Skip to main content

Module Reading List

Cinema in France: The Seventh Art, 2021/22, Semester 1, 2
Dr Claire Lozier
Tutor information is taken from the Module Catalogue

General: cinematography, film theory

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

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

*Warren Buckland, (Teach yourself) 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, Key Concepts in Cinema Studies (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 University Press, 2006)

Mast and 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 (Studia Romanica de Debrecen, 2000) [Excellent introduction to film ‘language’ in French.]   

Robert Stam and Toby Miller (eds.), Film Theory. An Anthology (Blackwell, 2000)



Rick Altman, Film/genre (London: BFI publishing 1999)

René Prédal, ‘Le cinéma français et les genres’, Cinémaction 3e trimestre, no.68 (1993), pp. 48-56. OCR REQUESTED BY LIBRARY (LDS 05/10/2020) 

Wheeler Winston Dixon (ed.), Film genre 2000. New Critical Essays (State University of New York Press, 2000)


History of French cinema and studies of several French films

Roy Armes, French Cinema since 1946: the Great Tradition (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 1945-58 (Editions de l’étoile, 1953)

Victoria Best and Martin Crowley, The New Pornographies – Explicit Sex in Recent French Fiction and Film (Manchester University Press, 2007)

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

Noel Burch and Geneviève Sellier, La Drôle de guerre des sexes du cinéma français (1930-50) (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 (Indiana U.P., 1993)

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

Sandy Flitterman-Lewis, To Desire Differently: Feminism and the French Cinema (Columbia University Press, 1990)

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

Alistair Fox, Michel Marie, Raphaelle Moine and Hilary Radner (eds.), A Companion to Contemporary French Cinema. (Wiley Blackwell, 2015)

Jean-Michel Frodon, L'Age 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 and 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 and Ginette Vincendeau, French Films: Texts and Contexts (Routledge, 1990/2000)

Owen Heathcote, Alex Hughes and James Williams (eds.), Gay and Lesbian Theory, Fiction and Film in France, 1945-1995 (Berg, 1998)

**Will Higbee and Sarah Leahy (eds.), Studies in French Cinema. UK Perspectives 1985-2010 (Intellect, 2011)

Alex Hughes and James Williams (eds.), Gender and French Cinema (Berg, 2001)

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)

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

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

John W. Martin, The Golden Age of French Cinema 1929-39 (Columbus, 1987)

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

Lucy Mazdon, Encore Hollywood: Remaking French Cinema (British Film Institute, 2000)

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

Rebecca M. Pauly, The Transparent Illusion: Image and Ideology in French Film (Peter 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 1939-90 (Routledge, 1991)

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

Carrie Tarr, Reframing Difference. Beur and Banlieue Filmmaking in France (Manchester University Press, 2005)

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

* Isabelle Vanderschelden, Studying French Cinema (Auteur, 2013)

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

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

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

*Ginette Vincendeau,The Frenchness of French Cinema: the Language of National Identity, from the Regional to the Trans-national’, in Higbee and Leahy 2011 (see above), pp. 337-352.

Alan Williams, Republic of Images – A History of French Filmmaking (Harvard U.P., 1992)

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


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)

Andrew Higson and Richard Maltby (eds.), ‘Film Europe’ and ‘Film America’: Cinema, Commerce and Cultural Exchange 1920-1939 (Exeter University Press, 1999)


The 1930s

Dudley Andrew, Mists of Regret: Culture and Sensibility in Classic French Film (Princeton U. P., 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, 1930-60 (Indiana U.P., 1993)

Colin Crisp, Genre, Myth, and Convention in the French Cinema, 1929-1939 (Indiana University Press, 2002)

Jean-Pierre Jeancolas, Quinze ans d’années trente: le cinéma des Français 1929-44 (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 and Keith Reader, La Vie est à nous: French Cinema of the Popular Front (BFI, 1986)


The Nouvelle Vague

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

Antoine de Baecque and Charles Tesson (eds.), La Nouvelle Vague (Cahiers du Cinéma, 1999)

Jean-Luc Douin (ed.), La Nouvelle Vague 20 ans après (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 du cinéma 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), 154-171.

Rick Jobs, Riding the New Wave: Youth and Rejuvenation in France after the Second World War (Stanford University Press, 2007) [more context than cinema]

J. Kline, Screening the Text: Intertextuality in New Wave French Cinema (Johns Hopkins University Press, 1992)

Orlene Denice McMahon, Listening to the French New Wave: The Film Music and Composers of Postwar French Art Cinema (New Studies in European Cinema, 16, 2013)

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, 31 (1954), in Truffaut, Le Plaisir des yeux (Champ contre-Champs, 1987)   


The Films (individually)

Lumière and Méliès

Richard Abel, French Film Theory and Criticism. A History-Anthology, 1907-1929 (Princeton U.P., 1988) [see chapter on Méliès]

*Elizabeth Ezra, Méliès (Manchester U. P., French Film Directors series, 2000)   

Georges Sadoul, Louis Lumière (Seghers, 1964)


Dulac and La Souriante Madame Beudet

Richard Abel, French Film Theory and Criticism. A History-Anthology, 1907-1929 (Princeton U.P., 1988) [see chapter on Dulac]

Germaine Dulac, Écrits sur le Cinéma (1917-1939), textes réunis par Prosper Hillairet (Éditions Paris Expérimental, 1994) [in French]

*Sandy Flitterman-Lewis, To Desire Differently: Feminism and the French Cinema (Columbia U. P., 1990) [section on Dulac and La Souriante Madame Beudet]   

Charles Musser,'The clash between theather and film. Germaine Dulac, André Bazin and La Souriante Madame Beudet', New Review of Film and Television Studies, 5:2 (2007), 111-134.

Tami Williams, Germaine Dulac: A Cinema of Sensation (University of Illinois Press, 2014)


Renoir and Le Crime de Monsieur Lange

André Bazin (ed.), Jean Renoir (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 (University of California Press, 1974)

Christopher Faulkner, The Social Cinema of Jean Renoir (Princeton University 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 cinéma), Jean Renoir: Films 1924-39 (1969)

*Martin O’Shaughnessy, Renoir (Manchester University Press, French Film Directors series, 2000)   

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 (2011), 26-44.

Martin O’Shaughnessy, ‘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)

Edward Ousselin, ‘Film and the Popular Front: La Belle équipe and Le Crime de M. Lange’, The French Review, 79.5 (2006), 952-962.

David Petterson ‘The Politics of Popular Genres in Renoir’s Le Crime de M. Lange’, Studies in French Cinema, 12.2 (2012), 107-122.

Alistair Phillips and Ginette Vincendeau (eds.), A Companion to Jean Renoir, (Wiley-Blackwell, 2013).

Roger Viry-Babel, Jean Renoir films/textes/références (Presses Universitaires 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, 36. 3 (1997), 25-55.

*Lyall Bush, ‘Feminine Narrative and the Law in Renoir’s Le Crime de M. Lange’, Cinema Journal, 29.1 (1989), 54-70.

*Katherine Golsan, ‘Valentine’s Love Story: Feminine Discursive Power and its Limits in Le Crime de Monsieur Lange’, The French Review, 79.6 (2006), 1168-1186.

Patrick Louguet, ‘Le Crime de M. Lange de Jean Renoir: Utopie sociale et esprit d’enfance’ French Forum, 34.2 (2009), 83-95.

*Martin O’Shaughnessy, ‘Nation, History and Gender in the Films of Jean Renoir’, in Ezra and Harris, France in Focus (see above).   

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

*A Sesonske, ‘Jean Renoir as Moralist: Le Crime de M. Lange’, Journal of Aesthetic Education, 1974.

Alan Williams, ‘Le Crime de Monsieur Lange’, in Phil Powrie, The Cinema of France (see above), 31-40.


Carné and Le Quai des brumes

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

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

André Bazin, ‘Le Jour se lève...poetical realism’ (1953) – see Chazal below, 146-9.

Robert Chazal, Marcel Carné (Seghers, 1965)

Jonathan Driskell, Marcel Carné  (Manchester University Press, French Film Directors series, 2012)

Claude Gauteur and Ginette Vincendeau, Jean Gabin, anatomie d’un mythe (Nathan, 1993)

Michel Pérez, Les Films de Carné (Ramsay, 1986, 1994)

*Ginette Vincendeau, ‘Community, Nostalgia and the Spectacle of Masculinity – Jean Gabin’, Screen, 26 (November/December 1989), 18-39. [on High Demand – EB library]

*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’, Studies in French Cinema 6:2 (2006), 129-140.


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)

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

Jennie Cousins, ‘Political Threads and Material Memory: Mayo’s Wardrobe for Casque d’Or (1952)’, in Higbee & Leahy 2011, Studies in French Cinema.

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

Susan Hayward, ‘Simone Signoret (1921-1985): The Body Political’, 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)’, Studies in French Cinema, 4.1 (2004), 15-28.

*Sarah Leahy, Casque d’Or (French Film Guide) (I. B. Tauris, 2007)

Sarah Leahy, ‘“Neither Charm nor Sex Appeal...” Just what Is the Appeal of Simone Signoret?’, Studies in French Cinema, 4.1 (2004), 29-40.

*Sarah Leahy, Ciné-file French Film Guides Casque d'or (I. B. Tauris, 2007)


Truffaut and Les 400 coups

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

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

Antoine de Baecque and Arnaud Guigue (eds.), Le Dictionnaire Truffaut (La Martinière, 2004)

*Anne Gillain, François TruffautLe 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.

Anne Gillain, Les 400 coups – étude critique (Nathan, 1991)

*Diana Holmes and Robert Ingram, François Truffaut (Manchester University Press, French Film Directors series, 1997)   

*Annette Insdorf, François Truffaut (Cambridge University Press, 1994)   

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

David Nicholls, François Truffaut (Batsford, 1993)

Robert Stam, François Truffaut and Friends (Rutgers University Press, 2006)


Godard and Pierrot le fou

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

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

*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’, 107-134.   

*Wheeler Winston Dixon, The Films of Jean-Luc Godard (State University of New York Press, 1997)   

Gergely, ‘Jean-Luc Godard’s Film Essays of the 1960s: the Virtues and Limitations of Realism theories’, in Studies in French Cinema, 8.2, 111-21.

Graphic (L’Avant-scène du cinéma), J-L. Godard: films 1957-69 (1970)

Roland-François Lack, ‘The Point in Time: Precise Chronology in Early Godard’, Studies in French Cinema, 3.2 (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, 8-29.

Toby Mussman, J-L. Godard: a Critical Anthology (Dutton, 1968)

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

David Sterritt, The Films of J-L Godard: Seeing the Invisible (Cambridge University Press, 1999)

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

Ahmet Suner, ‘Reinventing the Everyday in the Age of Spectacle: Jean-Luc Godard’s Artistic and Political Response to Modernity in his Early Works’, Studies in French Cinema, 15.2 (2015), 123-37.

Michael Temple and James Williams (eds.), The Cinema Alone: Essays on the Work of Jean-Luc Godard 1985-2000 (Amsterdam University Press, 2000)

*David Wills (ed.), Jean-Luc Godard’s Pierrot le Fou (Cambridge U.P., 2000)


Besson and Subway

William Brown, ‘Sabotage or Espionage? Transvergence in the Works of Luc Besson’, Studies in French Cinema 4.2 (2007), 93-106.

Sue Harris, ‘The Cinéma du Look’, in  European Cinema. ed. Elizabeth Ezra (Oxford University Press, 2004), 219-233.

*Susan Hayward, Luc Besson (Manchester University 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)

Mark Orme, Imprisoned Freedoms: Space and Identity in Subway and Nikita/, in Hayward and Powrie (see above), pp. 121-35.

*Phil Powrie. ‘Subway: Identity and Inarticulacy’, in French Cinema in the 1980s  

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


Kassovitz, La Haine and banlieue films

Sylvie Durmelat, Vinay Swamy and Marie Springfields (eds.), Les Écrans de l’intégration (Presses Universitaires de Vincennes, 2015)

Jonathan Ervine, Cinema and the Republic: Filming on the Margins in Contemporary France (University of Wales Press, 2013)

Jill Forbes, ‘La Haine’, in Forbes and Street, European Cinema (see above).

Will Higbee, Mathieu Kassovitz (Manchester University Press, French Film Directors series, 2006)

*Myrto Konstantarokosb, ‘Which Mapping of the City? La Haine and the cinéma de banlieue’, in Phil Powrie (ed.), French Cinema in the 1990s (see above).   

Isabelle McNeill,Music and spatial injustice in banlieue cinema’, French Screen Studies20:3-4 (2020), 317-335.

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 (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)


Articles and chapters

Decock, ‘Jusqu’ici-tout-va-bien... (Screenplay and photographs concerning the film La Haine)’, in French Review, 71.3 (1998), 524-525.

Adrian Fielder, ‘Poaching on Public Space: Urban Autonomous Zones in French Banlieue Films’, in Mark Shiel and Tony Fitzmaurice (eds.), Cinema and the City: Film and Urban Societies in a Global Context (Blackwell, 2011), 270-281.

Kate Griffiths and Ruth Doughty, ‘Racial Reflection: La Haine and the Art of Borrowing’, Studies in European Cinema, 3.2 (2006), 117-28.

Joe Hardwick, ‘Reframing the Periphery: Narrative Authority and Self-Reflexivity in M. Kassovitz’s La Haine’, Australian Journal of French Studies, 52.2 (2015), 127-38.

*Will Higbee, ‘Screening the “Other” Paris: Cinematic Representations of the French Urban Periphery in La Haine and Ma 6-T va cracker’, Modern and Contemporary France, 9.2 (2001), 197-208.

Sven-Erik Rose, ‘Mathieu Kassovitz’s La Haine and the Ambivalence of French-Jewish identity’, French Studies, vol. LXI, n° 4, October 2007, 476-491.

*K. Zissermann and C. Nettelbeck, ‘Social Exclusion and Artistic Inclusiveness: the Quest for Integrity in M. Kassovitz’s La Haine’, Nottingham French Studies, 36.2 (1997), 83-98. Available as an Online Course Reading in Minerva 


Ly, Les Misérables

Cyril Béghin, ‘Les Misérables de Ladj Ly: Ladj Ly, état des lieux’, Cahiers du cinéma, 760 (2019), 16-18.

Cyril Béghin, ‘Les Misérables de Ladj Ly: Tenu, tendu entretien avec Alexis Manenti’, Cahiers du cinéma, 760 (2019), 14-15.

Frédéric Bouchard, ‘Que le chaos vienne: Les Misérables de Ladj Ly’, Ciné-Bulles, 38.1 (2020), 14-15.  Available online here  

Stéphane Delorme, ‘Les Misérables de Ladj Ly: L’Enfant lion’, Cahiers du cinéma, 760 (2019), 6-9.

Stéphane Delorme and Jean-Philippe Tessé, ‘Les Misérables de Ladj Ly: Légendes de Montfermeil, entretien avec Ladj Ly’, Cahiers du cinéma, 760 (2019), 10-13.

Mouloud Mimoun, Les Misérables’, Hommes & migrations, 1328 (2020), 207-208.

Ginette Vincendeau, ‘Minority Report’, Sight and Sound, 35.6 (2015), 22-27. [on evolution of banlieues cinema since La Haine up to 2015 so not on Les Misérables, but interesting for the context. Mentions Bande de filles]

NB: not much has been published in English on the film yet. More might already be available in semester 2 so check Google Scholar for updates.


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’, L’Esprit Créateur 47.3 (2007), 119-132.

Maryse Fauvel, ‘Nostalgia and Digital Technology: The Gleaners and I and The Triplets of Belleville as Reflective Genres’, Studies in French Cinema, 5.3 (2005), 219-229.

Diana Holmes,  ‘Dealing with what is Dealt: Feminists and Ageing’, in Margaret Atack, Diana Holmes, Diana Knight and Judith Still (eds.), Women, Genre and Circumstance: Essays in Memory of Elizabeth Fallaize (Legenda, 2012), pp. 123-37.

Hilary Neroni, ‘Documenting the Gaze: Psychoanalysis in J. Helfand’s Blue Vinyl and A. Varda’s The Gleaners and I’, Quarterly Review of Film and Video, 27.3 (2010), 178-92.

Phil Powrie,Heterotopic Spaces and Nomadic Gazes in Varda: from Cléo de 5 à 7 to Les Glaneurs et la glaneuse’, L’Esprit Créateur, 51.1 (2011), 68-80.

Mireille Rosello, ‘Agnès Varda’s Les Glaneurs et la glaneuse. Portrait of the Artist as an Old Lady’, Studies in French Cinema, 1.1 (2001), 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, 9.2 (2009), 161-76.

Alexandra Vesey, ‘Waste not: Les Glaneurs et la glaneuse and the Heterogeneous Documentary Film Score’, Studies in French Cinema, 14.3 (2014), 167-79.

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 (Peter Lang), pp. 273-290.


Sciamma, Bande de filles

Karine Chevalier, ‘Le cinéma français face à la violence: du New French Extremism à une violence intériorisée’, Modern and Contemporary France, 24.4 (2016), 411-425.

J.L. Dobson, Dis-Locations: Mapping the Banlieue (Palgrave Macmillan, 2017). [see chapter on Bande de filles/Girlhood]

Gemma Edney, ‘Electronica, gender and French cinematic girlhood in Céline Sciamma’s films’, French Screen Studies, 20:3-4 (2020), 285-297.  

Fiona Handyside and Kate Taylor-Jones (eds.), International Cinema and the Girl: Local Issues, Transnational Contexts (Palgrave Macmillan, 2016). [see chapter on Sciamma’s earlier films]

Laeticia Kulyk, ‘Bande de filles’, Jeune cinéma, 360 (2014), 30-31.

Isabelle Mcneill, 'Shine bright like a diamond': music, performance and digitextuality in Céline Sciamma's Bande de filles (2014)’, Studies in French Cinema, 28.4 (2018), 326-340.

Alice Pember, ‘”Visions of ecstasy”: resilience and melancholy in the musical moments of Bande de filles (Céline Sciamma, 2014)', French Screen Studies, 20:3-4 (2020), 298-316.

Laura Reeck, ‘Gender and Genre in Banlieue Film, and the Guerrilla Film Brooklyn’, Romance Studies, 36.1/2 (2018), 76-90.

Thirza, Wakefield, ‘Girls in the Hood’, Sight & Sound, 35.6 (2015), 28-29.

Emma Wilson, ‘Scenes of hurt and rapture: Céline Sciamma’s Girlhood’, Film Quarterly, 70.3 (2017), 10-22. Available as an Online Course Reading in Minerva 


Educative dossier on Bande de filles (in French):


Benyamina, Divines

Élie Castiel, ‘Divines: la fureur de vivre’, Séquences, 308 (2017), 16-17.

Emma Chebinou, ‘“Banlieusarde”, the empowered (fe) male: man up! Gaining back her body is gaining back her space in Divines (2016)’, TraHs, 6 (2019). Online.

Michela Ardizzoni, ‘Feminist Citizenship in the Banlieue: Houda Benyamina’s Divines (2016)’, in R. Mielusel and S. Pruteanu (eds.), Citizenship and Belonging in France and North America (Palgrave Macmillan, 2020)

Stéphanie Pahud, ‘“T’as du clito”: Analyse sociodiscursive des pratiques langagières et identitaires des trois heroïnes principales du film Divines’, Glottopol 19 (2017), 136-150. Online.

Kayla Schaub, Representations of Minority Women in Banlieue Cinema: Divines and Bande de filles, MA dissertation (2019), University of Cincinnati. Online.!etd.send_file?accession=ucin1554215562826029&disposition=inline  

Hans Simran, ‘Paris is Burning’, Sight & Sound, 26.12 (2016), 9.

Naomi Vogt, ‘Divine Girlhoods: Filming Young Women in France's Banlieues’, Cineaste, 42.3 (2017), 38-42.

Rosemary Wakeman, ‘Independent Filmmakers and the Invention of the Paris Suburbs’, French Politics, Culture & Society, 31.1 (2013), 84-95. [on Benyamina’s short film Paris vs. Banlieues]









This list was last updated on 24/08/2021