Santiago Hidalgo


San­ti­a­go Hidal­go is direc­tor of the Lab­o­ra­toire CinéMé­dias and co-direc­tor of the Cin­e­ma and Tech­nol­o­gy book series at Ams­ter­dam Uni­ver­si­ty Press. He is also co-edi­tor of The Black­well Com­pan­ion to Ear­ly Cin­e­ma (Wiley, 2011) and edi­tor of the vol­ume Tech­nol­o­gy and Film Schol­ar­ship: Expe­ri­ence, Study, The­o­ry (Ams­ter­dam Uni­ver­si­ty Press, 2018). He is in addi­tion co-edi­tor with Bernard Per­ron of a recent issue of the jour­nal Ciné­mas, enti­tled “Le mon­tage à tra­vers le prisme des muta­tions” (Spring 2019). His cur­rent research focus­es on the cin­e­ma expe­ri­ence and on the notion of “film con­scious­ness.” His doc­tor­al dis­ser­ta­tion, writ­ten under the super­vi­sion of André Gau­dreault at the Uni­ver­sité de Mon­tréal and defend­ed in 2016, is enti­tled The Pos­si­bil­i­ties of “Film Con­scious­ness”: A For­mu­la­tion in Search of a The­o­ry. He is in addi­tion prepar­ing a book on this top­ic (forth­com­ing in 2020 from Ams­ter­dam Uni­ver­si­ty Press). San­ti­a­go Hidal­go is also inter­est­ed in the recep­tion of film by chil­dren, a top­ic he addressed in a pan­el dis­cus­sion he organ­ised at the con­fer­ence of the Cana­di­an Film Stud­ies Asso­ci­a­tion (Toron­to, 2017) enti­tled “From Pri­ma­ry Schools to Uni­ver­si­ty: The Study of Film Recep­tion in Edu­ca­tion­al Envi­ron­ments”. At the Lab­o­ra­toire CinéMé­dias, he con­tin­ues his research into film recep­tion and con­scious­ness through the PREC (Pro­gramme de recherche sur l’expérience ciné­matographique). San­ti­a­go Hidal­go is cur­rent­ly a mem­ber of the schol­ar­ly com­mit­tee of TECHNÈS.

Gaudreault1 copie

André Gaudreault


A well-known his­to­ri­an of ear­ly cin­e­ma and a pio­neer in film nar­ra­tol­ogy, in his cur­rent research André Gau­dreault is espe­cial­ly inter­est­ed in the advent of edit­ing, in the phe­nom­e­non of opera broad­casts in movie the­atres, in tech­no­log­i­cal inno­va­tions seen from an “archae­o­log­i­cal” per­spec­tive and in the impact of the dig­i­tal on the media uni­verse. He is one of the five found­ing mem­bers of the Inter­na­tion­al Soci­ety for the Study of Ear­ly Cin­e­ma (Domi­tor), which he led, as the first elect­ed pres­i­dent, from 1985 to 1994. In 1992 he found­ed, and has led since, the Groupe de recherche sur l’avènement et la for­ma­tion des insti­tu­tions ciné­matographique et scénique (GRAFICS); from 1997 to 2005 he was also head of anoth­er inter­dis­ci­pli­nary and inter-uni­ver­si­ty research infra­struc­ture based at the Uni­ver­sité de Mon­tréal, the Cen­tre for Research on Inter­me­di­al­i­ty (CRI), of which he was one of the four founders. In 2010, at the Uni­ver­sité de Mon­tréal, he found­ed with the film­mak­er and pro­duc­er Denis Héroux the Obser­va­toire du ciné­ma au Québec (OCQ), a unique schol­ar­ly cross­roads whose goal is to pro­mote exchanges between film prac­ti­tion­ers and the­o­rists. He is also the direc­tor and one of the founders of the Inter­na­tion­al Research Part­ner­ship on Cin­e­ma Tech­niques and Tech­nolo­gies (TECHNÈS), which since 2012 has brought togeth­er eigh­teen part­ners and forty-five researchers from var­i­ous coun­tries whose goal is to rein­tro­duce the tech­ni­cal ele­ment into schol­ar­ly think­ing about cin­e­ma in order to bet­ter under­stand tech­no­log­i­cal change and its inter­ac­tions with film the­o­ry, aes­thet­ics and prac­tices. In 2016, he found­ed the Lab­o­ra­toire CinéMé­dias, an infra­struc­ture attached to the Cana­da Research Chair in Film and Media Stud­ies, which encom­pass­es, in addi­tion to TECHNÈS, GRAFICS  and the OCQ, the Pro­gramme de recherche sur l’archéologie et la généalo­gie du montage/edit­ing (PRAGM/e).



Rémy Besson

TECHNÈS Scholarly Coordinator

A research pro­fes­sion­al and Schol­ar­ly Coor­di­na­tor of the TECHNÈS Inter­na­tion­al Research Part­ner­ship, Rémy Besson holds a doc­tor­ate from the EHESS (Paris), super­vised by C. Delage, on the nar­ra­tive form of the Claude Lanz­mann film Shoah. He has worked as a post-doc­tor­al intern at the Cen­tre for Inter­me­di­al Research in Arts, Lit­er­a­tures and Tech­nolo­gies (CRI­alt, Mon­tre­al, 2012–14), where he was schol­ar­ly coor­di­na­tor of the inter­na­tion­al project Archiv­er à l’époque du numérique, and then at LLA-CREATIS (Toulouse II, 2014–15), where he con­tin­ued his stud­ies on inter­me­di­al­i­ty. A recog­nised spe­cial­ist on the rela­tions between his­to­ry, the human­i­ties, dig­i­tal cul­ture and cin­e­ma, he is also a part-time uni­ver­si­ty instruc­tor. A list of his pub­li­ca­tions is avail­able online:


Thomas Carrier-Lafleur

Research Coordinator

A post-doc­tor­al researcher and part-time instruc­tor at the Uni­ver­sité de Mon­tréal, Thomas Car­ri­er-Lafleur is Research Coor­di­na­tor at the Lab­o­ra­toire CinéMé­dias. In 2019, he pub­lished the essay Il s’est écarté: Enquête sur la mort de François Par­adis (Nota bene, with David Bélanger) and co-edit­ed the anthol­o­gy Impres­sion, pro­jec­tion: une his­toire médi­a­tique entre ciné­ma et jour­nal­isme (Press­es de l’Université Laval, with Richard Bégin and Mélodie Simard-Houde). He is also the author of L’oeil ciné­matographique de Proust (Clas­siques Gar­nier, 2016) and Une philoso­phie du “temps à l’état pur”: l’autofiction chez Proust et Jutra (Vrin/Presses de l’Université Laval, 2010). His work on inter­me­dia focus­es on lit­er­a­ture in France and Que­bec and on Que­bec cinema.

Bibliography (selection)

Il s’est écarté. Enquête sur la mort de François Par­adis, Mon­tréal, Nota bene, coll. « Grise », 2019, 224 p. Avec David Bélanger.

L’œil ciné­matographique de Proust, Paris, Clas­siques Gar­nier, coll. « Bib­lio­thèque prousti­enne », 2016, 713 p.

Une philoso­phie du « temps à l’état pur ». L’autofiction chez Proust et Jutra, Paris/Québec, Librairie philosophique J. Vrin/Les Press­es de l’Université Laval, coll. « Zêtê­sis : Esthé­tiques », 2010, 215 p.

Ouvrage col­lec­tif

Impres­sion, pro­jec­tion. Une his­toire médi­a­tique entre ciné­ma et jour­nal­isme, Québec, Press­es de l’Université Laval, coll. « Lit­téra­ture et imag­i­naire con­tem­po­rain ». Avec Richard Bégin et Mélodie Simard-Houde (dir.), 2019, 306 p.

Dossiers de revues sci­en­tifiques

« L’in­ven­tion lit­téraire des médias », Sens pub­lic, hiv­er 2018. Avec André Gau­dreault, Ser­vanne Mon­jour et Mar­cel­lo Vitali-Rosati.

« Ciné­ma, roman, espace », Nou­velles Vues. Revue sur les pra­tiques et les théories du ciné­ma au Québec, no 18, automne 2017.


Annick Côté

Financial Management Officer

Com­ing soon


Joël Lehmann

Technical Coordinator and Associate Director of the OCQ

Joël Lehmann is Tech­ni­cal Coor­di­na­tor in charge of audio­vi­su­al pro­duc­tion at the Lab­o­ra­toire CinéMé­dias, in addi­tion to being Project Devel­op­ment Offi­cer and Head of Per­son­nel. He is also Asso­ciate Direc­tor of the Obser­va­toire du ciné­ma au Québec. With degrees in cin­e­ma from UQAM and the Uni­ver­sité de Mon­tréal, he wrote a master’s the­sis under the super­vi­sion of André Gau­dreault on the reflex­iv­i­ty of the filmic énon­ci­a­tion. For him the art of sto­ry­telling is a pas­sion con­firmed on a dai­ly basis through his scriptwrit­ing, film direct­ing, film edit­ing and research projects.


Marnie Mariscalchi

Publications Manager

Marnie Mariscalchi is Pub­li­ca­tions Man­ag­er of the Lab­o­ra­toire CinéMé­dias. She is also the Pub­li­ca­tion Coor­di­na­tor of the film jour­nal Ciné­mas, where she has worked since 2007. She has par­tic­i­pat­ed in sev­er­al research projects, main­ly under the aegis of GRAFICS, as research assis­tant, edi­to­r­i­al assis­tant and admin­is­tra­tive assis­tant. She stud­ied film and art his­to­ry at the Uni­ver­sité de Montréal.


Sylvie Trudelle

Scholarly Activities Coordinator

Sylvie Trudelle holds a master’s degree in dance (UQAM) and a doc­tor­ate in art stud­ies and prac­tices (UQAM). She has coor­di­nat­ed and par­tic­i­pat­ed in numer­ous research projects in visu­al and media arts, dance, music and the­atre. She joined the Lab­o­ra­toire CinéMé­dias as Schol­ar­ly Activ­i­ties Coor­di­na­tor in Jan­u­ary 2020.

Technical Support and Audiovisual Production


Anne Xiulan Côté

Audiovisual Production Assistant

Anne Xiu­lan Côté began study­ing cin­e­ma at the Sainte-Foy CEGEP in Que­bec City. She is cur­rent­ly com­plet­ing a bachelor’s degree in film prac­tice at the Uni­ver­sité de Mon­tréal. Her fields of inter­est are edit­ing and photography.


Lucas Hornung

IT Support Assistant

Lucas Hor­nung is a master’s stu­dent in com­put­er sci­ence in the Départe­ment d’informatique et de recherche opéra­tionnelle (Uni­ver­sité de Mon­tréal) and holds a bachelor’s degree in com­put­er sci­ence from the Uni­ver­sité de Mon­tréal. At the Lab­o­ra­toire CinéMé­dias, he sees to the main­te­nance of the lab’s IT equip­ment (servers, com­put­ers) in addi­tion to lend­ing help to var­i­ous groups with­in the lab for projects requir­ing IT skills (web­sites, databases).


Anne Lévesque


Anne Lévesque has been a master’s stu­dent in cin­e­ma stud­ies at the Uni­ver­sité de Mon­tréal since the fall of 2019. Her main inter­ests are the socio-pol­i­tics of image media. Her master’s the­sis will address video tes­ti­mo­ni­als on social media. At the Lab­o­ra­toire CinéMé­dias, her main task is to design and update the var­i­ous web­sites con­nect­ed with dif­fer­ent projects and research partnerships.


Thomas Rapenne

Audiovisual Production Assistant

Thomas Rapenne has been a master’s stu­dent in cin­e­ma stud­ies at the Uni­ver­sité de Mon­tréal since Sep­tem­ber 2018, work­ing under the super­vi­sion of André Gau­dreault. His research and cre­ations focus on images of graph­ic inter­faces (main­ly com­put­ers and smart phones) in cin­e­ma. He is in charge of post-pro­duc­tion for the Inter­na­tion­al Research Part­ner­ship TECHNÈS and holds a bachelor’s degree in the per­form­ing arts, with a spe­cial­i­sa­tion in images, from Uni­ver­sité Lyon 2 (France).

Research Professionals


Pierre Chemartin

Pierre Chemartin is a researcher, film crit­ic and part-time uni­ver­si­ty instruc­tor in cin­e­ma stud­ies. His work focus­es on the graph­ic nov­el and ani­mat­ed cinema.


Alex Delagrave

Project Manager, Digital Collections

Alex Dela­grave holds degrees in cin­e­ma stud­ies (Con­cor­dia Uni­ver­si­ty) and infor­ma­tion sci­ences (Uni­ver­sité de Mon­tréal). His work is ori­ent­ed towards audio­vi­su­al archives, with a pro­nounced inter­est in issues around dis­sem­i­na­tion. At the Lab­o­ra­toire, he is involved in research and val­ori­sa­tion projects which call on his fields of exper­tise: man­ag­ing dig­i­tal col­lec­tions, design­ing meta­da­ta struc­tures, doc­u­ment han­dling and analy­sis, and dig­i­tal pub­lish­ing. He is involved in par­tic­u­lar in the cre­ation of TECHNÈS’ dig­i­tal ency­clopae­dia and is work­ing on a project of video anno­ta­tion of filmed inter­views. He also con­tributes to organ­is­ing vir­tu­al con­fer­ences and works as a pro­gram­mer and pro­jec­tion­ist and leads cre­ative work­shops for sev­er­al cin­e­ma organ­i­sa­tions and groups. 


Timothée Huerne

Tim­o­th­ée Huerne com­plet­ed a master’s the­sis at the Uni­ver­sité de Mon­tréal in 2017 under the super­vi­sion of André Gau­dreault on the growth of so-called non-film screen­ings in movie the­atres. Today he is espe­cial­ly inter­est­ed in the hybrid uses of movie the­atres and the shows that are pre­sent­ed there. He first worked as a research assis­tant for GRAFICS from 2014 to 2018 before becom­ing Pre­sen­ta­tion Coor­di­na­tor at the Lab­o­ra­toire CinéMédias.


Louis Pelletier

Louis Pel­leti­er holds a doc­tor­al degree in com­mu­ni­ca­tion from Con­cor­dia Uni­ver­si­ty, is a research pro­fes­sion­al and a part-time instruc­tor at the Uni­ver­sité de Mon­tréal, where he also com­plet­ed a post­doc­tor­al research project fund­ed by the Social Sci­ences and Human­i­ties Research Coun­cil of Cana­da on the ear­li­est expe­ri­ences in the pro­duc­tion of fic­tion films in Que­bec. He is also researcher in res­i­dence at the Ciné­math­èque québé­coise, schol­ar­ly coor­di­na­tor of the Cana­di­an Edu­ca­tion­al, Spon­sored and Indus­tri­al Film Project at Con­cor­dia Uni­ver­si­ty and co-direc­tor of Nou­velles vues. He has pub­lished on silent cin­e­ma, indus­tri­al cin­e­ma, ama­teur cin­e­ma, film exhi­bi­tion, the tech­no­log­i­cal his­to­ry of cin­e­ma and avant-garde cin­e­ma in Film His­to­ry, 1895, The Mov­ing Image, The Jour­nal of Film Preser­va­tion, the Cana­di­an Jour­nal of Film Stud­ies and Found Footage. He is cur­rent­ly fin­ish­ing the man­u­script of a book on film dis­tri­b­u­tion and exhi­bi­tion in Mon­tre­al from 1912 to 1952.

Post-doctoral Students


Caroline Martin

Post-doctoral Researcher

A post-doc­tor­al researcher (FRQSC, 2020–22) at the Lab­o­ra­toire CinéMé­dias, Car­o­line Mar­tin has worked as a part-time uni­ver­si­ty instruc­tor in lit­er­a­ture and cin­e­ma for more than 15 years. She has a master’s degree in arts and lit­er­a­ture (UQAM) and a doc­tor­ate in arts edu­ca­tion (Con­cor­dia Uni­ver­si­ty). In 2018, stu­dents vot­ed her one of the five most inspir­ing instruc­tors at the Uni­ver­sité de Mon­tréal. Her research inter­ests include film and media edu­ca­tion, film recep­tion by young audi­ences and audio descrip­tion. In col­lab­o­ra­tion with OEIL ciné­ma (Out­il pour l’Éducation à l’Image et au Lan­gage CINÉ­MAtographiques), she car­ries out research across Que­bec among sec­ondary school teach­ers who use cin­e­ma in their cur­ricu­lum. She is cur­rent­ly the rep­re­sen­ta­tive of part-time instruc­tors in the Départe­ment d’histoire de l’art et d’études ciné­matographiques (Uni­ver­sité de Mon­tréal) and is a mem­ber of the advi­so­ry com­mit­tee on a series of cours­es on inclu­sive media at the Chang School of Con­tin­u­ing Edu­ca­tion (Ryer­son University).


Claudia Polledri

Post-doctoral Researcher

A post-doc­tor­al researcher and part-time instruc­tor in the Départe­ment d’histoire de l’art et d’études ciné­matographiques (UdeM), Clau­dia Polledri holds a doc­tor­al degree in com­par­a­tive lit­er­a­ture from the Uni­ver­sité de Mon­tréal which exam­ines pho­to­graph­ic depic­tions of Beirut (1982–2011) and the rela­tions between pho­tog­ra­phy and his­to­ry. She was guest researcher at LLA-CRÉATIS (2016) and was schol­ar­ly coor­di­na­tor at CRI­alt (Cen­tre for Inter­me­di­al Research in Arts, Lit­er­a­tures and Tech­nolo­gies) from 2015 to 2018. Her research inter­ests include cin­e­ma and pho­tog­ra­phy in the Maghreb and Mid­dle East. She curat­ed the pho­to­graph­ic exhi­bi­tion Iran: poésies visuelles, pre­sent­ed dur­ing the Ren­con­tres inter­na­tionales de la pho­togra­phie en Gaspésie (2019).

Research Assistants

Doctoral Students


Philippe Bédard

A doc­tor­al stu­dent in cin­e­ma stud­ies at the Uni­ver­sité de Mon­tréal under the super­vi­sion of Richard Bégin, for his dis­ser­ta­tion Philippe Bédard is exam­in­ing the rela­tions between the cam­era, bod­ies and spaces in the his­to­ry of image record­ing tech­nolo­gies in cin­e­ma. Bédard also stud­ies cam­eras, vir­tu­al real­i­ty, porta­bil­i­ty, dance videos and cin­e­mat­ic space. He is a mem­ber of the TECHNÈS doc­tor­al com­mit­tee (Mon­tre­al sec­tion), is in charge of the “Action Camera/The Device-Wear­ing Body” sec­tion of the TECHNÈS ency­clopae­dia, and is co-orga­niz­er of the con­fer­ence “Immer­siv­ité et inno­va­tions tech­nologiques” (Octo­ber 2020) with Carl Ther­rien and Alan­na Thain.


Robin Cauche

With a back­ground in video edit­ing, Robin Cauche first worked as the head of post-pro­duc­tion for a tele­vi­sion music video net­work. His research exam­ines the his­to­ry and aes­thet­ics of illus­trat­ed songs. In par­tic­u­lar, he has stud­ied the Sco­pi­tones and lyric videos. A cer­ti­fied teacher of mod­ern lit­er­a­ture, he is also a part-time uni­ver­si­ty instruc­tor in lit­er­a­ture and cin­e­ma stud­ies. Cauche has been a doc­tor­al stu­dent in cin­e­ma stud­ies since 2016, under the joint super­vi­sion of Mar­tin Barnier (Uni­ver­sité Lumière Lyon 2) and André Gau­dreault (Uni­ver­sité de Mon­tréal). His dis­ser­ta­tion focus­es on “illu­mi­nat­ed writ­ten songs,” or those audio­vi­su­al forms which show on a screen the words to the songs they are illus­trat­ing, from mag­ic lanterns to YouTube (19th – 21st cen­turies). He has been an asso­ciate researcher at the Ciné­math­èque Française (2016–17) and in 2018 received the DOMITOR Stu­dent Essay Award for his research into the industry’s illus­trat­ed song cri­sis in the Unit­ed States in 1907–8.


Charlotte Dronier

A doc­tor­al stu­dent at the Uni­ver­sité de Mon­tréal since Jan­u­ary 2016, Char­lotte Dronier is also asso­ciate schol­ar­ly coor­di­na­tor for inter­dis­ci­pli­nary projects at the Lab­o­ra­toire CinéMé­dias and mem­ber of the edi­to­r­i­al con­tent team of the online Ency­clopae­dia of the inter­na­tion­al research part­ner­ship TECHNÈS. Along­side this work she has also taught “Courants du ciné­ma con­tem­po­rain” as a part-time instruc­tor in the Départe­ment d’histoire de l’art et d’études ciné­matographiques. Her dis­ser­ta­tion, fund­ed by the FRQSC and super­vised joint­ly by André Gau­dreault and Richard Bégin, exam­ines the aura and pres­ence effects of the danc­ing body on screens in the dig­i­tal age. Her sec­ond field of inter­est is land­scape in the cin­e­ma and how it takes up eco­log­i­cal issues.


Erwan Geffroy

Head of stud­ies and research for the Brest cam­pus of the École européenne supérieure d’art de Bre­tagne (EESAB) in France, Erwan Gef­froy is a doc­tor­al stu­dent in a joint pro­gram at the Uni­ver­sité de Mon­tréal (Fac­ulté des Arts et des Sci­ences, Départe­ment de lit­téra­tures et de langues du monde, under the super­vi­sion of Jean-Marc Lar­rue) and Uni­ver­sité Rennes 2 (École doc­tor­ale Arts, let­tres, langues, research unit His­toire et cri­tique des arts, under the super­vi­sion of Pierre-Hen­ry Frangne). His dis­ser­ta­tion exam­ines the com­pa­ny IKEA, which he analy­ses from the per­spec­tive of the total art work. Final­ly, he is a graph­ic design­er and a research assis­tant at the Lab­o­ra­toire CinéMédias.


Louis-Philippe Hamel

A doc­tor­al stu­dent in the Départe­ment d’études ciné­matographiques at the Uni­ver­sité de Mon­tréal since 2018, Louis-Philippe Hamel is prepar­ing a dis­ser­ta­tion on the styl­is­tic speci­fici­ty of sci­ence fic­tion in an age when dig­i­tal spe­cial effects have become stan­dard prac­tice. His work is being super­vised by Richard Bégin, who had also super­vised his master’s the­sis, which exam­ined the influ­ence of the con­cept “cool” on the crime film genre in the 1990s. His cur­rent research focus­es on dig­i­tal cin­e­ma, visu­al (and spe­cial) effects and sci­ence fiction—and on periph­er­al issues, which he explores in par­tic­u­lar by way of con­fer­ence papers such as that on the recog­ni­tion and orga­ni­za­tion of work in the field of visu­al effects, which he pre­sent­ed in 2019 at the TECHNÈS con­fer­ence “Gestes sin­guliers, gestes col­lec­tifs: his­toire et ciné­ma en pratiques.”


Frédérique Khazoom

Frédérique Kha­zoom com­plet­ed her master’s degree at the Uni­ver­sité de Mon­tréal under the pro­gram “Inter­na­tion­al Mas­ter of Audio­vi­su­al and Cin­e­ma Stud­ies,” which led her to vis­it renowned insti­tu­tions in Europe, such as Uni­ver­sité Sor­bonne Nou­velle Paris III (France) and Uni­ver­siteit van Ams­ter­dam (the Nether­lands). Her work focus­es on the way in which the dif­fer­ent spheres of the con­tem­po­rary tele­vi­sion land­scape adapt to the changes brought about by the con­ver­gence of the Inter­net and tele­vi­sion. For her doc­tor­al project, she is attempt­ing to under­stand how the pos­si­bil­i­ties of the online plat­form Net­flix affect the way it address­es tele­vi­sion view­ers and the way in which view­ers expe­ri­ence tele­vi­sion as mem­bers of a now glob­al audi­ence. She also works with Labo Télé (Uni­ver­sité de Mon­tréal), led by Mar­ta Boni since 2018.


Simon Laperrière

Simon Laper­rière is a doc­tor­al stu­dent in cin­e­ma stud­ies under the super­vi­sion of Richard Bégin. His cur­rent research focus­es on fan the­o­ries, pop­u­lar cul­ture and over-inter­pre­ta­tion. With Eric Falardeau, he co-edit­ed the anthol­o­gy Bleu nuit: His­toire d’une cinéphilie noc­turne (Somme toute, 2014). In 2018, he pub­lished Series of Dreams: Bob Dylan et le ciné­ma with Édi­tions Rouge Pro­fond. A con­trib­u­tor to the audio­vi­su­al project Zoom Out, he has also writ­ten a vari­ety of arti­cles for Hors champ, Spi­rale and 24 images, and par­tic­i­pates reg­u­lar­ly on the broad­cast Plus on est fous, plus on lit (Ici Pre­mière). With Simon Lacroix, he co-directs the series of odd­ball screen­ings Les nuits de la 4e dimen­sion at the Ciné­ma du Parc.


Alice Michaud-Lapointe

Alice Michaud-Lapointe is a doc­tor­al can­di­date in the Départe­ment d’études ciné­matographiques at the Uni­ver­sité de Mon­tréal and a part-time uni­ver­si­ty instruc­tor. Her dis­ser­ta­tion exam­ines the con­nec­tions between cinephil­ia and the con­cepts of haunt­ing and mem­o­ry in con­tem­po­rary cin­e­ma. She is a mem­ber of the edi­to­r­i­al board of the cul­tur­al mag­a­zine Spi­rale, for which she co-edit­ed with André Habib a the­mat­ic sec­tion on “Le temps du rétro.” In addi­tion to her crit­i­cism pub­lished in Spi­rale, her work has been pub­lished in the jour­nals and mag­a­zines Lib­erté, Études Français­es, Found Footage Mag­a­zine and Nou­velles Vues, and on the plat­forms Mise au point and Hors Champ. She is also an author of fic­tion, hav­ing pub­lished with Édi­tions Héliotrope a book of short sto­ries (Titre de trans­port, 2014), a nov­el (Vil­lé­gia­ture, 2016) and a trav­el­ogue (Néons et sakuras, 2018). She has been a research assis­tant at GRAFIM since 2019.


Katia Andrea Morales Gaitan

Katia Andrea Morales Gai­tan is a doc­tor­al stu­dent in cin­e­ma and media stud­ies and admin­is­tra­tive assis­tant for the Pro­gramme de recherche sur l’archéologie et la généalo­gie du montage/editing (PRAGM/e). She obtained a master’s degree with hon­ours in doc­u­men­tary film at the Uni­ver­si­dad Nacional Autóno­ma de Méx­i­co (UNAM), which grant­ed her the Alfon­so Caso medal in 2018. As part of her master’s degree stud­ies, Katia under­took a research sojourn in the fac­ul­ty of engi­neer­ing at the Uni­ver­si­dad del Desar­rol­lo in San­ti­a­go, Chile. She holds a bachelor’s degree in soci­ol­o­gy from the Uni­ver­si­dad Autóno­ma del Esta­do de Méx­i­co (UAE­Mex) and took part in an aca­d­e­m­ic exchange with Uni­ver­sité Lyon Lumière 2, France. She head­ed the research project “The State of Audi­ences in Mexico’s Cul­tur­al Cir­cuit” at the request of ProcineDF. Katia has taught doc­u­men­tary film pro­duc­tion and his­to­ry and col­lab­o­rat­ed with sev­er­al insti­tu­tions, such as the Cinete­ca Nacional, UNAM and Uni­ver­si­dad Iberoamer­i­cana. In 2014, she worked as coor­di­na­tor for Filmin­Lati­no, IMCINE’s VOD plat­form. A mem­ber of the coor­di­na­tion team for the con­fer­ence Latin Side of the Doc 2013, she has con­tributed to the devel­op­ment of the Ouishare com­mu­ni­ty, in addi­tion to lead­ing work­shops for the Inter-Amer­i­can Devel­op­ment Bank (IADB).

Master’s Students


Mathilde Curtaud

Hav­ing obtained a bachelor’s degree in Lit­er­a­ture and Human­i­ties in 2017 and a diplo­ma in spe­cial­ized high­er edu­ca­tion (DESS) in dig­i­tal pub­lish­ing in 2018, Mathilde Cur­taud is cur­rent­ly a master’s stu­dent in Com­par­a­tive Lit­er­a­ture under the super­vi­sion of Ter­ry Cochran. She has car­ried out all her uni­ver­si­ty stud­ies at the Uni­ver­sité de Mon­tréal, but has been able to work in sev­er­al research cen­tres, includ­ing the Cana­da Research Chair in Dig­i­tal Tex­tu­al­i­ties and, since May 2019, the Lab­o­ra­toire CinéMé­dias under the TECHNÈS partnership.

M-È Hamel

Marie-Ève Hamel

Marie-Ève Hamel has worked at the Lab­o­ra­toire CinéMé­dias since 2016, where she has served as assis­tant to the organization’s direc­tor and research coor­di­na­tor since 2020. As part of her duties, she helps the Chair orga­nize his diverse research projects and work while active­ly par­tic­i­pat­ing in the oth­er activ­i­ties of the Lab­o­ra­toire CinéMé­dias. In par­tic­u­lar, she is in charge of the laboratory’s library and man­ages the files of for­eign stu­dents. She is in the process of obtain­ing a master’s degree in cin­e­ma at the Uni­ver­sité de Mon­tréal, while on the inter­na­tion­al stage she has car­ried out study sojourns in Europe at Uni­ver­sité Sor­bonne Nou­velle – Paris 3 and Uni­ver­si­tat Pom­peu Fab­ra in Barcelona. Her research exam­ines recep­tion in cin­e­ma and new media in light of cog­ni­tivism and the neu­ro­sciences. Her master’s the­sis address­es the viewer’s inner mono­logue while audio-view­ing film and media. 


Nyassa Munyonge

Nyas­sa Mun­y­onge com­plet­ed her bachelor’s degree in scriptwrit­ing and lit­er­ary cre­ation at the Uni­ver­sité de Mon­tréal in 2020. That same year, she began a master’s degree in cin­e­ma stud­ies under the super­vi­sion of André Gau­dreault on the nar­ra­tiv­i­ty of the off-screen. Her prin­ci­pal inter­ests lie in cin­e­ma prac­tices: scriptwrit­ing, con­cep­tu­al­is­ing and directing. 


Marwan Saad

After com­plet­ing a bachelor’s degree in his­to­ry, a major in cin­e­ma stud­ies and a minor in com­mu­ni­ca­tion sci­ences, in 2020 Mar­wan Saad began work on a master’s degree under the super­vi­sion of André Gau­dreault on stream­ing plat­forms and their effect on movie the­atres. His fields of inter­est cen­tre on film his­to­ry, tech­no­log­i­cal devel­op­ment and dig­i­tal tech­nol­o­gy in cinema.

Bachelor’s Students


Alice Guilbert

Strad­dling Cana­da and France, Alice Guil­bert stud­ied art his­to­ry and archae­ol­o­gy in Paris at Uni­ver­sité Pan­théon-Sor­bonne before return­ing to Mon­tre­al to under­take a bachelor’s degree in cin­e­ma at the Uni­ver­sité de Mon­tréal. She joined the Lab­o­ra­toire CinéMé­dias in 2019 as a research assistant.