Articles
On Xavier Dolan’s Musical Parentheses
By Sergio Rigoletto
Lorna’s Silence and Levinas’s ethical alternative: form and viewer in the Dardenne Brothers
By Joseph Mai
Child spectators: towards a phenomenological perspective on the imaginary transformations of reality
By Bettina Henzler
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 Yacavone
There is no such thing as one realism: systematising André Bazin’s film theory
By Lourdes Esqueda Verano
The filmmaker’s presence in French contemporary autofiction: from filmeur/filmeuse to acteur/actrice
By Lourdes Monterrubio Ibáñez
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
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
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
Reviewed by Glen W. Norton
Daniel Fairfax’s The Red Years of Cahiers du Cinéma (1968–1973)
Reviewed by Warren Buckland
Marion Schmid’s Chantal Akerman
Reviewed by Joseph Mai
