Skip to main content

Module Reading List

The Seventh Art: Cinema in France, 2019/20, Semester 1, 2
Dr Claire Lozier
Tutor information is taken from the Module Catalogue

Films to be studied Director

Un long dimanche de fiançailles [videorecording]. (2004)  J-P Jeunet

La souriante Madame Beudet. (1922)  Germaine Dulac

Le crime de Monsieur Lange [videorecording]  (1936)  Jean Renoir

Quai des brumes. [videorecording] (1938)  Marcel Carné

Casque d'or [videorecording] (1952) Jacques Becker

400 coups [videorecording]  (1958)  François Truffaut

Pierrot le fou [videorecording] (1965)  Jean-Luc Godard

Subway [videorecording]  (1985)  Luc Besson

La haine [videorecording] (1995) Mathieu Kassovitz

The gleaners and I [videorecording] (2000)  Agnès Varda

Les chansons d'amour [videorecording]  (2007) Christophe Honoré

Top of page

Semester 1 (weeks 1-11) (week beginning).

N.B. recommended reading is minimum – aim normally to do more. Details of books etc. in bibliography below.

1. (26.09.11). Introduction: film language and critical approaches.

Film showing:  Un long dimanche de fiançailles [videorecording].

Independent study + seminar preparation [hereafter IS]: Read any or all of:

a) H.-Paul Chevrier Le langage du cinéma narratif

b) Pam Cook The Cinema Book, History of Narrative Codes (pp.208-220) Available as an Online Course Reading in Minerva.

c) Powrie and Reader French cinema : a student's guide, 2. Theory (pp.54-84). Available as an Online Course Reading in Minerva.

d) Sections on shots and editing in Susan Hayward’s Cinema studies: the key concepts

Prepare notes on seminar topic (see below) and note any questions.

2. (03.10.11) Un long dimanche de fiançailles (2004)

Seminars: Un long dimanche de fiançailles: (a) Structure du récit (b) thématique de la guerre Film showing:  La Souriante Mme Beudet

IS: Read one of the articles on Jeunet’s film (see bibliography) – make notes summarising the argument; consider how the critic’s view relates to your own reading of the film.

3. (10.10.11) The beginnings. Early French cinema: Lumière, Méliès – and La Souriante Mme Beudet.

Film showing: Le crime de Monsieur Lange [videorecording]

IS: Read Powrie and Reader French cinema : a student's guide 1. History 1896-1939 (pp.3-12) + either the intro. to Elizabeth Ezra’s Méliès (Available as an Online Course Reading in Minerva) or Sandy Flitterman-Lewis on Dulac. Prepare notes on presentation topic.

4. (17.10.11) 1920s and 30s: introduction to Renoir and Carné.

Seminars: Early cinema - Lumière, Méliès and Mme Beudet. Presentation: Mme Beudet: Par quelles stratégies Dulac représente-t-elle l’expérience subjective de son héroïne?  

Film showing: Le quai des brumes [videorecording]

Independent Study: Look up ‘poetic realism’ in e.g Ginette Vincendeau’s The companion to French cinema or Hayward’s Key Concepts (under ‘French poetic realism’). Re-read the section of Powrie and Reader on the 1930s.

5. (24.10.11) Renoir: Le Crime de Monsieur Lange

Independent Study: Read either Martin O’Shaughnessy’s chapter on Monsieur Lange in his book on Jean Renoir, or select one of the articles on this film in the bibliography and read carefully. Prepare notes on presentation topic for seminar next week.

6. (31.10.11) Carné: Le Quai des brumes

Film showing: Casque d'or [videorecording]

Seminars: 1930s cinema: Le Crime de Monsieur Lange and Le Quai des brumes. Presentations: Analyse de la signification de l’espace, des lieux, du décor dans (a) Le Crime de Monsieur Lange  (b) Le Quai des brumes.

Independent Study: Read at least one article/chapter on Carné and Quai des brumes. Select a single sequence from the film and analyse it closely – keep notes.

7. (08.11.07) Reading week

Independent Study: Select one title for your short practice essay. Re-watch the film you have chosen to focus on and add to your reading and notes.  

Write the essay - see below.

8. (14.11.11) Des années 30 aux années 50: réalisme et poésie au cinéma

Hand in short practice essay in class.

Film showing: Truffaut: Les 400 coups [videorecording]

Independent Study: Read the sections on 1939-45 and 1945-59 in Powrie and Reader’s French cinema : a student's guide. Prepare notes on seminar presentation topic.

9. (21.11.11) Casque d’or

Seminars: Presentation: Casque d’Or : fonctions des personnages [see e.g. chap. 5 in Chévrier’s Le langage du cinéma narratif ] : Marie, Manda, Leca.

Independent Study: Read one example of the ‘Star Studies’ approach to Simone Signoret and note its main features. Consider what other critical perspectives on this film seem to you most rewarding.

10.(28.11.11) New Wave 1. Cinéma de qualité and New Wave theory

Film showing: Pierrot le fou [videorecording]

Independent Study: Read Powrie and Reader’s section on The New Wave pp. 20-35. Also select one other text on the French New Wave e.g. in Pam Cook’s The Cinema Book, Hill and Gibson’s The Oxford guide to film studies

11. (06.12.10) Revision; exam preparation. Introduction to Truffaut + Truffaut’s Les 400 coups

Seminars: Presentation. Les 400 coups: film qui annonce la Nouvelle Vague.

Independent Study: Read Truffaut’s polemical article ‘Une certaine tendance du cinéma français’.  Read one article/chapter on Les 400 coups.

Top of page

Semester 2 (weeks 14-24) (week beginning)

14. (23.01.12) Reading week (wk. beg.). (1) Read Pam Cook’s very brief account of Pierrot le fou in The Cinema Book  (p.135) and/or the introduction to David Wills’ edited book on the film.

(2) Godard (still living) is one of the great directors of the 20th century. Research his career and views on cinema; watch another of his films.

15.  (30.01.12) New Wave 2. Godard: Pierrot le fou

Independent Study: Watch Pierrot le fou again, noting (a) features that correspond to familiar types of film narratives and genres and (b) features that are surprising or hard to interpret. To what extent do you enjoy and/or appreciate the latter?

16. (6.02.12) Godard and Pierrot le fou

Seminars: Pierrot le fou. Presentation: Pierrot: histoire d’amour ou film expérimental?

Film showing: Subway [videorecording]

Independent Study: Select a further piece of reading on the New Wave or Godard or the film e.g if you are particularly interested in socio-cultural context, try the Rick Jobs book; if on Godard as a director, read part of one of the studies of his work.

17. (13.02.12) Brief overview of 60s/70s. 1980s and the cinéma du look.

Independent Study: Read Powrie and Reader’s sections on 1967-81 and 1981-2001 (28-53). Read the introduction to Powrie’s French cinema in the 1980s : nostalgia and the crisis of masculinity.

18. (20.02.12) Besson and Subway

Seminars: Subway: fonction de la bande sonore (musique)

Film showing: La haine [videorecording]

Independent Study: Read Phil Powrie’s  introductory chapter to his Jean-Jacques Beineix and/or Susan Heyward's to her book on Besson in the same series.

19. (27.02.12 ) La Haine

Independent Study: there has been almost too much written on this film! Select two articles/chapters and compare their approaches: determine your own approach.

20. (05.03.12) La Haine and banlieue films

Seminars: Presentation Compare/contrast two critical readings of  La Haine

Film showing: The gleaners and I [videorecording]

Independent Study: Try to watch at least one other ‘banlieue’ film – see list below.

Easter leavers end the module here.

21. (12.03.12) Les Glaneurs et la glaneuse

Film showing: Contemporary French film (to be determined)

Independent Study: Read at least one article on Les Glaneurs and summarise its argument.

Easter vacation

22. (16.04.12) French cinema in the 21st century + essay preparation.

Seminars: Presentation : Les Glaneurs et la glaneuse : comment fonctionne la métaphore du glanage?

Independent Study: Read Martin O’Shaughnessy: ‘Post-1995 French cinema: return of the social, return of the political? ’ and note in what ways the two last films studied correspond to O’Shaughnessy’s thesis.

23. (23.04.12) Contemporary cinema in France:Les chansons d'amour [videorecording](Honoré, 2007)

Independent Study: prepare presentations and/or questions on essay-related topics for ‘mini-conference’ next week.

24. (30.04.12) Mini-conference: student presentations> questions >discussion.

Seminars: (i) (ii) Essay consultation session.  

Film screenings –

Wednesday afternoon in Roger Stevens LT. There is no ideal time for everyone – but if you can manage it, try to see the films on a large screen. It does make a difference.  

Top of page


INTERNET. There are useful Internet resources available – worth searching!

See (for one) the Bibliotheque du film website at

Many of the articles below are now available electronically via the library catalogue.

BOOKS and ARTICLES (asterisk = especially useful and recommended for seminar preparation. For essays/exam preparation, be sure to explore further)

Top of page

1. General: cinematography, film theory

Jacques Aumont + Michel Marie: L'Analyse des films  (Nathan, 1992/95)

David Bordwell and Kristin Thompson, Film Art  (McGraw-Hill, 1997)

*Warren Buckland: Film Studies (Hodder & Stoughton, 1998)

*H.-Paul Chevrier: Le langage du cinéma narratif (Les 400 coups, 2005)

* Pam Cook: The Cinema Book. (BFI, 1985/99)

Julia Hallam with Margaret Marshment: Realism and popular cinema (Manchester University Press, 2000)

*Susan Hayward: Cinema studies: the key concepts (Routledge, 1996)

John Hill and Pamela Church-Gibson: The Oxford guide to film studies (Oxford University Press, 1998)

Joanne Hollows, Peter Hutchings and Mark Jancovich (eds.): The film studies reader (Arnold, 2000).

Robert Lapsley and Michael Westlake: Film Theory an Introduction (Manchester UP, 2006)

G. Mast/M. Cohen: Film Theory and Criticism: introductory readings (Oxford University Press, 1974/85/92)

James Monaco, How to Read a Film (Oxford University Press, 1977)

*Phil Powrie and Keith Reader: French cinema : a student's guide  (Arnold, 2002)

*Lieve Spaas: "Le cinéma nous parle" : stratégies narratives du film (Studia Romanica de Debrecen, 2000)  [Excellent introduction to film ‘language’ in French.]

Robert Stam & Toby Miller (eds.): Film and theory : an anthology (Blackwell, 2000)

Top of page

2. History of French cinema and studies of several French films

Roy Armes: French cinema since 1946. (Barnes & Co, 1966)

Roy Armes: French film  (Studio Vista, 1970/1985)

*Guy Austin: Contemporary French Cinema (Manchester University Press, 1996; Second edition – updated – 2008)

 Guy Austin: Stars in modern French film (Arnold: 2003)

André Bazin: Le cinéma français de la libération à la nouvelle vague (1945-1958) (Editions de l’étoile, 1953)

Victoria Best and Martin Crowley: The new pornographies : explicit sex in recent French fiction and film (Manchester UP, 2007)

Martine Beugnet:Marginalité, sexualité, contrôle dans le cinéma français contemporain(Collection Images Plurielles, L’Harmattan 2000)

Noel Burch & Geneviève Sellier: La drôle de guerre des sexes du cinéma français : 1930-1956 (Nathan, 1996)

Robin Buss: The French through their films (Batsford, 1988)

Robin Buss: French film noir (Marion Boyars, 1994)

Lucille Cairns: Sapphism on screen : lesbian desire in French and Francophone cinema (Edinburgh University Press, 2006)

Colin Crisp: The Classic French cinema 1930-1960 (Indiana U.P., 1993)

Elizabeth Ezra + Sue Harris: France in focus : film and national identity (Berg, 2000)

Sandy Flitterman-Lewis: To desire differently : feminism and the French cinema (Columbia U.P., 1990)

*Jill Forbes: The cinema in France after the new wave (Macmillan, 1992)

Jean-Michel Frodon: L'âge moderne du cinéma français : de la Nouvelle Vague à nos jours  (Flammarion, 1995)

Florian Grandena: Showing the world to the world : political fictions in French cinema of the 1990s and early 2000s (Cambridge Scholars Publishing, 2008)

Florian Grandena / Cristina Johnston (eds): Cinematic queerness : gay and lesbian hypervisibility in contemporary Francophone feature films (Peter Lang, 2011)

* Susan Hayward: French national cinema  (Routledge, 1993)

*Susan Hayward + Ginette Vincendeau: French Film: Texts and Contexts (Routledge, 1990/2000)

Owen Heathcote, Alex Hughes, James Williams (eds.): Gay signatures : gay and lesbian theory, fiction and film in France, 1945-1995 (Berg, 1998)

Alex Hughes + James Williams (eds): Gender and French cinema (Berg, 2001)

Jean-Pierre Jeancolas: D'un cinéma l'autre : notes sur le cinéma français des années cinquante (Eds du Centre Georges Pompidou, 1988)

Jean-Pierre Jeancolas: Histoire du cinéma français (Nathan, 1995)

John W. Martin: The golden age of French cinema, 1929-1939 (Columbus, 1987)

*Rémi Fournier Lanzoni : French cinema : from its beginnings to the present (Continuum, 2002)

*Lucy Mazdon (ed.): France on film : reflections on popular French cinema (Wallflower, 2001)

Lucy Mazdon: Encore Hollywood : remaking French cinema (British Film Institute, 2000)

Rebecca M. Pauly:  The transparent illusion : image and ideology in French text and film (P.Lang, 1993)

*Phil Powrie and Keith Reader:  French cinema : a student's guide (Arnold, 2002)

*Phil Powrie (ed.): The cinema of France (Wallflower Press, 2006)

*Phil Powrie: French cinema in the 1980s : nostalgia and the crisis of masculinity (Oxford University Press, 1997)

*Phil Powrie (ed.): French cinema in the 1990s : continuity and difference (Oxford University Press, 1999)

Pierre Sorlin: European cinemas, European societies, 1939-1990 (Routledge, 1991)

Carrie Tarr with Brigitte Rollet: Cinema and the second sex : women's filmmaking in France in the 1980s and 1990s (Continuum, 2001)

Carrie Tarr: Reframing difference : beur and banlieue filmmaking in France (MUP 2005)

 *Michael Temple & Michael Witt (eds.): The French cinema book (BFI, 2004)

Ginette Vincendeau: The companion to French cinema (Cassell/BFI, 1996)

Ginette Vincendeau + Richard Dyer: Popular European cinema (Routledge, 1992)

Ginette Vincendeau: Stars and stardom in French cinema (Continuum, 2000)

Alan Williams: Republic of images : a history of French filmmaking (Harvard UP, 1992)

Emma Wilson: French cinema since 1950 : personal histories (Duckworth, 1999)

Top of page

3. Early cinema

Richard Abel: French cinema : the first wave, 1915-1929 (Princeton U.P., 1984)

Richard Abel: The Ciné goes to town French Cinema 1896-1914 (University of California Press, 1994)

R. Abel: French film theory and criticism : a history/anthology, 1907-1939 (Princeton UP, 1988) – articles by Dulac, Méliès

* Elizabeth Ezra: Georges Méliès : the birth of the auteur (Manchester University Press French Film Directors, 2000)

*Sandy Flitterman-Lewis: (see above: To desire differently : feminism and the French cinema – section on Dulac and La Souriante Madame Beudet)

Andrew Higson & Richard Maltby (eds): "Film Europe" and "Film America" : Cinema, commerce and cultural exchange, 1920-1939 (Exeter U.P. 1999)

Georges Sadoul: Louis Lumière (Paris: Seghers, 1964)

Top of page

4. The 1930s (Renoir and Carné)

Dudley Andrew: Mists of regret : culture and sensibility in classic French film (Princeton University Press, 1995)

Claire Blakeway: Jacques Prévert : popular French theatre and cinema (Fairleigh Dickinson University Press and Associated University Presses, 1990)

Colin Crisp: The Classic French cinema 1930-1960 (Indiana U.P., 1993)

Colin Crisp: Genre, myth, and convention in the French cinema, 1929-1939 (Indiana University Press, 2002)

Jean-Pierre Jeancolas: 15 ans d'années trente : le cinéma des Français 1929-1944 (Stock, 1983)

John W. Martin: The golden age of French cinema, 1929-1939 (Columbus, 1987)

Elizabeth Grottle Strebel: French social cinema of the nineteen thirties : a cinematographic expression of popular front consciousness (Arno Press, 1980)

Ginette Vincendeau + Keith Reader: La vie est a nous! : French cinema of the Popular Front, 1935-1938 (BFI, 1986)

Top of page

5. The films (individually)

a. Jean-Pierre Jeunet and Un long dimanche de fiançailles

For discussion of the ‘transnational’ nature of this film and of the debate it provoked about what exactly is a French film – see the special issue of Modern & contemporary France: ‘French Cinema: “Transnational” Cinema? ’ ed. Carrie Tarr, vol.15, no.1, February 2007.

Plus – on the film:

Caroline Durham: `Auteurism and Adaptation in Jean-Pierre Jeunet's Un Long Dimanche de fiancailles' in The French Review, Vol.81, no.5, 2008, pp.912-929.

Jonathan Buchsbaum: "The Exception Culturelle Is Dead." Long Live Cultural Diversity: French Cinema and the New Resistance’ in Framework: The Journal of Cinema and Media 47.1 (2006) 5-21.

Elizabeth Ezra: ‘Resurrecting the Alien Director: Jean-Pierre Jeunet in Hollywood’ in New cinemas : journal of contemporary film, 1, April 2002, 54-60.

Elizabeth Ezra: Jean-Pierre Jeunet (University of Illinois Press, 2008)

Isabelle Vanderschelden: ‘Strategies for a 'Transnational'/French Popular Cinema’ in Modern & contemporary France, Volume 15, Number 1, February 2007, pp. 37-50.   

See the film’s website   

Articles on Jeunet’s earlier Le Fabuleux Destin d’Amélie Poulain may be interesting and provide some useful approaches to Un long dimanche.

See for example:

- Elizabeth Ezra: ‘The Death of an Icon: Le Fabuleux Destin d’Amélie Poulain’ in French cultural studies, Vol. 15, No. 3, (2004), pp. 301-310.

- Michelle Scatton-Teissier: ‘Le Petisme: flirting with the sordid in Le Fabuleux Destin d’Amélie Poualin’ in Studies in French cinema., Vol 4: 3, 2004, 197-207.

- Sylvie Waskiewicz: review of Amélie in French politics, culture & society, Vol. 20: 1, 2002, 152-156.

b. Renoir and Le Crime de Monsieur Lange

André Bazin: Jean Renoir (ed. with an intro. by F. Truffaut) (Simon Schuster, 1973)

Célia Bertin: Jean Renoir (Editions du rocher, 1994)

Maurice Bessy: Jean Renoir (Editions Pygmalion, 1989)

Leo Braudy: Jean Renoir : the world of his films (Robson, 1977)

Colin Davis: Scenes of love and murder : Renoir, film and philosophy (Wallflower Press, 2009).

Raymond Durgnat: Jean Renoir (Univ. of California Press, 1974)

Christopher  Faulkner: The social cinema of Jean Renoir (Princeton Univ. Press, 1986)

Claude Gauteur: Jean Renoir, la double méprise : 1925-1939 (Éditeurs français réunis,  1980)

Penelope Gilliatt: Jean Renoir : essays, conversations, reviews (McGraw Hill, 1975)

Graphic (L’Avant-scène du cinema): Jean Renoir, the French films, 1924-1939 (1969)

*Martin O’Shaughnessy: Jean Renoir (Manchester Univ. Press French Film Directors series, 2000)

Edward Ousselin ‘Film and the Popular Front: La Belle Equipe and Le Crime de M. Lange’ in The French Review  2006, vol. 79, no5, 952-962.

Roger Viry-Babel: Jean Renoir : films/textes/références (Press Univ. de Nancy, 1989)

Roger Viry-Babel: Jean Renoir : le jeu et la règle (Denoël, 1994).


Robin Bates: ‘Audiences on the Verge of a Fascist Breakdown: Male Anxieties and Late 1930s French Film’ Cinema journal, Vol. 36, No. 3. (Spring, 1997), 25-55.

*Lyall Bush: ‘Feminine Narrative and the Law in Renoir's "Le Crime de M. Lange"’ in Cinema journal, Vol. 29, No. 1, Autumn, 1989, 54-70. JSTOR

*Katherine Golsan: ‘Valentine's love story : Feminine discursive power and its limits in Le Crime de Monsieur Lange’ in The French Review, vol.79, no.6, 2006, pp. 1168-1186.

Patrick Louguet:’ Le Crime de M. Lange de Jean Renoir: Utopie sociale et esprit d'enfance’ in French Forum, Volume 34, Number 2, Spring 2009, pp. 83-95.

*Martin O’Shaughnessy: ‘Nation, History and Gender in the Films of Jean Renoir’ in Ezra and Harris: France in focus : film and national identity (see above) Available as an Online Course Reading in Minerva.

*Keith Reader: ‘The Circular Ruins? – Frontiers, Exile and the Nation in Renoir’s Le Crime de Monsieur Lange’ in French studies Vol.LIV, No.3, July 2000.

*A Sesonske : ‘Jean Renoir as Moralist: "Le Crime de M. Lange"’ in  Journal of aesthetic education, 1974 – JSTOR

Alan Williams: ‘Le Crime de Monsieur Lange’ in Phil Powrie The cinema of France (see above), 31-40. Available as an Online Course Reading in Minerva.

c. Carné and Le Quai des brumes

Robin Bates ‘Audiences on the Verge of a Fascist Breakdown: Male Anxieties and Late 1930s French Film’ – see above.

André Bazin: article ' Le Jour se lève...poetical realism' (1953) – see Chazal pp. 146-9

Robert Chazal: Marcel Carné (Seghers, 1965)

Jonathan Driskell: Marcel Carné (Manchester Univ. Press, French Film Directorsseries, 2012)

Claude Gauteur and Ginette Vincendeau: Jean Gabin : anatomie d'un mythe (Collection Fac, Nathan, 1993)

Michel Pérez: Les films de Carné (Ramsay, 1986, 1994)

*Edward Baron Turk: Child of paradise : Marcel Carné and the Golden Age of French Cinema (Harvard Univ. Press, 1989)

*Ginette Vincendeau: ‘Community, Nostalgia and the Spectacle of Masculinity – Jean Gabin’ in Screen, 26 (November/December 1989), pp.18-39. (on High Demand – EB library) Available as an Online Course Reading in Minerva.

*Ginette Vincendeau: ‘Jean Gabin: from working-class hero to godfather’ in Vincendeau: Stars and stardom in French cinema (see above) 

*Susan Weiner: ‘When a prostitute becomes an orphan: Pierre Mac Orlan’s Le Quai des brumes (1927) in the service of poetic realism’ in Studies in French cinema 6:2 (2006), 129-140.

d. Becker and Casque d’Or

*Dudley Andrew: ‘Casque d’or, casquettes, a cask of aging wine: Jacques Becker’s Casque d’or’, in Hayward & Vincendeau: French Film Texts and Contexts (1990/2000) Available as an Online Course Reading in Minerva.

Susan Hayward: ‘Simone Signoret 1921-1985: The Star as Sign – The Sign as Scar’ in D. Knight & J.Still (eds.): Women and representation (WIF, 1995)

Susan Hayward: ‘Simone Signoret (1921-1985): The Body Political’ in Women's studies international forum, 23.6, 739-747. (networked journal)

Susan Hayward: Simone Signoret : the star as cultural sign (Continuum 2004)

*Susan Hayward: ‘Signoret’s star persona and redressing the costume cinema - Jacques Becker’s Casque d’Or (1952)’ in Studies in French cinema,Vol 4:1,  April 2004, 15-28.

*Sarah Leahy: Casque d'or (Jacques Becker, 1952) (French Film Guide) (I.B. Tauris, 2007)

Sarah Leahy: ‘“Neither charm nor sex appeal...” Just what is the appeal of Simone Signoret? ’ in Studies in French cinema, Vol 4:1, April 2004, 29-40.

* Marguerite Chabrol et Alain Kleinberger (eds.): Casque d'or : lectures croisees  (L’Harmattan, 2010)

e. The Nouvelle Vague (Truffaut and Godard)

André Bazin: Qu'est-ce que le cinéma. (Editions du Cerf, 1975)

Antoine de Baecque & Charles Tesson (eds.):La Nouvelle Vague : Claude Chabrol, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, François Truffaut(Cahiers du Cinéma, 1999)

Jean-Luc Douin (ed.) :La Nouvelle vague 25 ans après : dossier(Cerf, 1983)

Naomi Greene: The French New Wave : a new look (Wallflower, 2007)

Jim Hillier (ed.): Cahiers du cinéma, vol 1 (1950s) & vol 2 (1960s) (Routledge & BFI, 1985/86) [selected articles from Cahiers at the New Wave period].

Diana Holmes: ‘Sex, Gender and Auteurism; The French New Wave and Hollywood’ in Paul Cooke (ed.): World cinema's 'dialogues' with Hollywood (Palgrave, 2007), pp.154-171.

Rick Jobs: Riding the new wave : youth and the rejuvenation of France after the Second World War (Stanford University Press, 2007) [more context than cinema]

T.J. Kline: Screening the text : intertextuality in new wave French cinema  (Johns Hopkins U. P., 1992)

Richard Neupert: A History of the French new wave cinema  (University of  Wisconsin Press, 2002).

Dorota Ostrovska: Reading the French New Wave : critics, writers and art cinema in France (Wallflower,2007)

Noël Simsolo: La nouvelle vague  (Compacts Radio France, 2000).

*François Truffaut: ‘Une certaine tendance du cinéma français’ Cahiers du cinéma no.31, janvier 1954, in Truffaut: Le plaisir des yeux : écrits sur le cinéma (Champ contre-Champs, 1987)

f. Truffaut and Les 400 coups

Don Allen: François Truffaut (Secker & Warburg, 1974)

Don Allen: Finally Truffaut (Secker & Warburg, 1985)

De Baecque, Guigue, A et al: Le dictionnaire Truffaut (Ed. de la Martinière, 2004)

*Anne Gillain: François Truffaut : le secret perdu (Hatier, 1988) (see also Gillain's chapter in Hayward/Vincendeau's French Films Texts and Contexts)

Anne Gillain: Le cinéma selon François Truffaut (Flammarion, 1988).- collected interviews with FT - what he says about film-making and the films is worth reading.

*Diana Holmes + Robert Ingram: François Truffaut (Manchester U. P. French Film Directors series, 1997)

*Annette Insdorf: François Truffaut (Cambridge Univ. Press, 1994)

Carole Le Berre: François Truffaut (Cahiers du Cinéma, 1993)

David Nicholls: François Truffaut (Batsford, 1993)

Robert Stam: François Truffaut and friends : modernism, sexuality, and film adaptation (Rutgers University Press, 2006)

g. Godard and Pierrot le fou

Charles Barr (et al): The films of Jean-Luc Godard (Studio Vista, 1969)

*Angela Dalle Vache: Cinema and painting : how art is used in film (Athlone 1996) – chapter 4. ‘Godard’s Pierrot le fou: cinema as collage against painting’, pp.107-134.

*Wheeler Winston Dixon: The films of Jean-Luc Godard (State Univ. of New York Press, 1997)

Jean-Luc Godard par Jean-Luc Godard (ed. Alain Bergala) (Editions de l’Etoile, 1985)

G. Gergely, ‘Jean-Luc Godard’s film essays of the 1960s: the virtues and limitations of realism theories’, Studies in French cinema vol.8:2, 111-21.

Graphic (L’Avant-scène du cinema): Jean Luc Godard: films 1957-69 (1970)

Roland-François Lack ‘The point in time: precise chronology in early Godard’, Studies in French cinema, vol. 3: 2, July 2003, 101-109.

Daniel Morgan: ‘“No Trickery with Montage”': On Reading a Sequence in Godard's Pierrot le fou’, Film studies, Volume 5, Winter 2004, pp 8-29.  

Toby Mussman: Jean-Luc Godard : a critical anthology (Dutton, 1968)

Richard Roud: Jean-Luc Godard (Secker & Warburg, BFI, 1967)

David Sterritt: The films of Jean-Luc Godard : seeing the invisible (Cambridge Univ. Press, 1999) 

David Sterritt (ed.): Jean-Luc Godard : interviews (Univ. Press of Mississippi, 1998)

Michael Temple and James Williams (eds.): The cinema alone : essays on the work of Jean-Luc Godard, 1985-2000 (Amsterdam UP, 2000)

*David Wills (ed.): Jean-Luc Godard's Pierrot le Fou (Cambridge University Press, 2000)

h. Besson and Subway

William Brown:  ‘Sabotage or espionage? Transvergence in the works of Luc Besson’ in Studies in French cinema 4: 2, May 2007, 93-106.

*Susan Hayward: Luc Besson (Manchester Univ. Press French Film Directors series, 1997/2000)

Susan Hayward and Phil Powrie (eds): The films of Luc Besson : master of spectacle (Manchester University Press, 2006)

*Phil Powrie: ‘Subway: identity and inarticulacy’ in French cinema in the 1980s : nostalgia and the crisis of masculinity

*Phil Powrie: Jean-Jacques Beineix (Manchester Univ.Press, 2001) – recommended for excellent first chapter setting Beineix in a context that includes Besson. Very good explanation of postmodernism and 1980s cinema.

i. Kassovitz, La Haine and banlieue film

Jill Forbes: ‘La Haine’ in Forbes and Street, European cinema : an introduction, see above.

Will Higbee: Mathieu Kassovitz (Manchester U.P, French Film Directors series, 2006).

*Myrto Konstantarokos: ‘Which mapping of the city? La Haine and the cinema de banlieue’ in Phil Powrie (ed.), French cinema in the 1990s : continuity and difference (see above)

Carrie Tarr: Reframing difference : beur and banlieue filmmaking in France (Manchester University Press, 2005)

*Ginette Vincendeau: ‘Designs on the banlieue: Mathieu Kassovitz’s La Haine’ in French Film: Texts and Contexts, 2nd ed. (2000), 310-327

* Ginette Vincendeau: La Haine : (Mathieu Kassovitz, 1995) (University of Illinois Press, 2005)

David-Alexandre Wagner: De la banlieue stigmatisée à la cité démystifiée : la représentation de la banlieue des grands ensembles dans le cinéma français de 1981 à 2005. (Peter Lang, 2011)


J.Decock: ‘Jusqu'ici-tout-va-bien... (Screenplay and photographs concerning the film La Haine)’ in The French Review 1998, February – Vol.71–3, 524-525 

Kate Griffiths and Ruth Doughty: ‘Racial reflection: La Haine and the art of borrowing’ in Studies in European cinema , 3: 2, Nov 2006, pp.117-28.

*Will Higbee: Screening the ‘other’ Paris: cinematic representations of the French urban periphery in La Haine and Ma 6-T Va Crack-er’ in Modern & contemporary France. (2001), 9(2),197-208.

Sven-Erik Rose: ‘Mathieu Kassovitz’s La Haine and the ambivalence of French-Jewish identity’ in French studies, vol. LXI, no 4, October 2007, pp. 476-491.

*K.Zissermann & C. Nettelbeck, ‘Social exclusion and artistic inclusiveness: The quest for integrity in Mathieu Kassovitz's La Haine’ in Nottingham French studies, 1997, Fall –Vol.36–2- pp. 83-98.

Sanjay Sharma and Ashwani Sharma: `So Far So Good...'La Haine and the Poetics of the Everyday' in Theory, culture & society, 17.3 (2000), 103-16.

Loshitzky, Yosefa: ‘The post-Holocaust Jew in the age of postcolonialism: La Haine revisited’ in Studies in French cinema, Volume 5, Number 2, 18 August 2005, pp. 137-147(11).

j. Varda, Les Glaneurs et la glaneuse

Ruth Cruickshank: ‘The Work of Art in the Age of Global Consumption: Agnès Varda’s Les Glaneurs et la glaneuse’ in L'esprit créateur. 47.3 (2007) pp. 119-132.

Maryse Fauvel: ‘Nostalgia and digital technology: The Gleaners and I (Varda, 2000) and The Triplets of Belleville (Chomet, 2003) as reflective genres’, in Studies in French cinema, Vol. 5, Number 3, 1 December 2005, pp. 219-229.

Hilary Neroni: ‘Documenting the Gaze: Psychoanalysis and Judith Helfand's Blue Vinyl and Agnes Varda's The Gleaners and I’ in Quarterly Review of Film and Video. v. 27. no. 3.  2010. p. 178-92. Available as an Online Course Reading in Minerva.

Phil Powrie: ‘ Heterotopic Spaces and Nomadic Gazes in Varda: From Cléo de 5 à 7 to Les Glaneurs et la glaneuse’ in L'esprit créateur, Vol. 51, Number 1, Spring 2011, pp. 68-80.

Mireille Rosello: ‘Agnès Varda’s Les Glaneurs et la glaneuse. Portrait of the Artist as an Old Lady’ in Studies in French cinema. Volume 1 Number 1- 2001, pp. 29-36.

Alison Smith: Agnès Varda (Manchester University Press French Film Directors series, 1998). [Published before Les Glaneurs but very good on Varda]

Ben Tyrer, ‘Digression and Return: Aesthetics and politics in Agnès Varda’s Les Glaneurs et la glaneuse (2000)’, Studies in French cinema Volume 9 Number 2 -2009, pp. 161-176.

P. Wagstaff: ‘Traces of Places: Agnès Varda's mobile space in Les Glaneurs et la Glaneuse’ in Goodbody, A. and Everett, W., eds. Revisiting space : space and place in European cinema. (Bern & Oxford: Peter Lang) pp. 273-290.

k. Honoré, Les Chansons d’amour

Isabelle Vanderschelden ‘The ‘beautiful people’ of Christophe Honoré: New Wave legacies and new directions in French auteur cinema’ in Studies in European cinema, vol 7,  2. Dec. 2010, pp. 135-148

- Vanderschelden, Isabelle:Studying French cinema(Auteur, 2013)

- Martin O’Shaughnessy:  ‘Breaking the circle: Le Crime de Monsieur Lange and the contemporary illegibility of the radical text’, The South Central Review(John Hopkins University), 28:3, 26-44, 2011, 0743-6831 (

- 'Shooting In Deep Time: The Mise-En-Scène Of History In Renoir's Films Of The 1930s', in  A companion to Jean Renoir, Alastair Phillips and Ginette Vincendeau eds. (Wiley-Blackwell, 2013)

- Marguerite Chabrol et Alain Kleinberger (eds.):Casque d'or : lectures croisees (L’Harmattan, 2010)

- McMahon, Orlene Denice:Listening to the French New Wave : The film music and composers of postwar French art cinema(New Studies in European Cinema- Volume 16, 2013)

- Nathalie Degroult: ‘Bienvenue chez les Ch'tis: approche pédagogique d'un film de ch'nord’, The French Review. 2011, vol. 85, no1, 76-90.

- Mary Harrod: ‘Linguistic difference as ontological sameness in Bienvenue chez les Ch'tis

 (2008)’Studies in French cinema., Vol. 12, Number 1, January 2012, 75-86.

- Olivier Mongin : ‘Les Ch’tis: quelques raisons d’un succès’, Esprit 2008/5 (Mai), 6-11.

This list was last updated on 26/07/2018