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.
Événements
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.

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

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.

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

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

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.

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