First call for contributions from CNC Lab

CNC Lab objectives

Conceived as a Think Tank, able to build bridges between the world of research and the cinema, audiovisual and video game sectors, the CNC Lab will help:

• nurture the strategic vision of the sectors concerned ;
• stimulate new ideas and approaches relating to the essential missions of the CNC: to support, promote, disseminate, cooperate, regulate, protect, conserve, and enhance moving pictures industries.

Terms and conditions

The CNC calls for contributions for teachers and researchers in human and social sciences, economic sciences, information, or law, who may be French or foreign, on two topics proposed.

• Contributors will be asked to send a note of intent, not exceeding 3,500 characters (including spaces), it must briefly present the authors, the subject proposed, the method used and a short indicative bibliography (deadline below).
   
• A scientific committee* will select three to five winning projects per theme based on these notes of intent.
   
• Contributions may be based on work already in existence or in progress, but the proposal must nevertheless be original and comply with the criteria established by the CNC Lab (between 20 and 30 pages, no prior publication).
   
• A presentation day will be held attended by all the winners and members of the CNC Lab scientific committee and will be open to the public.

The winners will be remunerated for their contribution to the sum of €1,500 per project and their work will be published by the CNC.

2023 themes

1. What is the European imagination?

In a globalised cinematographic and audiovisual landscape, and regarding the broadcasting strategies of the major channels, streaming platforms, and social networks, can we distinguish the specific qualities of a European imagination in audiovisual, cinema and video creation? If so, how does it define itself regarding other imaginations (North American, Asian, African, etc.)?

How can it be characterised (values, aesthetics, representations, types of narratives, etc.)? How does it depend on the production conditions, the economic models, and the regulatory framework in which it operates? Is the same true for cinema, TV series and video games?

If not, why has a European imagination not found its place in the discourse around animated images in Europe?

What conditions would be necessary for it to emerge at both artistic and economic levels? Through which European policies (regulations, support)?

2. Access and dissemination of local productions

What regulatory and support policies (aid as investment obligations) have been put in place other than in France to promote and improve the dissemination of local productions in domestic markets and abroad? Are there, for example, other forms of media chronologies?

What is the impact of these policies on access to works? What examples are there of successfully exporting a national cinematographic and/or audiovisual creation internationally and why have these been successful (South Korea, Scandinavian model, Latin America, Israel, Nigeria, etc.)?

Which financing models are most used abroad (investment in writing, nature of relations between producers and distributors, pre-financing logic, etc.) and ensure better visibility of works in a context of changing consumption patterns and increasingly abundant supply?

Schedule

• Submission deadline of notes of intent: 30 June 2023
   
• Selection of winners: Second half of July 2023
   
• Submission of contributions: December 2023
   
• First CNC Lab day: first quarter 2024
   

Contact

cnc.lab@cnc.fr

Biographies of members of the CNC Lab scientific committee

Anne Bellon

Anne Bellon is a PhD in political science and lecturer in sociology at the Université Technologique de Compiègne (University of Technology of Compiègne). A teacher and researcher, she works on the regulation of the internet, online democracy, digital mobilisations and the transformation of the State. In 2022, she published L’État et la toile (The State of the Web)(Editions du Croquant), a book on the development of digital policies in France. She also works on the development of new digital methods for the social sciences.

Camille Broyelle

Professor of Public Law at Université Paris Panthéon-Assas (Paris-Panthéon-Assas University) and Director of the "Digital Law, Media Law" Master's Degree, Camille Broyelle teaches the law of fundamental freedoms, administrative litigation, digital law and audiovisual law. She is the author of an administrative litigation manual and co-author, with Laurence Franceschini, of a book devoted to audiovisual regulation and director of the Public Law Review.

Jonathan Buchsbaum

Emeritus professor of media studies at Queens College, City University of New York, Jonathan Buchsbaum has written about political cinema, the third cinema, and the French politics of cinema.  He has served as an employee union officer at CUNY.  He is the author of three books: Cinema Engagé: Film in the Popular Front; Cinema and the Sandinistas: Filmmaking in Revolutionary Nicaragua, 1979-1990; Exception Taken: How France Has Defied Hollywood’s New World Order.

Sébastien Genvo

Sébastien Genvo is Professor at the Université de Lorraine (University of Lorraine) and Director of the Information-Communication Department, and has links with the Centre de recherche sur les médiations (Centre for Research on Mediation). He is head of the Pixel research team. Game designer at Ubisoft from 2001-2002, Sébastien Genvo presented the first thesis (2006) in France on video games. His work focuses on this area’s artistic and cultural issues, notably by developing the concept of expressive games. In this context, he carries out research and creation activities that have led to the development of two independent games, Keys of a Gamespace (2011) and Lie in My Heart (2019). He is responsible for Expressive Gamelab, a video analysis and creation platform.

Sandra Laugier

Sandra Laugier is a professor of philosophy at Université Paris 1 Panthéon-Sorbonne (Paris 1 Panthéon-Sorbonne University) and a senior member of the Institut Universitaire de France (French University Institute). She is the author of numerous books on language philosophy (Wittgenstein, Austin, Cavell) and moral philosophy (perfectionism, care ethics, feminist ethics). She recently worked on the issue of democracy and civil disobedience, and recently on television series. Most notably, she has published: Tous vulnérables ? Le care, les animaux, l’environnement (All Vulnerable? Care, Animals, the Environment), Payot, 2012; Face aux désastres. Le care, la folie et les grandes détresses collectives (In the Face of Disasters. Care, Madness and Great Collective Distress) (with A. Lovell, S. Pandolfo and V. Das), Ithaque, 2013; Why We Need Ordinary Language Philosophy, The University of Chicago Press, 2013; Le Principe Démocratie (The Democracy Principle) (with A. Ogien), La Découverte, 2014; Etica e politica dell’ordinario (Ordinary Ethics and Politics), LED, Milano, 2015; Formes de vie (Forms of Life) (ed. with E. Ferrarese), CNRS Editions, 2018 ; Nos vies en séries (Our Lives in Series), Climats, Paris, 2019; Politics of the Ordinary, Care, Ethics, and Forms of Life, Peeters, Leuven, 2020; Le pouvoir des liens faibles (The Power of Weak Ties) (ed. with A. Gefen), CNRS Editions, 2020; Les séries (Series), CNRS Editions, 2023,  TV Philosophy, Exeter U. Press, 2023. She is the Principal Investigator of the European Research Council (ERC) project DEMOSERIES https://www.demoseries.eu
She is a knight of the Legion of Honour (2014) and has won the Grand Prix de Philosophie of the Académie Française (2022).

Thomas Paris

Thomas Paris is a research fellow at the CNRS (the French National Centre for Scientific Research) in economics and management, where he carries out research on the cultural and creative industries (ICC) from the perspectives of processes for creation, organisation and management, sectoral economics and public policies. He carries out his research in collaboration with public and private players in these sectors. He has published numerous articles on different sectors of the ICC, has directed special issues on cinema and audiovisual and video games (Réseaux, DigiWorld Economic Journal, Entreprises & Histoire), and has published several books including Manager la créativité - Innover en s'inspirant de Pixar, Ducasse, les Ateliers Jean Nouvel, Hermès... (Managing Creativity - Innovating with Pixar, Ducasse, Ateliers Jean Nouvel, Hermès...) (Pearson, 2010), La Fabrique des start-up - Maîtriser les clés du nouvel entrepreneuriat (The Fabric of Start-ups - Mastering the Keys to New Entrepreneurship) (with J.F. Caillard, Pearson, 2018, preface by N. Dufourcq), as well as L’Economie du cinéma (The Economy of Cinema) (with Ph. Chantepie, La Découverte, to be published). He is also an associate professor at HEC Paris, and Scientific Director of the MAC (Media, Art &  Creation) Specialised Master's Degree.