Studies in French Cinema

UK Perspectives 1985-2010

Edited by Will Higbee and Sarah Leahy

Edited by Will Higbee and Sarah Leahy

Distributed for Intellect Ltd

396 pages | 24 halftones | 7 x 9 | © 2011
Paper $35.50 ISBN: 9781841503233 Published February 2011

Studies in French Cinema looks at the development of French screen studies in the United Kingdom over the past twenty years and the ways in which innovative scholarship in the UK has helped shape the field in English- and French-speaking universities. This seminal text is also a tribute to six key figures within the field who have been leaders in research and teaching of French cinema: Jill Forbes, Susan Hayward, Phil Powrie, Keith Reader, Carrie Tarr, and Ginette Vincendeau.

 

Covering a wide range of key films—contemporary and historical, popular and auteur—the volume provides an invaluable overview for students and scholars of the state of French cinema, and French film studies at the beginning of the twenty-first century.

Contents

Acknowledgements
Contributors

Chapter 1: Introduction

      Will Higbee and Sarah Leahy
Part I

Chapter 2: Pierrot le fou and Post-New Wave French Cinema

      Jill Forbes

Chapter 3: National Cinemas and the Body Politic

      Susan Hayward

Chapter 4: Unfamiliar Places: ‘Heterospection’ and Recent French Films on Children

      Phil Powrie

Chapter 5: The Circular Ruins? Frontiers, Exile and the Nation in Renoir’s Le Crime de Monsieur Lange

      Keith Reader

Chapter 6: Beurz n the Hood: The Articulation of Beur and French Identities in Le Thé au harem d’Archiméde and Hexagone

      Carrie Tarr

Chapter 7: Community, Nostalgia and the Spectacle of Masculinity: Jean Gabin

      Ginette Vincendeau

References to Part I

Part II
Chapter 8: Asserting Text, Context and Intertext: Jill Forbes and French Film Studies

      Julia Dobson

Chapter 9: Jill Forbes: The Continued Conversation

      Sue Harris

Chapter 10: Political Threads and Material Memory: Mayo’s Wardrobe for Casque d'or (1952)

      Jennie Cousins

Chapter 11: ‘Une vraie famille Benetton’: Maternal Metaphors of Nation in Il y a longtemps que je t’aime (2008)- a Response to Susan Hayward

      Sarah Leahy

Chapter 12: Phil Powrie: French Film Studies as a Heterotopic Field

      Ann Davies

Chapter 13: Men in Unfamiliar Places: A Response to Phil Powrie

      Alison Smith

Chapter 14: To Elicit and Elude: The Film Writing of Keith Reader

      Douglas Morrey

Chapter 15: Sexuality (and Resnais): A Response to Keith Reader

      Emma Wilson

Chapter 16: Of Spaces and Difference in La Graine et le mulet (2007): A Dialogue with Carrie Tarr

      Will Higbee

Chapter 17: Cinema, the Second Sex and Studies of French Women’s Films in the 2000s

      Kate Ince

Chapter 18: The Bafflement of Gabin and Raimu and the Breathlessness of Belmondo: A Dialogue with the Work of Ginette Vincendeau

      Martin O’Shaughnessy

Chapter 19: Placing French Film History

      Alastair Phillips

References to Part II

Part III

Chapter 20: To the Distant Observer

      Jill Forbes

Chapter 21: Censoring French ‘Cinéma de qualité’- Bel-Ami (1954/1957)

      Susan Hayward

Chapter 22: Raymond Bernard’s Les Misérables (1934)

      Keith Reader

Chapter 23: Jewish-Arab Relations in French, Franco-Maghrebi and Maghrebi Cinemas

      Carrie Tarr

Chapter 24: The Frenchness of French Cinema: The Language of National Identity, from the Regional to the Trans-national

      Ginette Vincendeau

Chapter 25: Four Decades of Teaching and Research in French Cinema

      Phil Powrie

References to Part III

Index

For more information, or to order this book, please visit http://www.press.uchicago.edu
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