Audiovisual cultural animation tools

24 publications

Going all the way

3 October 2026

When a collective film is shot in a single continuous take, no one can fix things in the edit. Under this constraint, everyone dares more, the film can be watched right after it is shot, and its quality depends on how close-knit the group is.

It’s not a private joke

2 October 2026

Thinking from the outset about the people who will see the films without having been there changes the participants’ experience as much as the quality of the films, and it translates into very concrete instructions.

Writing “The End”

28 September 2026

In an audiovisual workshop, the title and the credits look like details. Film theory and semiology help us understand why the symbolic value of a workshop film is partly decided in those few seconds, and how to prepare them.

A good pretext

27 September 2026

A contest, a festival, a prize are worth nothing in themselves. They can serve as a pretext for forming bonds, provided one measures the harm that a ranking does to people, turns the contest to other ends when one has not chosen it, and never organises one oneself.

Putting Yourself on the Line

26 September 2026

We tend to think that holding a group requires a position of authority. The need for authoritarianism is a sign of fragility, and the framework it produces holds people back instead of authorizing them. For a workshop to be a genuine space of expression, the person leading it has to put themselves on the line, and so open the way.

Don’t look in the place for what’s already in your head

25 September 2026

In a creative workshop, when you arrive somewhere with an idea in mind, you stop seeing what is around you. I suggest reversing the usual order, letting the place you are in give you ideas, and allowing little time, because time mostly gives us the chance to put up barriers.

Setting the table

24 September 2026

Preparing the room for open cut-out animation workshops

Voice first

23 September 2026

In audiovisual workshops, sound comes last, and the films are often inaudible. Yet working on sound means working on the separation of image and sound, which is the foundation of audiovisual language, and it takes almost nothing.

Keeping the Trace

14 September 2026

Putting everything a group has made online the same evening, photographs of the process included, in a space you host yourself and that everyone is free to use as they wish, helps people recognise the value of their work, provided data are treated as objects that have to be maintained, backed up and paid for over time.

Layer upon layer

13 September 2026

Why a group improvising without a script arrives at a coherent film, and how to lead it, take after take, to an elaborate form.

Ghislaine, the air vent

8 September 2026

By lending your voice to an object, you speak your own emotions without speaking in your own name, and you discover that you know how to tell a story, provided the person leading the workshop holds to a few rules.