Peer-reviewed research articles
“I Would Like to Rage”, Teknokultura. Revista de Cultura Digital y Movimientos Sociales, 21 (1), 2024, pp. 89-90 (available here).
“Once Upon a Screen: True Enough”, [in]Transition, Journal of Videographic Film & Moving Image Studies, 9.3, 2022 (text and video available here).
“Netnographic Cinema as a Cultural Interface”, Iluminace, Volume 32, n° 2 (118), 2020, pp. 53-70.
“Une exploration vidéographique d’un récit de spectateur : L’œil était dans la tombe et regardait Daney”, Double jeu, n°16, Presses Universitaires de Caen, 2020, pp. 89-102.
“Émotions et souvenirs de film : entre l’intime et le collectif”, Théorème, n° 32, Presses Sorbonne Nouvelle, 2020, pp. 63-74.
“Watching The Pain of Others”, [in]Transition, Journal of Videographic Film & Moving Image Studies, 6.3, 2019 (text and video available here).
“Syrie, 2011 : vidéos amateures et politiques du remix”, Images re-vues, n° 15, 2018 (full article available here).
“La vidéo amateur comme 'hors-écran' du cinéma hollywoodien”, Réel / Virtuel : enjeux du numérique, n°5, 2016 (full article available here).
“Le cinéma brésilien, véhicule du concept de modernité entre 1897 et 1969”, A l'épreuve, n°2, 2015 [en ligne].
(co-)Edited journal issues and sections
“Sitting, Standing, Dancing with our Screens”, audiovisual section edited for NECSUS, Spring 2024 (available here).
“Post-cinéma : pratiques de recherche et de création”, Images Secondes, n°3, 2022 (co-edited with Gala Hernandez, available here).
Book chapters and other research publications
“Deux terrains au présent pour un film au futur”, in “Terrains”, La Revue documentaire, n°34, 2024.
“A Video Exploration of a Viewer’s Account: L’oeil était dans la tombe et regardait Daney”, in Pierre Eugène, Kate Ince, Mar Siegel (eds), Serge Daney and Queer Cinephilia, Meson Press, 2024 (p. 263-278), available here.
“What Scholarly Video Essays Feel Like”, The Cine-Files, n°15, 2020 (full article available here).
“Flânerie 2.0”, Gwen Le Cor & Everardo Reyes (ed.), What Makes an Image? Inscriptions, Digital Spaces and Forms, Paris, Octaviana, 2020, pp. 183-185.
“Framing Terrorist Media: a Videographic Autoethnography”, in Bernd Zywietz (ed), Propaganda des “Islamischen Staats”, Springer, 2020, pp. 333-362.
“Mille et une raisons de se souvenir de Shining aujourd’hui”, in Anne Lété (ed), The Shining. Stanley Kubrick: Dans le Labyrinthe, Le Bord de l’Eau, Paris, 2020, pp. 15-33.
“Du corps-marionnette à la marionnette sans corps. La dématérialisation des machines de Being John Malkovich (1999) à Her (2013)”, in Florence Fix (ed), Jeu d’acteur et corps artificiels. Effets de coprésence à la scène et à l’écran, Paris, Orizons, 2019.
“Vous vous souvenez de Titanic ? Le film populaire, entre souvenir personnel et mémoire collective”, Le Pardaillan, 2017.
“Des usages 'acceptables' de l'oeuvre d'art sur Internet : droits d'auteur et 'user-generated content”, artpress2, n° 41, 2016.
Artist statements & written interviews
“Chloé Galibert-Laîné and the Video Essay: a New Avant-Garde?”, book chapter in Scott MacDonald’s Comprehending Cinema, Oxford Academic, p. 469–504.
“A Meta-Cinematic Do-Si-Do: Selections from an interview with Chloé Galibert-Laîné […] and Chris Kennedy]”, Scott MacDonald in Found Footage Magazine, Issue n°9, 2023.
“Contemplation, examen et affect forensique. GeoMarkr, GeoGuessr, Chris Marker”, discussion with Guillaume Grandjean and Corentin Lê, Multitudes, 89, 2022, p. 116-122.
“Self-portrait of the artist through her desktop: An interview with Chloé Galibert-Laîné”, Alex Heeney & Orla Smith (ed.), Subjective realities: The art of creative nonfiction film, Toronto, Seventh Row, 2021, pp. 379-396.
“Desktop-Dokumentarfilme: eine Kurzanleitung”, interview with Florian Rudolph for Frachtwerk, 2021 (available here).
“Chloé Galibert-Laîné : les images et le cerveau”, podcast for Débordements, 2021 (available in French here).
“Bottled Songs 1-4: in conversation with Kevin B. Lee and Chloé Galibert-Laîné”, interview with Kevin B. Lee and Matt Turner for Public Parking, 2021 (available here).
“Quand regarder, c’est co-produire”, interview with Ariane Papillon for Tête-à-tête, 2021.
“On refait le film, avec Chloé Galibert-Laîné”, interview with Maylis Besserie in “La Grande Table” for France Culture, 2020 (replay here).
“Speaking in the first person: an interview with Chloé Galibert-Laîné”, interview with Alexandra Moralesová for 3/4, 2020 (available here).
“FORENSICKNESS - Chloé Galibert-Laîné in conversation with Ludovica Fales” for Festival dei Popoli, 2020 (video available here).
“Forensickness - Q&A with Chloé Galibert-Laîné”, interview with Radim Procházka for Ji.hlava IDFF, 2020 (video available here).
“Entretien - Forensickness”, interview by Claire Lasolle for the FIDMarseille website, 2020 (available in French here).
“Plateau du 25 juillet : Christophe Clavert / Lech Kowalski / Julie Chaffort / Chloé Galibert-Laîné”, podcast produced by Radio Grenouille during the FIDMarseille, 2020 (audio available here).
“Film Essayist Chloé Galibert-Laîné on the Careful Choreography of Desktop Cinema”, interview with Dan Schindel for Hyperallergic, 2020 (text available here).
“Episode 8. Chloé Galibert-Laîné”, discussion with Will DiGravio for The Video Essay Podcast, 2019 (audio available here).
“Watching the Pain of Others” (print version of the film), NICHONS-nous dans l’Internet, 2019.
“Interview with Chloé Galibert-Laîné”, interview with José Sarmiento Hinojosa for desistfilm, 2019 (text available here).
“Troubling the Desktop”, Filmmaker Magazine, 2019 (co-authored with Kevin B. Lee), 2019 (text available here).
“Flânerie 2.0”, débordements, 2018 (video and text available here).
“My Crush Was a Superstar”, NECSUS European Journal of Media Studies, 2017 (text and video available here).
“Notes Towards an Investigation of ISIS Media”, De Filmkrant (co-authored with Kevin B. Lee), 2017 (English translation downloadable here).
Film criticism
Five curatorial statements for The Video Essay Gallery by Filmexplorer, 2022 (texts available here)
“The Fact, the Fake and the Fiction”, desistfilm, 2018 (text available here).
“Why Framing Matters in Movies”, Keyframe, 2016 (video available here).
“Is Michael Haneke an inspiration for Quentin Dupieux?” Keyframe, 2016 (video available here).
“The Human and the Machine, according to Spike Jonze”, Keyframe, 2016 (video available here).
selected press and scholarship about my work
“L’operazione documentaria attraverso gli ambienti mediali interattivi: il caso di Chloé Galibert-Laîné”, Elio Ugenti in Mediascapes, 2024 (article available here, in Italian)
“FCDEP 2023. Some would like to rage”, Camille Simon Baudry in Débordements, 2023, about I Would Like to Rage (article available here)
“A Case for Interface Studies: From Screenshots to Desktop / Screen Films”, Jan Distelmeyer, in Winfried Gerling, Sebastian Möring, Marco De Mutiis (ed.), Screen Images, Berlin, Kadmos, 2023, pp. 317-332 (about multiple films, full book available here)
“Is the Video Essay a New Avant-Garde?”, Scott MacDonald, The Edge, 2022 (article available here)
“CHLOÉ GALIBERT-LAÎNÉ: Differing Times, Degrees and Methods of Exposure”, Alexandra Moralesová, Fotograf Magazine, 2022 (about multiple films)
“Suture Goes Meta: Desktop Documentary and its Narrativization of Screen-Mediated Experience”, Jiří Anger & Kevin B. Lee, Quarterly Review of Film and Video, 2022 (about Forensickness, article available here)
“Between Visibility and Media Performativity. The Role of Interface and Gesturality in Desktop Cinema”, Elio Ugenti, Cinéma & Cie. Film and Media Studies Journal, 2021 (about Flânerie 2.0, article available here)
“transmediale 2021-2022: FORENSICKNESS von Chloé Galibert Laîné”, review by Marie Ketzscher for Berliner FilmFestivals, 2021 (article available here)
“Der Schreibtisch als Dispositiv im Bewegtbild-Essay”, scholarly article by Nicolas Rossi, in Christina Natlacen (ed.), Reality Under Construction, Salzburg, Fotohofedition, 2021, pp. 51-75 (about multiple films)
“The New Figital Folktale”, Laura Houlberg for The Cosmophage, 2021 (about Watching the Pain of Others)
“Bottled Songs 1-4”, Patrick Dahl for Screen Slate, 2021 (available here)
“Watching, and Appropriating, and Assimilating the Pain of Others”, Tobias Dietrich for Nach dem Film, 2021 (article available here, in German)
“Quelle distance pour raconter les communautés en ligne ?” in @@ arobase @@, 2021 (about PhD dissertation)
“Ejercicios críticos, ojos cerrados”, Agustina Buchbinder for Encuadra Revisto, 2021 (about Souvenirs of Wild at Heart)
“Netnografische Recherchen”, Elena Meilicke for Merkur, 2021 (about Watching the Pain of Others, Forensickness, and my PhD dissertation)
“Click & Collect. Nouvelles écritures”, Cloé Tralci for Bref, 2021 (about Watching the Pain of Others and Forensickness)
“Que voir en streaming en décembre ?”, Louise Vandeginste for Les Inrockuptibles, 2020 (about Watching the Pain of Others, article here).
“Les glaneurs et les glaneuses du Net”, Claire Allouche for Cahiers du cinéma, 2020 (about Watching the Pain of Others).
“Forenzničení: vyšetřovací slast a ohledávání podoby současného digitálního lidového soudu”, Alexandra Moralesová for 3/4, 2020 (about Forensickness, article here).
“Видео недели. «Криминалистическая мания» Хлои Галибер-Лене”, Maksim Karpitski for Cineticle, 2020 (about Forensickness, article here).
“Escale Net Found Footage, voyage dans l'humanité numérique“, Jean-Sébastien Chauvin for Médiapart (Tënk blog), 2020 (about Watching the Pain of Others, article here).
“Festival de Belfort : Le Net found footage fait évoluer l’écriture et interroge la réalité d’aujourd’hui”, Frédéric Strauss for Télérama, 2020 (about Watching the Pain of Others)
“Frenzies of speculation”, Hans Henrik Fafner for Modern Times Review, 2020 (about Forensickness, article here).
“O teroristickej propagande na obrazovke počítača”, Tomáš Hudák for 3/4, 2020 (about Bottled Songs 1-4, article here).
“State of the Festival: Camden Online and in the Pines”, Max Carpenter for MUBI Notebook, 2020 (about Bottled Songs 1-4, article here).
“Open City Documentary Festival keeps a critical eye and the audience engaged”, Inge Coolsaet for POV Magazine, 2020 (about Bottled Songs 1-4, article here).
“How Much of Ourselves Do We Give to Others”, Daniel Allen for KINO BIZE, 2020 (about Watching the Pain of Others, article here).
“Assistindo à Dor dos Otros”, Cecilia Barroso for Cenas de Cinema, 2020 (article here).
“Forensickness”, Alice Leroy for Cahiers du Cinéma, 2020.
“FIDMarseille 2020: Powerful Female Voices Breaking the Silence”, Ejla Kovačević for Ultra Dogme, 2020 (about Forensickness, article here).
“FIDMarseille 2020 (2): Zaho Zay, Forensickness”, Vadim Rizov for Filmmaker Magazine, 2020 (article here).
“FIDMarseille 2020”, Occitane Lacurie et Barnabé Sauvage, Olivier Cheval for Débordements, 2020 (about Forensickness, article here).
“FID, fidèle au rendez-vous”, Ysé Sorel for I/O gazette (about Forensickness, article here).
“FID”, Vanessa Morisset for Zéro Deux, 2020 (about Forensickness, article here).
“True, False, and Everything in Between at America’s Most Adventurous Film Festival”, Dan Schindel for Hyperallergic, 2020 (about Bottled Songs: The Observer, article here).
“Images Films Rework Conventions of the Essay into Cinematic Dialogues”, Pat Mullen for POV Magazine, 2020 (about Watching the Pain of Others, text available here).
“Stay on these roads”, Neil Young for Modern Times Review, 2020 (about Flânerie 2.0, text available here).
“Theory-Poetics and Audio-Visual Essays; New directions of Cinema Culture”, article by Hamish Macdonald, 2020 (about Flânerie 2.0, available here).
“The Eye was in the Tomb and Stared at Daney”, Le Cinéma Club (article available here).
“From the firing wall to the barricades: Kevin B. Lee and Chloe Galibert-Laîné interrogate re-enactments and rehearsals”, Tara Judah for Sight and Sound Magazine, 2019 (about Re-enacting the Future, text available here).
“Desktop-Filme: Hilfe, da gibt's keinen Button!”, Jan Distelmeyer for epd Film, 2018 (about My Crush was a Superstar, article available in German here).
“Flânerie 2.0”, review by Filmscalpel, 2018 (text available here).
“IMPAKT Festival 2018”, review by Domeniek Ruyters for Metropolis M, 2018 (about My Crush was a Superstar, text available in Dutch here).
“Watch: READING//BINGING//BENNING by Chloé Galibert-Laîné and Kevin B. Lee”, Nelson Carvajal for Free Cinema Now, 2018 (here).
“Rotterdam 2018 : Readers by James Benning”, Tara Juhad for desistfilm, 2018 (about READING//BINGING//BENNING, article available here).
“My Crush was a Superstar”, review by Filmscalpel, 2017 (text available here).
“Troubling Sounds and Cursed Images: Eyes Without a Face”, Jacob Oller for Film School Rejects, 2017 (about The Eye was in the Tomb and Stared at Daney, review available here).
“The Film Frame is a Kingdom, the Director its Ruler”, Max Winter for IndieWire, 2016 (about Why Framing Matters in Movies).
“No/Gloss Festival 2016”, Daniel Palmer for The State of the Arts, 2016 (about The Burrow, review available here).
“Is Spike Jonze Warning Us Not to Fall in Love with Machines?”, V Renée for No Film School, 2015 (about The Human, the Machine and Spike Jonze, review available here).
“Spike Jonze and the Shifting State of Human-Robot Relations”, Emerson Rosenthal for Vice, 2015 (about The Human, the Machine and Spike Jonze, review available here).