The general question addressed is whether fan culture can--as oral-derived epic at its best--be the means of real political and ethical innovation. The participative nature of both fan culture and oral tradition invites this parallel.


On l’a souvent répété : avant d’être un art, avant d’être une industrie, le cinéma était d’abord une technologie. À ses débuts, d’ailleurs, l’appareil de prises de vues intriguait tout autant que l’illusion qu’il parvenait à recréer.

Bourse doctorale

ARTHEMIS is offering a doctoral bursary worth $6000 for the academic year 2012-2013.

Narrative ecosystems: a multidisciplinary approach to media worlds

Inhabiting a narrative ecosystem is a distributed and diversified experience, that generate participation, urging for new consumption. Narration does not have a unique irradiation centre anymore, but it tends to develop along different routes.

Questions de méthode. Le sociologue face à l’industrie culturelle et à ses métamorphoses contemporaines

La communication vise à interroger les problèmes méthodologiques et épistémologiques que pose l’observation sociologique du panorama audiovisuel contemporain.

Of Superheroes and Celluloid: Allegory, Truth, and Technology in the Dark Knight Trilogy

Jay David Bolter’s article “Transference and Transparency: Digital Technology and the Remediation of Cinema” identifies a “cyberphobia” that emerged in films of the 1990s, just as digital technologies were gaining widespread acceptance in the industry (and, indeed, as blockbusters increasingly began to rely on them to create theretofore unimaginable spectacle

Transmediaphilia and the Pleasures of Personal Digital Archive

In this paper I’ll begin by tracing the historical context for world-building as enactment of fandom, primarily by constructing an arc between the golden age of cinephilia and the current state of transmediaphilia.

World-building and Gendered Fan Practices

Le résumé sera disponible bientôt