regular publishing houses, among them Olivier Blanc’s biography of Marie-Olympe de Gouges (eventually a successful title) and (less successful) French translations of George H. Kerr’s Formosa Betrayed and Peng MingMin’s Taste of Freedom, etc. Viénet has also made numerous contributions to the preservation of the early photographic history of China. He contributed a huge trove of historical documents, including many rare photographs, to the ChuanZheng XueTang Museum at MaWei in the Min River estuary, downstream from FuZhou, concerning Prosper Giquel (1835-1886). Giquel was a French naval officer who played a key role in the early modernization of China, establishing a French and English language technical university in 1866, and an elaborate associated shipyard at Pagoda Anchorage, all paid for by Imperial China. The university and shipyard were destroyed in August 1884 by Admiral Courbet, acting upon orders from Jules Ferry. In 1980 Viénet brought back to Taiwan the full set of John Thomson's photographs of Southern Formosa taken in April 1871. He identified these in the Société de Géographie collections at France's Bibliothèque nationale, and supplemented them, with the help of Michael Gray, by means of the John Thomson glass negatives of China preserved at the Wellcome Library in London. To support many related exhibitions, Viénet commissioned Chinese translations of John Thomson's books, ultimately published in Taiwan, Macao and China. In 2007, Viénet assumed the editorship of the French journal Monde chinois. He successfully brought out four issues (numbers 11, 12-13 and 14), changing a lightweight publication into one of serious interest. In 2008, the fourth number edited by Vienet was pulped immediately after printing by the journal’s owner (a Mr. Lorot), who sought to obliterate all trace of an article by Francis Deron about the slaughters committed during the (anti)-Cultural (counter)-Revolution in China, and later by the Khmers Rouge in Cambodia. Deron and Viénet sued Lorot, who had published a new #14 without Deron’s article, and they won: a few issues later, Lorot was obliged to print the article he had suppressed and pulped. By that time, however, Viénet was no longer in charge of the journal. In 2015, Nicole Brenez gave Viénet carte blanche at the Cinémathèque Française. As a result, Viénet’s four films have been screened at several film festivals almost fifty years after they were made. This in turn has afforded him access to the original negatives and let him create fresh digital files (in several