Emilie Houssa holds a master’s in Art History, (History and Aesthetic of Films) from the Panthéon-Sorbonne University in Paris under the direction of Nicole Brenez. She has recently completed a PhD in Art Theory and Practices at UQAM under the direction of Joanne Lalonde and Sylvie Fortin. Her thesis explored the question of how to reclaim the act and the art of the documentary, and how “documentary” film (via three key ideas: the documentary approach, critical discourse and documentary fiction) can be a radical counterpoint to the media in the way it deals with images as areas of information sharing. During her studies she participated in many conferences (such as The Jean Rouch International Symposium in Paris in November 2009), research groups (such as UQAM’s Figura), reading groups (such as Penser la théorie at Concordia) and editorial boards (such as .dpi, StudioXX’s electronic journal). She has also contributed to the film journals Vertigo and Spleet Screan, the contemporary art journal 2.0.1, and several collective works such as Le Cinéma critique, de l’argentique au numérique, voies et formes de l’objection visuelle, edited by Nicole Brenez and Bidhan Jacobs published by the Sorbonne University Press.