigration maghrébine’ (L’Harmattan), Sorin, C., Mrabet, E. ‘De la citation à la performance : processus en œuvre(s) dans le cinéma d’Abdellatif Kechiche’ (Presses Universitaires de Rennes). In 2019, she directed the film A l’Aube de nos rêves on the Tunisian revolution and post-revolution, selected at Panorama des cinémas du Maghreb et du Moyen Orient and at festival du cinéma méditerranéen de Tétouan. She currently focuses her research on the cinematographies of the Maghreb and the Middle East and on ‘guerrilla’ cinema.
15Justin Ouoro is Lecturer in Semiotics at the Training and Research Unit in Letters, Arts and Communication at Joseph KI-ZERBO University, in Ouagadougou, Burkina Faso. He currently holds the position of Director of this Unit. His research focuses on the relationships between African literature and cinema, the poetics and reception of African film works, the teaching of cinema, as well as social practices as meaningful forms. He published: Poétique des cinémas d’Afrique noire francophone, in 2011 by the University Press of Ouagadougou; Sciences du langage : Articulations, désarticulations et réarticulations in 2017, by Publibook editions, (dir. in collaboration with Mahamadou Lamine Ouédraogo) and Actes du colloque international en hommage au cinéaste burkinabè Idrissa Ouédraogo : l’homme et ses œuvres, in 2020 by Céprodif editions, Burkina Faso, (dir. in collaboration with Valentine Palm / Sanou). Justin OUORO is the author of more than 20 scientific articles published in national and international journals. He is also the President of the Association of Cinema Critics of Burkina Faso (ASCRIC-B).
16Giusy Pisano is a Professor of Cinema and Audiovisual Studies at ENS Louis Lumière and she is research director at Université Sorbonne Nouvelle Paris 3/IRCAV. Most recently she published: Magie numérique, co-edited with M. Almiron et S. Bazou, PUS, Lille 2020, Le Panorama, un art trompeur, codirection avec J.-R. Bouiller, S. Le Men, L. Madeline, Lille, PUS, 2019, Dispositifs sonores : corps, scènes, atmosphère, co-edited with J.-M. Larrue et J.-P. Quéinnec, Presses Universitaires de Montréal, 2019, Stéréoscopie et illusion, co-edited with M. Almiron, E. Jacopin, Lille, PUS, 2018, Machines. Magie. Médias, co-edited with F. Kessler, J-M Larrue, Lille, PUS/Cerisy, 2018, Le Triomphe de la scène intermédiale, codirection avec J.-M. Larrue, Montréal, Presses universitaires de Montréal, 2017. She led the research projects: Exporter et soutenir le cinéma dans le contexte des films dans le contexte des Instituts français et des Alliances françaises (2017-2019), Les arts trompeurs. Machines. Magie. Médias (2015-2018), Mise en scène théâtrale et dispositifs sonores et visuels (2011-2014)). She participates projects: TECHNES et BEAUVIATECH. She led the research project An Aesthetics of Sound in Sub-Saharan African Cinema.
17Erika Thomas hold a PHD in Cinema Studies (Sorbonne Paris 3) and an Habilitation à Diriger des Recherches in Cinema and Visual Anthropology. She is Professor at Université Catholique de Lille and member of the research group Textes et Cultures (Université d’Artois). She is also a documentary filmmaker. Her main research domains include: images, history and society, cinema in Brazilian society; as she has published widely about those themes.
18Ayşe Toy Par is a researcher in Film Studies at the Faculty of Communication of Galatasaray University, Istanbul, Turkey. She is also a member of the Media Research Center (MEDIAR) of the same university. Her work and publications focus on the history and film industries in Turkey, the audiences and examine the questions of identity through cinema.
19Hülya Uğur Tanriöver is Professor of Sociology of Cinema and Television; and Head of the Department of Radio Television and Cinema at the Tirebolu Faculty of Communication, Giresun University (Turkey). She is also a member of the Executive Committee of TÜRSAV (Türkiye Sinema Vakfı, Turkish Film Foundation) and advisor to the International Itinerant Film Festival for Women Filmmor (Istanbul). Her work and publications focus mainly on the film industries, the sociology of film and television audiences as well as gender issues in film, television and the media.
20Ana Vinuela is Associate Professor of Film and Media Studies at Sorbonne Nouvelle University in Paris. Her current research focuses on the transnational dimension of contemporary French cinema, the dialogue between French and World Cinemas, the industry strategies in film and media, and the public policies developed to support these fields. She has been Head of Studies at INA Sup, the school of the French National Audio-Visual Institute, from 2007 to 2012, after participating in the creation of the school.
21Ece Vitrinel is a researcher at the Faculty of Communication of Galatasaray University, İstanbul, Turkey. In 2015, she earned a double doctorate in communication sciences (University of Paris 3 and Galatasaray University) with a thesis entitled ‘Movie Theatres Facing the Multiplication of Screens. A Multidisciplinary Analysis of the Situation in Turkey’. Her research focuses mainly on visual culture, audiences, screens and film industries.
Le texte seul est utilisable sous licence Creative Commons - Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International - CC BY-NC-ND 4.0. Les autres éléments (illustrations, fichiers annexes importés) sont « Tous droits réservés », sauf mention contraire.
Régie théâtrale et mise en scène
L'Association des régisseurs de théâtre (1911-1939)
Françoise Pélisson-Karro
2014
L'avenir de la mémoire
Patrimoine, restauration et réemploi cinématographiques
André Habib et Michel Marie (dir.)
2013
Les archives de la mise en scène. Hypermédialités du théâtre
Jean-Marc Larrue et Giusy Pisano (dir.)
2014
Pour un cinéma léger et synchrone !
Invention d'un dispositif à l'Office national du film à Montréal
Vincent Bouchard
2012
