Adrian Martin is Adjunct Associate Professor of Film and Screen Studies at Monash University (Australia), audiovisual essayist, and a teacher at the EQZE Film School (Spain). He is the author of eight books, most recently Mysteries of Cinema: Reflections on Film Theory, History and Culture 1982-2016 (Amsterdam University Press, 2018; University of Western Australia Publishing, 2020).
Film-video-image-maker & archivist.
Alexis Martin studied at the Conservatoire d’art dramatique de Montréal between 1983 and 1986. Upon graduation, he worked with many renown directors such as René Richard Cyr, Claude Poissant, Robert Gravel, André Brassard, Denis Marleau and Jean-Pierre Ronfard. He has appeared in several television series, such as Les grands procès (L’affaire Viau), Radio Enfer, Un gars une fille and Vice Caché. He can also be seen in such films as The Party, Karmina, Un 32 Aout sur terre, Matroni et moi, Saints-Martyrs des damnés, Les Boys 3, L’audition and Les Mauvais Herbes. Since the 1990s he has devoted himself more seriously to writing. He co-wrote first work L’an de grâce with René Richard Cyr and Claude Poissant. Subsequently, he collaborated with several authors on such successful plays as Matroni et moi, which was adapted to the screen in 1998. In 1989, he joined the New Experimental Theater troupe, founded in 1980 by Robert Gravel and Jean-Pierre Ronfard. He became its artistic director in 1998 alongside Jean-Pierre Ronfard and Marthe Boulianne. Together with Guylaine Tremblay, he formed the Groupement Forestier du théâtre. These two organizations specialize in experimental theatrical creation (sketch, improvisation, play with space and time, special meetings with the public, etc.) “We question all the conventions of the theater by looking at it. Criticism of what is being done and always trying to offer something else, to innovate.”
Alice Leroy teaches film at the Université Paris-Est Marne-la-Vallée. She holds a PhD in Visual Studies from the Université Paris-Est. Her work focuses on the relation between science, aesthetics and the body. Her articles have been published in Trafic, Esprit, Critique, 1895, Débordements and Cahiers du cinéma.
Acousmate apprentice of Ecuadorian and Ukrainian origin, Ana Tapia Rousiouk is challenged by the adventure of listening: that of our time and its turbulent zones. Some thorns on the way:
Brooming the affirmative mists, the sad coherences, the murderous cradles. Exploring the backstages of listening, of hearing phenomena on the air, and of music – the loyal opponent.
André Habib somehow became professor of film studies at the Université de Montréal after working as a videostore clerk, while remaining a cinephile and critic, and without ever having been able to direct a movie. He joined the team of Hors champ in 2000, with Simon Galiero, Frédérick Pelletier and Nicolas Renaud. Since 2016 he is chief editor of the journal (with Renaud Desprès-Larose, Nour Ouayda and Olivier Godin). He has published over 250 articles and organized more than 30 public events. He is the author, among others, of La main gauche de Jean-Pierre Léaud (Boréal, 2015) and L’attrait de la ruine (Yellow Now, 2011).
Anne Lardeux is interested in the politics of the commons, those that apply to issues of health and to the words and images that arm them.
Artiste sonore et mécanicienne de bicyclettes, Anne-Françoise Jacques s’intéresse à l’amplification de petits objets, à l‘électricité, aux grattements et aux collages sonores impromptus.
Barbara Le Maître began in photography and natural sciences before realizing that she preferred writing on images (of others). She is currently a professor of film studies at Paris Nanterre University (HAR laboratory – History of the arts and performances). Her books include Entre film et photographie. Essai sur l’empreinte (2004), Zombie une fable anthropologique (2015) and she has co-edited several collected works, including: Cinéma muséum. Le musée d’après le cinéma (2013), le n°25 de Cinema & Cie. International Film Studies Journal : “Overlapping Images. Between Cinema and Photography” (2016), and Muséoscopies. Fictions du musée au cinéma (2018).