Barbara Le Maître, Natacha Pernac, Jennifer Verraes
Barbara Le Maître is full professor of film studies at the University of Paris Nanterre. She has published Entre film et photographie. Essai sur l'empreinte (PUV, 2004), Zombie, une fable anthropologique (PUPO, 2015), Image versus médium featuring Mark Lewis (PUN, 2022); and co-edited several collective works including: Preserving and Exhibiting Media Art (with J. Noordegraaf, C. Saba, V. Hediger, AUP, 2013), All That the Sky Allows in Film, Photography, Painting and Video (with B. N Aboudrar, PSN, 2015), Cinema & Cie. International Film Studies Journal, Vol. XV, No. 25: 'Overlapping Images' (with Luisella Farinotti and Barbara Grespi, 2016), Art-historical Moments in Cinema (with B.N. Aboudrar, J. Jibokji and J. Martin, Aracne, 2020), and Checkers, Grids, Cubes. De la théorie de l'art au cinéma (forthcoming, PUR, 2023). She is interested in the relationship between cinema and the museum; in the figure of the zombie; in imprints and fossil forms in cinema; in Mark Lewis's "delocalised" films; more broadly, in the history of forms through interposed fictions.
Natacha Pernac is associate professor in modern art history at the University of Paris Nanterre. She devotes her research to Italian Renaissance painting, more particularly along the following lines: the history of representations of the body, narration in domestic settings, and the analysis of artistic interactions. Her publications include the Bescherelle de l'Histoire de l'Art, Paris, Hachette, 2015 (with Guitemie Maldonado and Marie-Pauline Martin), and La peinture représentée, Paris, Hazan, 2013 (with Robert Bared). She also co-edited Museoscopies. Fictions du musée au cinéma (with Joséphine Jibokji, Barbara Le Maître and Jennifer Verraes, Presses Universitaires de Nanterre, 2018). Director of Studies at the Ecole du Louvre between 2016 and 2020, she is also interested in museology and its history.
Jennifer Verraes is associate professor in film studies at the University of Paris 8 Vincennes - Saint-Denis. Her work aims to bring to light the links between the history of cinema, technology and the humanities in the 20th and 21st centuries, in particular through the history of listening, speech and its recording in cinema. She has co-edited two books on cinema and the museographic imagination, our view of heritage and our (collective, fetishistic) relationship to the work of art: Museoscopies. Fictions du musée au cinéma (with Barbara Le Maître, Natacha Pernac and Joséphine Jibokji, Presses Universitaires de Nanterre, 2018) and Cinéma muséum. Le musée d'après le cinéma (with Barbara Le Maître, Presses Universitaires de Vincennes, 2013).