HomeFrom the festival to the web, the stakes of the short film since 1990

HomeFrom the festival to the web, the stakes of the short film since 1990

From the festival to the web, the stakes of the short film since 1990

Du festival au web, les enjeux du court métrage depuis 1990

Production, diffusion, reception, aesthetics

Production, diffusion, réception, esthétique

*  *  *

Published on Tuesday, October 31, 2017


The short film always seems to hold an ambiguous position, between an academic exercise for young film makers and an arthouse film; between a marginalized but necessary form in the audiovisual landscape; a form that the general public would avoid cheerfully. We intend to revisit the importance of short films in the French and international cinematographic and audiovisual landscape and reaffirm its complexity and its links with the audiovisual sector and the new media. 



The short film always seems to hold an ambiguous position, between an academic exercise for young film-makers and an arthouse film; between a marginalized but necessary form in the audiovisual landscape; a form that the general public would avoid cheerfully. We intend to revisit the importance of short films in the French and international cinematographic and audiovisual landscape and reaffirm its complexity and its links with the audiovisual sector and the new media.

Article 3 of the French Decree No. 90-66 of 17 January 1990 provides that feature films have a duration of more than one hour. Decree No. 99–130 of 24 February 1999 on the financial support of the cinematographic industry states that “Short-term cinematographic works shall be those whose duration is projected in cinematographic cinemas less than or equal to one hour”. The issues of format are here to be clarified: what are the consequences of this opposition and the wide variety of formats in terms of diffusion, production or viewing?

By bringing together professionals, researchers and film students, this international pluridisciplinary symposium wishes to question the economic, aesthetic, artistic and cultural aspects of short film since 1990. Why producing, directing, diffusing and watching short films? Who are the stakeholders in the short film world? What is the place of the short film in the audiovisual and media landscape? How does the digital industries and streaming platform change the game? How does the question of duration, as a choice or as a constraint, translate into an artistic dimension? How does it co-exist with other short audiovisual forms? From traditional press to YouTube, what visibility for short films?

Particular attention will be given to communication proposals related to web-related issues as well as sectoral issues. Questions can be related to the following topics:

  • The place of short films within the economy of the cinema and in general of the audiovisual sector
  • Web-related changes in short-film production practices, visibility, remuneration methods and dissemination
  • What audience for short-films?
  • Production/distribution networks
  • Valorisation and visibility strategies
  • Broadcasting modes: cinemas (pre-session, short film programs), festivals, television broadcasts (linear, but also delinearized), web (SVOD platforms, free, Youtube)
  • Funding strategies: Who’s producing and why? Why do television stations co-produce, produce or buy short films? What changes crowdfunding to the funding methods of short film?
  • The influence of duration on the aesthetics of the film. 

This symposium is sponsored by the IRCAV and CEISME at the Sorbonne Nouvelle—Paris 3 University, the LabEx ICCA and the UFR Arts and Media. It is part of the Festival Objectif Censier, Short Film Festival of the Sorbonne Nouvelle.

Submission guidelines

Proposals for contributions (max. 2500 signs including spaces) with a short biographical notice must be sent to objectifcensier.paris3@gmail.com

before 15 December 2017.

The decision of the Scientific Committee will be announced on 15 January 2018.

Primary language of the symposium will be French but communications in English will be accepted.


  • Marie Ballarini – IRCAV Université Sorbonne Nouvelle Paris 3
  • Chloé Mougenot — CEISME Université Sorbonne Nouvelle Paris 3 Students of the audiovisual department of Paris 3 organizers of Objectif Censier 

Scientific comitee

  • Perrine Boutin, IRCAV, Université Sorbonne Nouvelle - Paris 3
  • Marie-France Chambat-Houillon, CEISME, Université Sorbonne Nouvelle - Paris 3
  • Caroline Guigay, IRCAV, Université Sorbonne Nouvelle - Paris 3
  • Stéphane Kahn, Programmateur à l’Agence du court métrage et rédacteur de la revue Bref
  • Jacques Kermabon, rédacteur en chef de la revue Bref
  • Barbara Laborde, IRCAV, Université Sorbonne Nouvelle- Paris 3
  • Benoît Labourdette,  président de la Coordination nationale Passeurs d'images
  • Richard Sidi, délégué général et responsable des départements scénario et production de la Maison du film court
  • Matthias Steinle, IRCAV, Université Sorbonne Nouvelle - Paris 3
  • Benoît Turquety, Université de Lausanne
  • Pascal-Alex Vincent, IRCAV, Université Sorbonne Nouvelle - Paris 3


  • Sorbonne
    Paris, France (75005)


  • Friday, December 15, 2017


  • court-métrage, cinéma production, réception, film, interdisciplinaire, audiovisuel, bref, format


  • Marie Ballarini
    courriel : marie [dot] ballarini [at] univ-paris3 [dot] fr

Information source

  • Marie Ballarini
    courriel : marie [dot] ballarini [at] univ-paris3 [dot] fr


CC0-1.0 This announcement is licensed under the terms of Creative Commons CC0 1.0 Universal.

To cite this announcement

« From the festival to the web, the stakes of the short film since 1990 », Call for papers, Calenda, Published on Tuesday, October 31, 2017, https://calenda.org/419993

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