Francophone Film

Articles

Blue is the Warmest Color: or the after-life of ‘Visual Pleasure and Narrative Cinema’

By Linda Williams

Cruising the unknown: film as rhythm and embodied apprehension in L’Inconnu du lac/Stranger by the Lake (2013)

By Saige Walton

Grief, ecocritical negativity, and the queer anti-pastoral

By Cameron Clark

Awarded 2020 SCMS Queer & Trans Caucus chris holmlund Graduate Student WRiting prize

“Money can’t buy me love”: radical right-wing populism in French romantic comedies of the 2010s

By Mary Harrod

Outside and inside the time machines: structure and subjectivity in Alain Resnais’s Je t’aime, je t’aime

By Jackson B. Smith

The Fabulous Destination of a Cultural Tourist in Paris: Games of make‐believe in Marc Jeunet’s Amélie (2001)

By Gerwin van der Pol

The Sound Gag: The use of sound for comic effect in the films of Jacques Tati

By Marijke de Valck

The Clash between Theater and Film: Germaine Dulac, André Bazin and La Souriante Madame Beudet

By Charles Musser

Pedagogies of the image between Daney and Deleuze

By Garin Dowd

Portrait of the artist as a pun man: humor and its structures in the films of Jean‐Luc Godard

By Sydney Duncan

Paris, city of shadows: French crime cinema before the New Wave

By Tim Palmer

What ever happened to West Side Story? Gene Kelly, jazz dance, and not so real men in Jacques Demy’s The Young Girls of Rochefort

By Svea Becker & Bruce Williams

The ‘New Wave’ of French phenomenology and cinema: new concepts for the cinematic experience

By Julien Guillemet

Recurrent phenomena in French film studies: from television to digital media

By Philippe Gauthier

Reading the geographies of post-war British film culture through the reception of French film

By Melanie Selfe

Jacques Rancière and the fictional capacity of documentary

By Nico Baumbach

Jacques Becker and his partners in ‘La Ronde’ of French 50s cinema

By Dudley Andrew

Realism, revisionism and visual style: The French Connection and the New Hollywood policier

By Paul Ramaeker

Jean Louis Schefer: screen memories from L’Homme ordinaire du cinéma

By Tom Conley

What is the French philosophy of cinema? An introduction

By Hunter Vaughan

Blue, on second thought

By Steven Woodward

Tout(e) Varda: the DVD collection as authorworld

By Karen Boyle

Body problems: new extremism, Descartes and Jean-Luc Nancy

By Chelsea Birks

Post-deconstructive realism? Nancy’s cinema of contact

By Laura McMahon

Introduction to Christian Metz’s Impersonal Enunciation, or the Place of Film

By Cormac Deane

Eye candy for the blind: re-introducing Lyotard’s Acinema into discourses on excess, motion, and spectacle in contemporary Hollywood

By Simone Knox

Torlasco’s “Philosophy in the Kitchen”: image, domestic labor, and the gendered embodiment of time

By Olivia Landry & Christinia Landry

Rancière, Deleuze and contemporary film aesthetics

By Duncan Chesney

The River Runs, The Round World Spins

By Alexander Seeonske

Untouchable: ‘disabling’ cinema’s contract on contact in The Diving Bell and the Butterfly

By Gregory Brophy

The monogamous/promiscuous optics in contemporary gay film: registering the amorous couple in Weekend (2011) and Paris 05:59: Théo & Hugo (2016)

By Cüneyt Çakırlar & Gary Needham

Doubled visions: reflexivity, intermediality and co-creation in Clouzot’s The Mystery of Picasso and von Trier’s and Leth’s The Five Obstructions

By Daniel Yacovone


Reviews

Teresa Rizzo’s Deleuze and film: a feminist introduction

Reviewed by Janice Loreck

Laura McMahon’s Cinema and contact: the withdrawal of touch in Nancy, Bresson, Duras, and Denis

Reviewed by Tarja Laine

Rebecca J. DeRoo’s Agnès Varda between Film, Photography, and Art

Reviewed by Richard Neupert

Martin O’Shaughnessy’s Laurent Cantet

Reviewed by Rhiannon Harries

Elena del Rio’s Deleuze and the cinemas of performance: powers of affection

Reviewed by William Brown

Hunter Vaughan’s Where film meets philosophy: Godard, Resnais, and experiments in cinematic thinking

By Glen W. Norton