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MODL3510
Module Reading List

French Cinema, Sex and Gender, 2021/22, Semester 1
Dr Claire Lozier
C.A.Lozier@leeds.ac.uk
Tutor information is taken from the Module Catalogue

 

General: film analysis and theory

For essential vocabulary and concepts in French I recommend:

*Lieve Spaas, Le Cinéma nous parle. Stratégies narratives du film (Studia Romanica de Debrecen, 2000)  

*H.-Paul Chevrier, Le Langage du cinéma narratif  (Montréal : les 400 coups, 2005)   

Dudley Andrew, Concepts in Film Theory (Oxford University Press, 1984)

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

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

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

*Susan Hayward, Key Concepts in Cinema Studies (Routledge, 1996)  

Christine Gledhill & Linda Williams (eds.), Reinventing Film Studies (Arnold, 2000)

  1. Mast and M. Cohen, Film Theory and Criticism: introductory readings (Oxford U. P., 1974/85/92)

Judith Mayne, Cinema and Spectatorship (Routledge, 1993/95/98)

James Monaco, How to Read a Film. (Oxford University Press, 1981/2000)

*P. Powrie and K. Reader, French Cinema: a Student’s Guide (Arnold, 2002)  

Ralph Stephenson, The Cinema as Art (Penguin, 1965)

Robert Stam & Toby Miller (eds.), Film theory. An Anthology (Blackwell, 2000)

Linda Williams (ed.), Viewing Positions: Ways of Seeing Film (New Brunswick, Rutgers UP, 1994)

Film, gender, sexuality (texts specifically on French film and G and S are below)

Stella Bruzzi, Undressing Cinema: Clothing and identity in the Movies (Routledge, 1997)

Alison Butler, Women's Cinema: the Contested Screen (Wallflower, 2002)

  1. Cohan & I.R. Hark (eds.), Screening the Male: Exploring Masculinities in Hollywood Cinema

(Routledge, 1993)

Pam Cook and Philip Dodd (eds.), Women and Film. A Sight and Sound Reader (Scarlet Press,

199?)

Barbara Creed, The Monstrous-Feminine: Film, Feminism, Psychoanalysis (Routledge, 1992)

Mary Ann Doane, Femmes fatales: Feminism, Film Theory, Psychoanalysis (Routledge, 1991)

Mary Ann Doane, Patricia Mellencamp, and Linda Williams (eds.), Re-vision: Essays in Feminist Film Criticism (University Publications of America, 1984)

  1. Fisher, Cinematernity: Film, Motherhood, Genre (Princeton U.P., 1996)

Lorraine Gamman and Margaret Marshment (eds.), The Female Gaze: Women as Viewers of Popular Culture (The Women’s Press, 1988).

*Christine Gledhill, ‘Pleasurable Negotiations’, in John Storey (ed.), Cultural Theory and Popular Culture. A Reader (Pearson/Prentice Hall, 1994/98), 236-49 (also in Thornham (ed.), Feminist Film  Theory: a Reader, see below).   

Miriam Hansen, ‘Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship’, Cinema Journal, 25.4 (Summer 1986), 6-32.

Maggie Humm, Feminism and Film (Edinburgh/Indiana U.P., 1997)

Pat Kirkham & Janet Thurmin (eds.), Me Jane. Masculinity, Movies and Women (Lawrence &Wishart,

 1995)

*Frank Kruknik, In a Lonely Street. Film noir, Genre, Masculinity (Routledge, 1991) [esp. chapter 6, ‘Masculinity and its discontents’, pp. 75-91.]

Annette Kuhn, Women’s Pictures. Feminism and Cinema (Routledge, 1982)

Teresa de Lauretis, Technologies of Gender: Essays on Theory, Film and Fiction (Macmillan 1989)

Judith Mayne, The Woman at the Keyhole. Feminism and Women’s Cinema (Indiana U. P., 1990)

Mandy Merck & Barbara Creed, The Sexual Subject: A Screen Reader in Sexuality (Routledge, 1992) – [esp. 

Part IV ‘Images of Men’]

*Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen 16/3, 6-18; and in Visual and Other Pleasures (Indiana U. P., 1989), pp. 14-26 [abbreviated French translation in your dossiers]

*Laura Mulvey, ‘Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ inspired by Vidor’s Duel in the Sun’, in Visual and other Pleasures, pp. 29-38.  

*Laura Mulvey, Interview with Roberta Sassatelli, ‘Gender, Gaze and Technology in Film Culture’, in Theory, Culture & Society, 09/2011, vol. 28, issue 5.

Murray Pomerance, Ladies and Gentlemen, Boys and Girls: Gender in Film at the End of the Twentieth Century (State University of New York Press: 2001)

Phil Powrie, Ann Davies and Bruce Babington (eds.), The Trouble with Men: Masculinities in European and Hollywood cinema (Wallflower, 2004)

Ruby B. Rich, ‘In the Name of Feminist Film Criticism’, in Patricia Erens (ed.), Issues in Feminist Film Criticism (Indiana University Press, 1990), pp. 268-87.

Lawrence R. Schehr, French Post-Modern Masculinities: from Neuromatrices to Seropositivity (Liverpool University Press, 2009)

Sue Thornham (ed.), Feminist Film Theory: a Reader (Edinburgh University Press, 1999)

*Ginette Vincendeau & Bérénice Reynaud: 20 ans de théories féministes sur le cinéma (CinémAction, 1993). [Contains several key anglo-american feminist articles on cinema and gender – including Mulvey – translated into French]  

 for understanding psychoanalytic theory: D. Hamer, ‘Significant Others: Lesbians and Psychoanalytic Theory’, in Feminist Review, no. 34, Spring 1990, pp. 134-51 (available on JSTOR – electronically via library catalogue)

French film, gender and sexuality

Françoise Audé, Ciné-modèles cinéma d’elles (L’Age d’homme, 1981; new edition 2002)

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 (L’Harmattan, 2000)

Noel Burch & Geneviève Sellier, La Drôle de guerre des sexes du cinéma français (1930-50) (Nathan, 1996)

Lucille Cairns, Sapphism on Screen: Lesbian Desire in French and Francophone Cinema (Edinburgh U. P., 2006)

James Day (ed.), Queer Sexualities in French and Francophone Literature and Film (Rodopi 2007)

*Sandy Flitterman-Lewis, To Desire Differently: Feminism and the French Cinema (Columbia U.P., 1990)  

*Florian Grandena and Cristina Johnston (eds), Cinematic Queerness: Gay and Lesbian Hypervisibility in Contemporary Francophone Feature Films (Oxford: Peter Lang, 2011)  

Florian Grandena and Cristina Johnston, New Queer Images: Representations of Homosexualities in Contemporary Francophone Visual Cultures (Oxford: Peter Lang, 2011)

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)

Martin O’Shaughnessy, ‘Cinematic Stardom, Shifting Masculinities’, in C.E. Forth & B. Taithe (eds.), French Masculinities: History, Culture and Politics (Manchester U. P., 2007), pp. 190-205.

Tim Palmer, Brutal Intimacy – Analysing Contemporary French Cinema (Wesleyan University Press, 2011)

*Phil Powrie, French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity (Clarendon Press, 1997)  

Phil Powrie, ‘Transtitial Woman: New Representations of Women in Contemporary French Cinema’, in L’Esprit Créateur, Volume 42, Number 3, Fall 2002, pp. 81-9.

*Nick Rees-Roberts, French Queer Cinema (Edinburgh University Press, 2008)

**Geneviève Sellier, La Nouvelle Vague. Un cinéma au masculin singulier (CNRS, 2005)  

**Geneviève Sellier, ‘Gender Studies and Film Studies in France: Steps Forward and Back’, in  Diogenes, February 2010, vol. 57, no. 1, pp. 103-112.

**Carrie Tarr and Brigitte Rollet, Cinema and the Second Sex (Continuum, 2001)

**Darren Waldron, Queering Contemporary French Popular Cinema: Images and their Reception (Peter Lang, 2009)  Stars  

Guy Austin, Stars in Modern French Film (Arnold: 2003)

Richard Dyer, Stars (Routledge/BFI 1979/1998)

Richard Dyer, Heavenly Bodies: Film Stars and Society (Routledge/BFI 1987)

John Gaffney & Diana Holmes, Stardom in Postwar France (Berghahn: 2007)

Christine Geraghty, ‘Re-examining Stardom: Questions of Texts, Bodies and Performance’, in C. Gledhill and L. Williams (eds.), Reinventing Film Studies (see above), 183-201.

*Edgar Morin, Les Stars (Galillée, 1984) [also interesting because originally published in 1957]

Martin Shingler, Star Studies: A Critical Guide (Palgrave Macmillan, 2012)

Jackie Stacey, Star Gazing. Hollywood Cinema and Female Spectatorship (Routledge, 1994)

*Ginette Vincendeau, Stars and Stardom in French Cinema (Continuum, 2000)

See Celebrity Studies (journal – electronic resource via the library) – for debates on stardom and celebrity, including in the context of cinema.

Film and comedy

Gail Finney (ed.), Look Who’s Laughing: Gender and Comedy (Gordon & Breach, 1994)

Andrew Horton (ed.), Comedy/Cinema/Theory (Univ. of California Press, 1991)

Gerald Mast, The Comic Mind: Comedy and the Movies (Univ. of Chicago Press, 1976)

Jerry Palmer, The Logic of the Absurd: on Film and Television Comedy (BFI, 1987)

Cherry Potter, I Love You But: Romance, Comedy and the Movies (Methuen, 2002)

Kathleen Rowe, The Unruly Woman: Gender and the Genres of Laughter (University of Texas Press, 1995)

History of French cinema and studies of several French films

Roy Armes, French Cinema (Studio Vista, 1985)

*Guy Austin, Contemporary French Cinema (Manchester U.P., 1996; rev. edition 2008)  

Robin Buss, The French Through Their Films (Batsford, 1988)

Elizabeth Ezra and Sue Harris, France in Focus - Film and National Identity (Berg, 2000)

*Jill Forbes, The Cinema in France - After the New Wave (Macmillan, 1992)  

Jean-Michel Frodon, L'Age moderne du cinéma français : de la nouvelle vague à nos jours (Flammarion,1995)

Jean-Pierre Jeancolas, D’un cinéma l’autre: notes sur le cinéma français des années 50 (Eds du Centre Georges Pompidou, 1988)

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

Susan Hayward, French National Cinema (Routledge, 1993)

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

Rémi Fournier Lanzoni, French Cinema. From its Beginnings to the Present (Continuum, 2002)

  1. Marie and S. Shafto, ‘French Cinema in the New Century’, Yale French Studies, no. 115, 2009, 9-30.

Lucy Mazdon (ed.), France on Film: Reflections on Popular French Cinema (Wallflower, 2001)

Rebecca M. Pauly, The Transparent Illusion: Image and Ideology in French Film (Peter Lang, 1993)

*Phil Powrie, French Cinema in the 1980s. Nostalgia and the Crisis of Masculinity (Oxford U.P., 1997)  

*Phil Powrie (ed.), French Cinema in the 1990s. Continuity and Difference (Oxford U.P. 1999)  

René Prédal, Le Cinéma français depuis 1945 (Nathan 1991) 

Pierre Sorlin, European Cinemas, European Societies 1939-90 (Routledge, 1991)

 *Michael Temple & Michael Witt (eds.), The French Cinema Book (BFI, 2004)

 Ginette Vincendeau, The Companion to French Cinema (Cassell/BFI, 1996)

Ginette Vincendeau and Richard Dyer, Popular European Cinema(Routledge, 1992)

Emma Wilson, French Cinema since 1950. Personal Histories (Duckworth, 1999)

 

Social/cultural context and key concepts: reference books

M. Cook & G. Davie (eds.), Modern France – Society in Transition (Routledge, 1999)

  1. Cook (ed.), French Culture since 1945 (Longman, 1993)
  2. Forbes & M. Kelly, French Cultural Studies – an introduction (Oxford University Press, 1995)
  3. Forbes & N. Hewlett, Contemporary France: Essays and Texts on Politics, Economics, Society (Longman, 1994)

John Gaffney & Diana Holmes, Stardom in Postwar France (Berghahn: 2007)

Alex Hughes & Keith Reader (eds.), Encyclopaedia of Contemporary French Culture (Routledge, 1998)

  1. Kelly (ed.), French Culture and Society: the Essential Glossary (Arnold and O.U.P. 2001)

William Kidd & Siân Reynolds, Contemporary French Cultural Studies (Arnold, 2000)

Sheila Perry (ed.), Aspects of Contemporary France (Routledge, 1997)

1950s/60s: the social context

  1. Duchen, Women’s Rights and Women’s Lives in France, 1944-1968 (Routledge 1994)
  2. Guilleminault (ed.), Le Roman vrai de la IIIe et de la IVe République : 1870-1958, (Laffont 1991), pp. 1080-1112.
  3. Holmes, ‘Angry Young Women: Sex and Conflict in Bestselling First Novels of the 1950s’, in R. Gunther & J. Windebank (eds.), Violence and Conflict in Modern French Culture (Sheffield University Press, 1995), pp. 199-214.

Rick Jobs, Riding the New Wave: Youth and Rejuvenation in France after the Second World War (Stanford University Press, 2007)

Claire Laubier, The Condition of Women in France: a Documentary Anthology (Routledge, 1990)

Rebecca Pulju, Women and Mass Consumer Society in Postwar France (Cambridge U. P., 2011)

** Kristin Ross, Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture (MIT Press 1995)

 

 

Specific films, directors, stars

 

Truffaut (Les Mistons, Jules et Jim)

Don Allen, François Truffaut (1974)

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

Antoine de Baecque et Arnaud Guigue (eds.), Le Dictionnaire Truffaut (Eds. de la Martinière, 2004) 

Sandy Flitterman-Lewis, ‘Fascination, Friendship and the « Eternal Feminine », or the discursive Production of (Cinematic) Desire’, The French Review, vol. 66, no.6, May 1993, 941-46.

*Anne Gillain, François Truffaut. Le Secret perdu (Hatier, 1991) (see also Gillain's chapter in Hayward/Vincendeau's book).  

Anne Gillain, Le Cinéma selon François Truffaut (Flammarion, 1988). Collected interviews with FT.

*Diana Holmes and Robert Ingram, François Truffaut (MUP’s French Film Directors series, 1997)

Diana Holmes, ‘Entertainment, but where’s the ideology?’, in A Hundred Years of European Cinema, Entertainment and Ideology, ed. Diana Holmes and Alison Smith (Manchester U.P., 2000)

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.

Owen Heathcote, ‘Women mediating violence in Balzac’s Les Maranas and Truffaut’s Jules et Jim’, in French Studies, vol. LVI, no.3, July 2002, 329-344.

*Annette Insdorf, François Truffaut (Cambridge U. P., 1994)  

Carole Le Berre, François Truffaut (Editions de l’étoile/Cahiers du cinéma, 1993)

David Nicholls,  François Truffaut (1993)

Geneviève Sellier, La Nouvelle Vague. Un cinéma au masculin singulier (CNRS, 2005)

Robert Stam, François Truffaut and Friends: Modernism, Sexuality and Film Adaptation (Rutgers University Press, 2006)

See L’Avant-Scène du Cinéma, vol. 389, 1990 for scenario + reviews.

Bardot (Et Dieu créa la femme)

Brigitte Bardot, Initiales B.B.: mémoires (Grasset, 1996)

Simone de Beauvoir, Brigitte Bardot and the Lolita Syndrome (New York: Arno Press & the New York Times, 1972 [first published 1959])

  1. Bernert, ‘Et Dieu créa Bardot’, in G.Guilleminault (ed.), Le Roman vrai de la IIIe et de la IVe République 1870-1958, 2ème partie 1919-1958, (Laffont, 1991), pp. 1080-1112.

*Diana Holmes, ‘”A Girl of Today”: Brigitte Bardot’, in J. Gaffney & D. Holmes (eds, Stardom in Postwar France(see above), pp. 40-66.

Sarah Leahy, ‘Bardot and Dance: Representing the Real’, in French Cultural Studies, vol.13 Part 1, No.37, February 2002, 49-64.

Sarah Leahy, ‘The matter of myth: Brigitte Bardot, stardom and sex’, in Studies in French Cinemavol. 3, No.2, 2003, 71-81.

*Ginette Vincendeau, ‘The Old and the New: Brigitte Bardot and 1950s France’, Paragraph 15:1, March 1992, 73-96. OCR REQUESTED BY LIBRARY (LDS 12/10/2020) 

Ginette Vincendeau, ‘Brigitte Bardot’, in J.Hill and P.C. Gibson, World Cinema (Oxford U.P., 2000), pp. 112-116.

Ginette Vincendeau, Brigitte Bardot (Palgrave Macmillan, 2013)

Agnès Varda (Cléo de 5 à 7 and other films)

*Sandy Flitterman-Lewis, To Desire Differently, (see above, section Film, gender, sexuality)  

Kelley Conway, ‘”A New Wave of Spectators”: Contemporary Responses to Cleo from 5 to 7’, in Film Quarterly, Vol. 61, No. 1 (Fall 2007), 38-47.

*Jill Forbes, ‘Gender and Space in Cléo de 5 à 7’, in Studies in French Cinema, Vol. 2, Issue 2, 2002.

*Jim Morrissey, ‘Paris and voyages of self-discovery in Cléo de 5 à 7 and Le Fabuleux destin d'Amélie Poulain’, in Studies in French Cinema, Vol. 8, Issue 2, 5 June 2008, 99-110.

*Valerie Orpen, Cléo de 5 à 7 (film guide) (I.B. Tauris, 2007)

Phil Powrie, ‘Heterotopic Spaces and Nomadic Gazes in Varda: From Cléo de 5 à 7 to Les Glaneurs et la Glaneuse’ (2011 - download from Surrey Research Insight Open Access) Found online here

*Alison Smith, Agnès Varda (Manchester U. P. French Film Directors series, 1998)  

*Steven Ungar, Cléo de 5 à 7 (Palgrave Macmillan, 2008)

*Susan Hayward, ‘Beyond the Gaze and into femme-film écriture : Agnès Varda’s Sans toit ni loi (1985)’, in Hayward & Vincendeau, French Films: Texts and Contexts (Routledge, 1990/2000)

Barbara Quart, ‘Agnès Varda: A Conversation’, in Film Quarterly, Winter 1986-7, vol. XL, no.2, 6-10.

Florianne Wild, 'Ecriture and Cinematic Practice in Agnès Varda’s Sans toit ni loi, L'Esprit Créateur 30:2 (Summer 1990), 92-104.

Claire Denis and Chocolat

*Martine Beugnet, Claire Denis (Manchester U. P. French Film Directors series, 2004)  

Mia Carter, ‘Acknowledged Absences: Claire Denis’s cinema of longing’, Studies in European Cinema, vol. 3, no. 1, 2006, 67-81.

Ruth Cruickshank, ‘Colonial, Postcolonial and Global Economies: Questions of Consumption in Claire Denis's Chocolat’, Studies in European Cinema, Vol.3: 1, 55-66.

Stuart Hall, ‘European Cinema on the Verge of a Nervous Breakdown’, in Duncan Petrie (ed.), Screening Europe. Image and identity in Contemporary European Cinema (BFI pubishing, 1992), pp. 45-53 (esp. 49-51).

Susan Hayward, ‘Claire Denis’ Films and the Post-Colonial Body – with Special Reference to Beau Travail’, Studies in French Cinema, Vol.1 No.3, 2001, 159-165.

Susan Hayward, ‘Reading Masculinities in Claire Denis’s Chocolat (1988), in Christopher E. Gittings (ed.), Imperialism and Gender: Constructions of Masculinity (Dangaroo Press, 1996)

Judith Mayne, Claire Denis (Contemporary Film Directors) (University of Illinois Press, 2005)

Janice Morgan, ‘The Spatial Politics of Racial and Cultural Identity in Claire Denis’s Chocolat’, Quarterly Review of Film and Video, 20:2, 145-53.

Hilary Neroni, ‘Lost in Fields of Interracial Desire. Claire Denis’s Chocolat [1988]’, Kinoeye- New Perspectives on European Film, vol.3, no.7, 2006. http://www.kinoeye.org/03/07/neroni07.php

  1. Philibert, `From Betrayal to Inclusion: The Work of the White Woman's Gaze in Claire

Denis’s Chocolat’, in S. Najmi and R. Srikanth (eds), White Women in Racialized Spaces: Imaginative Transformation and Ethical Action in Literature (Albany: SUNY Press 2002), pp. 207-226.

Catherine Portuges, ‘Le Colonial féminin. Women Directors Interrogate French Cinema’, in Dina Scherzer (ed.), Cinema, Colonialism, Postcolonialism: Perspectives from the French and Francophone World

(University of Texas Press, 1996), pp. 80-102.

Levilson Reis,An ‘Other’ Scene, an ‘Other’ Point of View: France’s Colonial Family Romance, Protée’s Postcolonial Fantasies and Claire Denis’s ‘screen’ memories’, Studies in European Cinema, 10: 2-3,

119-131.

Céline Sciamma and Tomboy

Robbie Duschinsky, ‘Schizoid Femininities and Interstitial Spaces: Childhood and Gender in Celine Sciamma’s Tomboy and P.J. Hogan’s Peter Pan’, Diogenes, 27, 2016 (on-line via library) 

Franck Garbarz,Entretien avec Céline Sciamma: Radiographier l'étrangeté des corps’, Positif, 644, p. 25 (on-line via library) OCR REQUESTED BY LIBRARY (LDS 12/10/2020) 

Keeley Saunders, ‘Gender-defined Spaces, Places and Tropes: Contemporary Transgender Representation in Tomboy and Romeos’, Journal of European Popular Culture, vol. 5, no. 2, October 2014,181-93.

Darren Waldron, ‘Embodying Gender Nonconformity in ‘Girls’: Céline Sciamma’s Tomboy’, L’Esprit créateur, vol. 53, no.1, Spring 2013, 60-73.

The Tomboy controversy:

Dossier sur le film (à l’usage des élèves de CM1 et CM2, 10-11 ans)

http://www.cinemapublic.org/IMG/pdf/Tomboy_de_Celine_Sciamma.pdf   

Abdelatif Kechiche and La Vie d’Adèle, chapitres 1&2

  1. Johnson, ‘Adaptation and intertextuality in Abdellatif Kechiche’s Blue is the warmest color (La Vie d'Adèle - chapitres 1 et 2)’, Literature/Film Quarterly, 46.1 (2018), online.

Raquel Sanz-Moreno, ‘Audiodescription et problématique de la traduction de contenus sexuels: le cas de La vie d'Adèle d'Abdellatif Kechiche’, Synergies Espagne, 11 (2018), 181-193.

Hila Shachar, 'He said we can choose our lives': freedom, intimacy, and identity in Blue is the Warmest Colour (2013)’, Studies in European Cinema, 15.2/3 (2018), 146-161.

María Soto-Sanfiel and Adriana Ibiti, ‘Lesbian Sex in Mainstream Cinema and Audience Enjoyment’, Sexuality & Culture, 20.3 (2016), 555-578.

Linda Williams, ‘Cinema’s sex acts’, Film Quarterly, 67.4 (2014), 9-25.

Linda Williams, ‘Blue is the Warmest Color: or the After-life of “Visual Pleasure and Narrative Cinema”’, New Review of Film and Television Studies, 15.4 (2017), 465-470.

Louis-Paul Willis, ‘The frenzy of the (in)visible": la médiation du désir dans La Vie d'Adèle et Shame’, Cinémas, 26.1 (2015),13-30.

Céline Sciamma and Portrait de la jeune fille en feu

Frédéric Bouchard, ‘La Transcendance des regards : Portrait de la jeune fille en feu de Céline Sciamma’, Ciné-Bulles, 38:1 (2020), 4-7. [in French] OCR REQUESTED BY LIBRARY (LDS 12/10/2020) 

Maria Garcia, ‘Deconstructing the filmmaker's gaze: an interview with Céline Sciamma’, Cineaste, 45:1 (2019), 8-11.

Céline Gobert, ‘Portrait de la jeune fille en feu de Céline Sciamma’, 24 images, 193 (2019), 154-155. [in French] OCR REQUESTED BY LIBRARY (LDS 12/10/2020) 

Alex Heeney and Orla Smith (eds.), Portraits of Resistance: The Cinema of Céline Sciamma (Seventh Row, 2019). [ebook]   

Lidija Haas, ‘Life into Art: Celine Sciamma's painterly vision of a love between equals’, The New Republic, 251:3 (2020), 66.

Lauren Kaminsky, ‘Burning Gaze’, Film Comment, 40:6 (2019), 42-45.

Amy Taubin, ‘Here’s Looking at You’, Film Comment, 60:6 (2019), 46-47.

Orla Smith, ‘Adèle Haenel is an object of desire who looks back’, in Heeney and Smith (eds.), Portraits of Resistance: The Cinema of Céline Sciamma, pp. 118‑129.   

Benjamin Eldon Stevens, ‘“Not the Lover’s Choice, but the Poet’s”: Classical Receptions in Portrait of a Lady on Fire’, Frontières, 2 (2020), 45-58. https://publications-prairial.fr/frontiere-s/index.php?id=258. [in English]

Isabel Stevens, ‘No Man’s Land’, Sight & Sound, 30:3 (2020), 40-45.

Catherine Wheatley, ‘Portrait of a Lady on Fire’, Sight & Sound, 30:3 (2020), 75.

Contemporary scene

See Special Issue of Studies in French Cinema, vol. 12, issue 3, 2012. ‘Women’s film-making in France 2000-2012’ with introduction and filmography by Carrie Tarr.

Mary Harrod, ‘Sweet Nothings? Imagining the Inexpressible in Contemporary French Romantic Comedy’, Studies in French Cinema, vol. 13, issue 2, 2013, 171-187.

This list was last updated on 14/08/2020