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43 | 2023 – Museology and Film : Contemporary Perspectives

Notes de la rédaction

Under the direction of Barbara Le Maître and Stéphanie-Emmanuelle Louis

Call for papers for a thematic issue

For the past thirty years, the academic community has regularly posed the question of the relation between film and museums, all of which relations are a constant preoccupation for numerous heritage and cultural institutions. While museums and exhibitions devoted to cinema are more and more frequent on a global scale, going along with a renewal of initial expographic forms, and film screenings in museums are increasingly common, as is the use of animated images (both artistic and didactic) within exhibitions; while documentaries on museums are frequently screened in movie theatres (a prime example being National Gallery, F. Wiseman, 2013) and films from all genres, from films d’auteur to blockbusters, have long taken hold of museums as objects, how now can the relations between film and museums be reconsidered? In the case of this issue of Culture & Musées, our jumping off point is the following question: on the basis of what approaches, both theoretical and analytical, can these relations be studied?

1) A History of Museums and Film Exhibitions

Studies on the patrimonialization of cinema have become increasingly common since the second half of the 2000s. More often than not, they are articulated around the history of an institution, a cinematheque or film archives, as in publications by Laurent Mannoni (2006), Haidee Wasson (2005) and Bregt Lameris (2017), for example. Previously, pioneering research (in the manner of that carried out by Donata Pesenti and Christophe Gauthier) posed the question of the patrimonialization of cinema. Recent work has brought this issue back to the fore (see Louis 2013, 2020; Cere, 2021), leading into a comparative approach to various museographic propositions, based both on the contrasting of mediation as well as of the cultural policies and networks that lead into them.

Within this context, the first line of analysis is to focus on the history of museums of cinema and the ways that they bring up different museological issues; focus will also be put on the history of exhibitions, and in particular questioning how these have thought out cinema’s incursion into museums, and thus the status of cinematic objects. While such analyses have been initiated concerning cinematographic equipment (Mannoni, 2003), one hopes that it can be extended to other types of heritage objects having to do with film. In addition, comparative and international viewpoints would be welcome in order to highlight both singularities and commonalities between institutions. Proposals focusing on new and emerging corpuses, particularly in the post-colonial field, would be especially appreciated.

2) Contemporary Forms of Film Exhibitions: Theory, Aesthetics

In addition to this more historical line of thinking around museums and exhibitions will be a second set of considerations around the ways of exhibiting film, working at the crossroads of aesthetic and theoretical approaches and analyses of current dispositions, the latter of which should be explored in detail. While the Musée du Cinéma Henri Langlois in the Palais de Chaillot, with multiple 16mm projectors scattered all around, is a sort of an emblem, the past thirty years has seen a reenergizing of both practices and theories surrounding the exhibition of film (see Païni, 1992; Michaud, 2006). These analyses can undoubtedly draw on art history as well as on studies of cultural outreach and even information and communication sciences (see Crenn, 2011).

Regardless of the case that is studied or the approach that is adopted, an important aspect of the analysis will be to figure out what part of cinema is, or has been exhibited, and why? In other words, what are the exposits of cinema? This question brings in the nature of semiophores and the expographic discourse that they imply. It becomes clear that an analysis of the exhibition of film is not limited to exhibitions termed “extra-film” in French, but rather in presentation or installation of cinematographic devices (including films) within a museum space.

3) Analysis of Museum-ness through the Layering of Films

Following on from a recent publication on the fiction of museums in cinema (see infra: Jibokji, Le Maître, Pernac, Verraes, 2016), the third line of inquiry proposed by this call for papers is an invitation to examine representations of museums and museality in cinema based on the analysis of fiction films in particular. Here our hypothesis is, briefly, that fiction is a means for the critical perception of the reality of museums, of their overarching principles and basic characteristics.

Aside from the predominance given over to fictional films, no filmmaker nor corpus is required in these considerations. However, special attention will be paid to proposals that focus either on museums that are less well-known than those of Fine-Arts, such as natural history museums or ethnographic museums, or that emphasize particular aspects of museums or films that have generally been overlooked.

Selected Bibliography

ALBERA François, « Exposer le cinéma », in Art Press, n° 213, May 1993.

CERE Rinella, An International Study of Film Museums, Routledge, London, 2021.

CRENN Gaëlle, « L’exposition du cinéma populaire au musée de sciences. Logiques de production et dispositifs muséographiques dans les expositions “ blockbusters ” », in BARDIN Christophe, LAHUERTA Claire, MEON Jean-Matthieu (dir.), Dispositifs artistiques et culturels. Création, institution, public, 2011.

DAGOGNET François, Le Musée sans fin, Seyssel, Champ Vallon, 1984.

ELSAESSER Thomas, « Ingmar Bergman in the museum? Thresholds, limits, conditions of possibility », in Journal of Aesthetics & Culture, Vol. I, 2009.

FOVEAU Georges, « La Passion de l’image fait éclater la notion de musée : des micro-musées en ‘réseaux’ », Champs visuels : L’image et les musées, n° 14, avril 2000.

FRANCIS David, HORWATH Alexander, LOEBENSTEIN Michael, CHERCHI USAI Paolo, Film Curatorship. Archives, Museums and the Digital Marketplace, Austrian Film Museum, 2008.

GAUTHIER Christophe, La Passion du cinema: cinéphiles, ciné-clubs et salles spécialisées à Paris de 1920 à 1929, Éditions de l’AFRHC, 1999.

GAUTHIER Christophe (dir.), Patrimoine et patrimonialisation du cinéma, Paris, Ecole nationale des chartes, 2021.

GALLOIS Alice, « Les images animées au Musée de l'Homme ou la rencontre de deux mondes (1930-1950) », Conserveries mémorielles, n°16, 2014.

GOB André, DROUGUET Noémie, La Muséologie. Histoire, Développements, Enjeux actuels, Paris, Armand Colin, 2003 [5th edition, 2021].

HABIB André, MARIE Michel (dir.), L’Avenir de la mémoire. Patrimoine, restauration et réemploi cinématographiques, Presses universitaires du Septentrion, Villeneuve d’Ascq, 2013.

JEANNERET Yves, LE MAREC Joëlle, « Musée et cinéma, une politique de l’attention. Sur National Gallery de Frederick Wiseman », in Culture & Musées, n°28, 2016.

JIBOKJI Joséphine, LE MAÎTRE Barbara, PERNAC Natacha, VERRAES Jennifer, Muséoscopies : Fictions du musée au cinéma, Presses universitaires de Paris Nanterre, 2016.

LE MAÎTRE Barbara, VERRAES Jennifer, Cinéma muséum. Le musée d’après le cinéma, Presses Universitaires de Vincennes, 2013.

LAMERIS Bregt, Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum (1946-2000), Amsterdam University Press, 2017.

LOUIS Stéphanie, E. « 1975, La France des années trente vue par son cinéma. Un événement sociologique à la Cinémathèque de Toulouse », Cinémaction, under the supervision of Réjane Vallée, June 2013.

LOUIS Stéphanie E., La Cinémathèque-Musée : Une innovation cinéphile au cœur de la patrimonialisation du cinéma en France (1944-1968), Éditions de l’AFRHC, 2020.

MAIRESSE François, DESVALLEES André (dir.), Vers une redéfinition du musée, Paris, L’Harmattan, 2007.

MICHAUD, Philippe-Alain, Le mouvement des images, Paris, Éditions du Centre Georges Pompidou, coll. Les cahiers du musée national d'art moderne, 2006.

MANNONI Laurent, « Musée du cinéma et expositions temporaires, valorisation des collections d’appareils : une histoire déjà ancienne », 1895, n°41, 2003.

MANNONI Laurent, Histoire de la Cinémathèque française, Paris, Gallimard, 2006. 

PAÏNI Dominique, Conserver, montrer. Où l’on ne craint pas d’édifier un musée pour le cinéma, Crisnée, Yellow Now, 1992.

PAÏNI Dominique, Le Cinéma exposé : le cinéma de la salle au musée, Paris, Cahiers du cinéma, 2002.

PaÏnI Dominique, « Henri Langlois : expérimenter, conserver », Journal of Film Preservation, n°85, octobre 2011.

PESENTI CAMPAGNONI Donata, « Tra patrimonio filmico e patrimonio cinematografico. Alcune tracce storiche sui Musei del Cinema e dintorni », Notizario dell’Associazione Museo Nazionale del Cinema, 1997.

PESENTI CAMPAGNONI Donata, « Preservation, Care and Exploitation of Documentation related to Cinema : An Unresolved Issue », Film History, n°3, 2006.

POULOT Dominique, Musée, nation, patrimoine 1789-1815, Paris, Gallimard, 1997.

RIVIERE Georges-Henri, La Muséologie selon Georges-Henri Rivière. Cours de muséologie. Textes et témoignages, Paris, Dunod, 1989.

SZEEMANN Harald, Écrire les expositions, Bruxelles, La lettre volée, 1996.

WASSON Haidee, Museum movies: The Museum of Modern art and the Birth of Art Cinema, University of California Presse, Los Angeles, 2005.

Guest editors

This issue is coordinated by Barbara Le Maître (University of Paris Nanterre) and Stéphanie-Emmanuelle Louis (Ecole Nationale des Chartes).

Sending proposals

Please send in proposal (between 5,000 and 7,000 characters) by email before January 6th, 2023 to:

Barbara Le Maître:

Stéphanie-Emmanuelle Louis:

CC: and

Formatting for proposals

- 5,000 to 7,000 characters including spaces

- The .docx document should be named as follows: C&M-N°42-PC-Author’s last name (or principal author if more than one).

- The document should be written in 12-point Times New Roman justified.

In order, it should have the following:

- LAST and first name of author 1

- Email address

- Status: Position and institution (university, research lab)

- Title

- Biography (maximum 600 characters)

The same is applicable for any other authors of the proposals.

- Proposal title

- The body of the proposal should include details of the disciplinary or interdisciplinary approach adopted, the issues at stake, the field or corpus studied, the methodology employed and preliminary projection of results.

- 5 keywords

- 5 references used in the article.


January 6th, 2023: Deadline for sending proposals.

January 20th 2023: Acceptances and refusals are sent to contributors

May 19th, 2023: Deadline for finished articles

May-June, 2023: Double-blind peer-review.

June 30th, 2023: Feedback to authors (acceptance or rejection on the basis of peer-reviews)

September 15th, 2023: Deadline for V2 of article

October 30th, 2023: Deadline for final changes including metadata

November, 2023May, 2024: Translation, correction and layout

June 2024: Issue is published.


Barbara Le Maître 

Université Paris Nanterre

Stéphanie-Emmanuelle Louis

Ecole des Chartes

Culture & Musées, the Journal

Culture & Musées is a double-blind peer-reviewed bi-annual journal devoted to publishing new research on cultural institutions, audiences and mediations. It aims at a wide readership of researchers, students as well as museum and cultural heritage professionals.

Culture & Musées is a recognized journal in the field of Information and Communication Sciences (71st CNU section).

The journal is supported by Avignon University et UGA Éditions. It is published with the support of France’s Ministry of Culture, the Région Sud, the Institute of Human and Social Sciences at the CNRS and the Centre Norbert Elias (CNE).

The journal is indexed by the INIST and the Arts and Humanities Citation Index and Current Contents/Arts Humanities (Thomas Reuters), Mir@bel - - Web of science – Scimago - Scopus.

Culture & Musées is open access and published on OpenEdition:

Heads of Publication

Publication Directors: Isabelle Brianso & Éric Triquet (Avignon Université)

Editors-in-chief: Dominique Poulot (Université Paris 1 Panthéon-Sorbonne) & Éric Triquet (Avignon Université)

Assistant editor-in-chief: Gaëlle Crenn (Université de Lorraine)

Publication coordinator: Pauline Grison (Avignon Université)

Comité de rédaction

Pascale Ancel, Université Grenoble Alpes

Florence Andreacola, Université Grenoble Alpes

Arnaud Bertinet, Université Paris 1

Isabelle Brianso, Avignon Université

Marie-Charlotte Calafat, Mucem

Marie Cambone, Université Grenoble Alpes

Sandra Costa, Université de Bologne

Saskia Cousin, Université Paris Nanterre

Gaëlle Crenn, Université de Lorraine

Catherine Cuenca, AGCCPF, Université de Nantes

Manuelina Maria Duarte Cândido, Université de Liège

Jacqueline Eidelman, École du Louvre

Daniel Jacobi, Avignon Université

Emmanuelle Lallement, Université Paris 8

Joëlle Le Marec, Sorbonne Université

Jean-Marc Leveratto, Université de Lorraine

François Mairesse, Université Sorbonne Nouvelle-Paris 3

Anik Meunier, Université du Québec à Montréal

Dominique Poulot, Université Paris 1 Panthéon-Sorbonne

Vincent Poussou, Direction des publics et du numérique de la Réunion des musées nationaux-Grand Palais

Lise Renaud, Avignon Université

Eva Sandri, Université Paul Valéry Montpellier 3

Olivier Thévenin, Université Sorbonne Nouvelle-Paris 3

Eric Triquet, Avignon Université

Fabien Van Geert, Université Sorbonne Nouvelle-Paris 3

Mathieu Viau-Courville, OCIM

Jean-Christophe Vilatte, Université de Lorraine

Document annexe

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