Founded in 1983, the IRCAV is currently home to 9 full professors, 7 emeritus professors, 16 lecturers, 2 honorary lecturers and 3 associate lecturers. As of January 1, 2020, the center also includes 2 temporary lecturers (ATER), 12 funded PhD candidates with teaching duties, approximately 50 recent PhD holders and about 60 associate researchers who hold positions at other institutions. A total of over 55 graduate studients [PDF - 357 Ko] are pursuing a PhD at the institute.

IRCAV is a founding member of the LabEx ICCA, a laboratory for the study of cultural industries and artistic creation. As of January 1, 2020, the laboratory is involved in one research program funded by the ANR, the French national research agency.

• Aesthetics of cinema, audiovisual, and the image

• History and cinema/Film and audiovisual history

Research on the complex relationships between cinema, audiovisual media, and history. In film history: silent cinema and other periods; genetic studies of films; non-film archives; television history. In cinema and history: the audiovisual (and digital) writing of history; cinema and politics; uses of archives and individual accounts; docufictions. The Theaters of Memory research program links the poetics of cinematic works, the construction of a collective imagination and the relationships between reproducible images and memory, technology and the archive.

• Film and audiovisual economics, sociology, and law

Research on the economic, social, and institution dimensions of cinema and audiovisual activities. Special attention is given to actors’ strategies and the corresponding industry dynamics. Studies focus especially on the cinema-market relationship, film distribution and theater operations, as well as the project management dimension of film production and directing. Economics of the film industry; cinema and public policy; film production and financing; economic and institutional history of French cinema; audiences and markets; promotion, publicity, and marketing; cinema, television, and communications industries; cinema and audiovisual professions; participative practices; cinema, internet, and mobile phones; creative territories.

• Cultural studies and cinema/audiovisual pragmatics

Research conducted within a variety of disciplinary approaches, converging around the analysis of cinema, television and other audiovisual productions as social phenomena that determine forms representation and uses. The pragmatics of cinema and audiovisual media are brought into dialog with a broad conception of cultural studies (cultural anthropology, cultural history, cultural mediation, cultural studies, gender studies, post-colonial studies, etc.) as well as with other approaches (theories of public space, sociology of innovation, bio-cultural approaches, media education). Situated aspect of film and audiovisual media from the point of view of reception and interpretation. Analysis of objects seen as having little cultural value (popular cinema, television, games...), new media (mobile, webdocumentaries), and audience practices (fans) and discourses.

The research developed within the IRCAV covers the entire field of cinema and audiovisual media studies: from early silent cinema to digital productions, from fiction films to documentaries, from family films to experimental cinema, from television to video, from photography to mobiles phones, from advertising to works created for museums and art galleries. These studies fall within multiple academic disciplines, including aethetics, history, economics, sociology, law, anthropology, cultural studies, semiology, and communications. 

Cinema and image aesthetics. Film art. Cinema and new technologies. Cinema and contemporary art. Film history. Cinema and history. Early silent cinema. Cinema from 1908 to 1919. The New Wave. Multiple versions. Economics of the film industry. Actor's strategies and industry dynamics. Professions of the film industry. Audiences and markets. Economic and institution history of cinema. Cinema, television and communications industries. History of professions, techniques, and intermediality. Mobiles phones and artistic creation. Documentaries and webdocumentaries. Television and sporting events. Television and popular culture. Mass art and popular cinema. World cinema and television (West Africa, Brazil, India, former Soviet bloc). Films genres and cultural transfer. Family films and experimental cinema. Modes of reception and production of meaning. Research on teaching and cinema mediation, media education. Film and cultural representations. Films and the construction of a collective imagination.

Théorème brings together the research conducted within the IRCAV. This journal aims to publish and circulate original and ambitious academic work on film and audiovisual media. 35 issues publishes as of February 1, 2023.

Publications, conferences, development from January 2012 to June 2017 [PDF - 3 Mo] (2018 evaluation by the HCERES - French national research evaluation council). 

Conferences

1. Conferences organized by the IRCAV in 2022-2023
(see also below: 2. Conferences co-organized by the IRCAV since 2022)

 

 

For more detailed informations on research programs, seminars and conferences (Webpage in French)

 

On average, IRCAV members publish over 20 books each year. The following list includes titles that represent the variety of research conducted at the institute. 

• Laurent Véray, Laurent Mannoni (dir.), Demandez le programme ! Une histoire du cinéma (1894-1930), Creaphis éditions, 2023.
• Jacques Aumont, Solaris 1972. Voyage au bout de soi-même, 202 éditions, 2023.
• Mélanie Boissonneau, Gaspard Delon, Quentin Mazel, Thomas Pillard (dir.), John Carpenter : au-delà de l’horreur, Presses universitaires de Bordeaux, 2023.
• Sébastien Roffat, Sylvie Saerens, Pascal Vimenet (dir.), Émile Reynaud. Nouveaux regards, Paris, L'Harmattan, "Cinémas d'animations", 2023.
• Mélanie Boissonneau, Gilles Menegaldo, Anne-Marie Paquet-Deyris (dir.), Le Studio Hammer : laboratoire de l'horreur moderne ?, Le Visage vert, 2023.
• Giusy Pisano et Caroline Champetier (dir.), La Fabrique de l'image au cinéma, Éditions de l'Oeil, 2023.
• Myriam Fouillet (dir.), HMC – Habillage, Maquillage, Coiffure, Création Collective au Cinéma, n° 6, revue en ligne, 2023
• Gérard Leblanc, Le film en devenir, interactions, transformations, Créaphis, 2023
• Teresa Castro, Térésa Faucon, Dario Marchiori, Emmanuel Siety (dir.), La figure et le fond au cinéma. Une esthétique des relations, Théorème, n° 35, Presses Sorbonne Nouvelle, 2023
• Sabrina Bouarour, Héloïse Van Appelghem (dir.), « Analyser l’intersectionnalité au cinéma. Circulation d’un concept, en France et aux États-Unis », Mise au point, n° 16, 2022.
• Sélim Ammouche, Alexis Blanchet, Björn-Olav Dozo et Mathieu Triclot, Lire les magazines de jeux vidéo. Couverture(s) de la presse spécialisée française, Presses universitaires de Liège, 2022
• Amandine D'Azevedo, Térésa Faucon, Anne Kerlan et Marion Polirsztok (dir.), Les Sons de l'exotisme. Bruits, voix, musiques, éditions Mimesis, 2022.
• Claude Forest, Histoire du cinéma au Togo, L'Harmattan, "Images plurielles", 2022
• Annelise Gavoille, Marie Grenon, Samuel Lhuillery, Sacha Peluchon (dir.), Questions de déontologie en sciences humaines et sociales. Interroger les pratiques de recherche, L'Harmattan, 2022.
• Laurence Allard, Dominique Bougerol, Thomas Pillard, Aurélie Pinto et Giusy Pisano (dir.), Crise, quelle crise ? Cinéma, audiovisuel, nouveaux médias, Théorème, n° 34, Presses Sorbonne Nouvelle, 2022.
• Carole Aurouet, Marie-Claude Cherqui, Laurent Véray (dir.), Musidora, qui êtes-vous ?, Éditions de Grenelle, 2022.
• Thomas Pillard & Geneviève Sellier (dir.), Michèle Morgan: Stardom and Popular Cinephilia, French Screen Studies, vol. 22, n° 2-3, juillet 2022
• François Thomas, Trente Années avec Alain Resnais : entretiens, Les Impressions nouvelles, 2022
• Charles Guérin, Jean-Marc Leblanc, Jordi Pia-Comella, Guillaume Soulez (dir.),
  L’èthos de rupture. De Diogène à Trump , Presses Sorbonne Nouvelle, 2022
• Carole Aurouet, Les Enfants du Paradis de Marcel Carné, Gremese, 2022
  
• Kristian Feigelson, Mehmet Ozturk (dir.), Les écrans turcophones, Presses universitaires Septentrion, 2022
• Clément Puget et Laurent Véray (dir.), À la recherche de l'histoire du cinéma en France (1908-1919). Lieux, sources, objets, Presses universitaires de Bordeaux, 2022
• Calum Watt, Derivative Images. Financial Derivatives in French Film, Literature and Thought, Edinburgh University Press, 2022
• Jacques Aumont, Mes universités. Roman, Marrest éditeur, 2022

Previous publications (before 2022)

The IRCAV maintains partnerships with numerous institutions outside France, including the university of Campinas and Sao Paulo and the Federal Universityof Rio de Janeiro in Brazil; the universities of Iowa, Chicago, and New York University (NYU) in the United States; the University of Montreal in Canada; the University of London in the United Kingdom; Radboud University in Nijmegen, The Netherlands; the University of Bremen in Germany; the universities of Bologna, Udine, Milan, and Pisa in Italy; Saint Joseph University in Beirut, Lebanon; and the Art Institute at the University of Jakarta, Indonesia.

Two IRCAV PhD candidates currently have contracts funded through partnerships with Lobster Films and Gaumont.