General Editors

Susan Hayward (Exeter)
Phil Powrie (Newcastle)

Assistant Editors

Will Higbee (Exeter)
Sarah Leahy (Newcastle)

Editorial Board

Julia Dobson (Sheffield)
Elizabeth Ezra (Stirling)
Sue Harris (Queen Mary)
Kate Ince (Birmingham)
Jeff Kline (Boston)
Michèle Lagny (Paris III)
Geneviève Sellier (Caen)
Carrie Tarr (Kingston)
Michael Witt (Roehampton)

Advisory Board

Richard Abel (Michigan)
Dudley Andrew (Harvard)
Guy Austin (Sheffield)
Laurent Creton (Paris III)
Colin Crisp
Jean-Pierre Jeancolas
Anne Jackel (West of England)
Florence Martin (Goucher)
Charles O'Brien (Carleton)
Keith Reader (Glasgow)
Alison Smith (Liverpool)
Michael Temple (Birkbeck)
Ginette Vincendeau (Kings)
James Williams (Royal Holloway, London)
Emma Wilson (Cambridge)

Journal Contents vols 1-3

For abstracts go to the Download Area.

1:1 (2000)

• 5-12 Elizabeth Ezra, ‘Apocalypse then: French disaster films of the 1920s’
• 13-21 Rachael Langford, ‘Black and white in black and white: identity and cinematography in Ousmane Sembène's La Noire de.../Black Girl (1966)’
• 22-28 Agnès Calatayud, ‘An ordinary woman but a film-maker: Demain et encore demain (1997) - Dominique Cabrera's self-portrait’
• 29-36 Mireille Rosello, ‘Agnès Varda's Les Glaneurs et les glaneuses/Gleaners and I: Portrait of the Artist as an Old Lady’
• 37-46 T.Jefferson Kline, 'Benoît Jacquot's Septième ciel/Seventh Heaven: Revisiting the boundaries between cinema and hypnosis'
• 47-53 Jérôme Game, ‘Cinematic bodies: The blind spot in contemporary French theory on corporeal cinema’
• 54-61 Nicholas Harrison, 'Readers as résistants: Fahrenheit 451, censorship, and identification’

1:2 (2000)

• 70-79 Dan North, 'Magic and illusion in early cinema'
• 80-88 Martin O’Shaughnessy, 'The Parisian popular as reactionary modernisation'
• 89-97 Carolyn A. Durham, 'Strategies of subversion in colonial nostalgia film: militarism and marriage in Brigitte Rouan’s Outremer'
• 98-107 Mary Wiles, 'Re-staging the Feminine in Jacques Rivette’s Haut bas fragile (1995)'
• 108-17 Graeme Hayes, Resistancialism revisited: masculinity and national identity in Claude Berri’s Lucie Aubrac (1997)'
• 118-25 Keith Reader, 'Jouissance at the margins: Philippe Harel's Extension du domaine de la lutte/Whatever'

1:3 (2000)

• 133-40 John Phillips, 'Catherine Breillat’s Romance: Hard Core and the Female Gaze'
• 141-49 Ivan Krisjansen & Trevor Maddock, 'Educating Eros: Catherine Breillat’s Romance as a cinematic solution to Sade’s metaphysical problem'
• 150-58 Emma Wilson, 'Uncanny Families: Olivier, Olivier'
• 159-65 Susan Hayward, 'Claire Denis’ films and the post-colonial body: Beau travail'
• 166-73 Martine Beugnet & Jane Sillars, 'Beau Travail: time, space and myths of identity'
• 174-82 Sarah Cooper, 'Je sais bien, mais quand même…: fetishism, envy, and the queer pleasures of Beau Travail'
• 183-91 Kevin Hayes, 'The Newspaper and the Novel in À bout de souffle'

2:1 (2001)

• 5-13 Richard Abel, 'Frame stories for writing the history of French silent cinema'
• 14-22 Melissa Anderson, 'À la recherche de la sœur perdue: the stardom of Françoise Dorléac'
• 23-31 Cristina Johnston, 'Representations of homosexuality in 1990s mainstream French cinema'
• 32-40 Florence Martin, 'Filming the body Guiana: Alain Maline’s Jean Galmot Aventurier (1990)'
• 41-49 Phil Powrie, 'Diva: A new psychoanalytical approach'
• 50-58 Laura Rascaroli, 'The space of a return: a topographic study of Alain Resnais’ Providence''

2:2 (2001)

• 65-73 Peter Baxter, ‘Putting Characters in Place: From Le Bonheur to La Vie de Jésus and Western’
• 74-82 Srilata Ravi, ‘Women, Family and Empire building: Régis Wargnier’s Indochine’
• 83-89 Jill Forbes, 'Gender and Space in Cléo de 5 à 7'
• 90-97 Kate Ince‘Queering the Family? fantasy and the performance of sexuality and gay relations in French cinema 1995-2000’
• 98-108 Lorna Fitzsimmons, Hermes and the jeu feminine: L’Herbier’s Don Juan et Faust’
• 109-22 Isabelle Vanderschelden, ‘Subtitling wit: the case of Ridicule’

2:3 (2001)

• 127-34 Brian Price, 'The End of Transcendence, The Mourning of Crime: Bresson’s Hands'
• 135-45 Tim Palmer, 'Jean-Pierre Melville and 1970s French Film Style'
• 147-56 Will Higbee, 'Yves Boisset’s Dupont Lajoie (1974): racism, civic cinema and the "immigrant question" '
• 157-63 Martine Beugnet and Marion Schmid, ‘Filming Jealousy: Chantal Akerman’s La Captive (2000)'
• 165-76 Fiona Handyside, 'Stardom and nationality: the strange case of Jean Seberg'
  177-86 Sarah Forbey, 'Romain Goupil: Bearing the Torch for French Political Cinema'

3:1 (2002)

• 5-14 Susan Hayward, 'Literary adaptations of the 1950s Thérèse Raquin (1953) and Les Diaboliques (1955)'
• 15-23 Phil Powrie, 'The kiss-curl and the resisting eyes: reassessing Carmen (Feyder, 1926)'
• 25-34 Thomas Deane Tucker, 'Adapting Patience (Waiting): Robert Bresson's Journal d'un curé de campagne'
• 35-46 T.Jefferson Kline, 'Recuperating Hitchcock's doubles: experiencing Vertigo in Garcia's Place Vendôme'
• 47-53 Geneviève Sellier, 'The Belle Époque genre in post-war French Cinema: a woman's film à la française?'
• 55-65 Carrie Tarr, 'Feminist Influences on the work of Yannick Bellon in the 1970s'

3:2 (2002)

• 71-81 Sarah Leahy, 'The Matter of Myth: Brigitte Bardot, Stardom and Sex'
• 83-92 Renate Günther, 'Archetypal Figures in Marguerite Duras's India Song: A Jungian Perspective'
• 93-99 Tony McKibbin, 'La Captive and the power of love'
• 101-109 Roland-François Lack, 'The point in time: precise chronology in early Godard'
• 111-120 Isabelle McNeill, 'Phrases, monuments and ruins: melancholy history in Éloge de l'Amour (2001)'
• 121-130 Douglas Morrey, 'History of Resistance/Resistance of History: Godard's Éloge de l'amour (2001)'

3:3 (2002)

• 137-147 Brigitte E. Humbert, 'Patrice Leconte's Ridicule: Women in the political sphere: Transforming memory into modernity?'
• 149-160 Agnès Calatayud, 'Cinema in the first person: Sabine Franel's Le Premier du Nom'
• 161-171 Trevor H. Maddock and Ivan Krisjansen, 'Surrealist poetics and the cinema of evil: the significance of the expression of sovereignty in Catherine Breillat's A Ma Soeur'
• 173-184 Reni Celeste, 'Love and Catastrophe: Filming the Sublime in Hiroshima mon amour'
• 185-197 Elena del Río, 'Body Transformations in the Films of Claire Denis: From Ritual to Play'
• 199-203 Phil Powrie, 'Thirty years of doctoral theses on French cinema'