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.
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).
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: http://remybesson.blogspot.ca/
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.
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 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 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.
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 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 has been a master’s student in cinema studies at the Université de Montréal since the fall of 2019. She is mainly interested in the multiplication of the modes of consumption of cinema. Her master’s thesis will address cinephilia in the digital era. At the Laboratoire CinéMédias, her main task is to design and update the various websites connected with different projects and research partnerships.
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).
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 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 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 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.
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).
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).
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.
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.
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.
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.
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 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 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 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 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).
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.
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 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.
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.
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.