Studies in French Cinema
UK Perspectives 1985-2010
Distributed for Intellect Ltd
- 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
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