I have to date (October 2018) published 23 books, 93 articles and book chapters, as well as given 81 conference papers. On this page you will find links to publisher and journal pages so that you can read more about my books and download my journal articles. You will also find ‘author versions’ of my book chapters; these are what I submitted to the publishers before copy-editing and publication.

(2020). (with Marie Cadalanu) A history of the French film musical. London: Bloomsbury. Under contract.

2017. Music in contemporary French cinema: the crystal-song. Basingstoke: Palgrave Macmillan.
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2017. Selected essays on French cinema. Beijing: Encyclopedia of China Publishing. [Fourteen previously published articles and book chapters translated into Chinese by Li Lina]

2016. (with Peter I. Barta) Bicultural literature and film in French and English. London: Routledge.
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Author version of my chapter.

2014. (ed.) French cinema, 4 vols. London: Routledge.

2009. with Eric Rebillard) Pierre Batcheff and stardom in 1920s French cinema. Edinburgh University Press.
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2008. (ed. with Robynn Stilwell) Composing for the screen in Germany and the USSR: cultural politics and propaganda. Bloomington: Indiana University Press.
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2007. (co-authored with Bruce Babington, Ann Davies, Chris Perriam) Carmen on film: a cultural history. Bloomington: Indiana University Press.
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2006. (ed. with Robynn Stilwell) Changing tunes: the use of pre-existing music in film. Aldershot: Ashgate.
Author version of my chapter.

2006. (co-authored with Ann Davies) Carmen on screen: an annotated filmography and bibliography. Woodbridge: Boydell and Brewer.
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2006. (ed. with Susan Hayward) The films of Luc Besson: master of spectacle. Manchester University Press.
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2006. (ed.) The cinema of France. London: Wallflower Press/Columbia University Press.
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2004. (ed. with Ann Davies and Bruce Babington) The trouble with men: masculinities in European and Hollywood cinema. London: Wallflower Press/Columbia University Press.
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Author version of my chapter.

2002. (co-authored with Keith Reader). French cinema: a student’s guide. London: Arnold/Bloomsbury. Reprinted 2008.
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2001. Jean-Jacques Beineix. Manchester University Press.
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1999. (ed.) French cinema in the 1990s: continuity and difference. Oxford University Press.
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1997. French cinema in the 1980s: nostalgia and the crisis of masculinity. Oxford: Clarendon Press.
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1997. René Daumal’s Mugle and The Silk. Translated with an Introduction by Phil Powrie. Lewiston: Edwin Mellen.
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1993. Compo pub. School of Modern Languages Publications, University of Newcastle upon Tyne.

1991. (ed. with Margaret Atack) Contemporary French fiction by women: feminist perspectives. Manchester University Press.
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1990. René Daumal: étude d’une obsession. Geneva: Droz.
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1989. René Daumal, The lie of the truth and other parables from the way of liberation. Translated by Phil Powrie. New York: Hanuman Books.
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1988. René Daumal and Roger Gilbert-Lecomte. London: Grant & Cutler/Boydell & Brewer.
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Journal articles and book chapters

The links to downloadable documents in the following list are for the ‘author versions’ of book chapters or exceptionally articles in journals that are not readily available, i.e. the final draft submitted to the publisher. There may therefore be some differences between them and the final published version. The links in the title of journal articles are to their location in the journal concerned.

(2019). (with Marie Cadalanu) ‘The Marseille operetta’, in Musicals at the Margins, edited by Julie Lobalzo Wright and Martha Shearer, London: Bloomsbury. TBC

(2019). ‘Z music: the 1970s French political thriller’, in Music, Ideology and Production Conditions in European Cinema of the Cold War Era, edited by Michael Baumgartner and Ewelina Boczkowska, London: Routledge. TBC

(2019). ‘Staging death in Carmen’, in Classical French Literature on Screen, edited by Homer B. Pettey and R. Barton Palmer, Manchester: Manchester University Press. TBC

(2019). ‘Mayerling et le regard de Danielle Darrieux’, in Danielle Darrieux: la traversée d’un siècle, edited by Gwenaëlle Le Gras and Geneviève Sellier, Paris: Nouveau Monde. TBC

(2019). ‘La musique classique et le cinéma: Un grand amour de Beethoven (1936) et Louise (1938) d’Abel Gance’, Écrans, TBC.

(2019). ‘La chanson-cristal et la répétition’, Actes du colloque de Bruxelles 2016, edited by Dominique Nasta and Sophie Dufays, Bern: Peter Lang. TBC

(2019). (with Éric Rebillard) ‘Pierre Batcheff, les Lacoudems, et les aventures d’Émile-Émile’, Jeune Cinéma, ‘Lacoudems’. TBC.

(2019). ‘Carmen, de l’hétérotopie à la métatopie, Mise au point: Cahiers de l’AFFECAV. TBC.

2018. (with Mary Harrod) ‘New directions in contemporary French comedies: from nation, sex and class to ethnicity, community and the vagaries of the postmodern’, introduction to the special issue ‘New directions in contemporary French comedies’, Studies in French Cinema 18(1): 1-17.

2018. ‘Looking back at the (French) opera-film’, Open Screens 1(1): 1-39.

2018. ‘La canción-cristal y la repetición’, Conozco la canción: melodías populares en los cines posclásicos de América Latina u Europa, edited by Pablo Piedras and Sophie Dufays, Buenos Aires: Libraria, 21-35.

2018. ‘« Losing the plot » : le loser français et les masculinités à l’écran’, in La figure du loser dans le film et la littérature d’expression française, edited by Carole Edwards and Françoise Cévaër, Limoges: Presses universitaires de Limoges, 31-52.

2017. (with Éric Rebillard) ‘Josephine Baker and Pierre Batcheff in La Sirène des tropiques (1927)’, in The Josephine Baker critical reader: selected writings on the entertainer and activist, edited by Mae G. Henderson and Charlene B. Regester, Jefferson: McFarland & Co, 185-197.

2017. ‘Mobilising desire: the operetta films of Pills and Tabet in 1930s France’, Historical Journal of Film Radio and Television, 37(3): 436-454.

2016. L’Une chante, l’autre pas: music, movement and the utopian community’, in Agnès Varda unlimited: image, music, media, edited by Marie-Claire Barnet, Oxford: Legenda, 45–64.
Author version

2016. ‘La chanson-cristal’, in La chanson dans le film français et francophone depuis la Nouvelle Vague, edited by Renaud Lagabrielle and Timo Obergöker, Würzburg: Königshausen & Neumann, 65–84.
Author version

2015. (with Diane Gabrysiak) ‘Editorial. Money: now you see it, now you don’t’, ‘Money matters’, Studies in French Cinema 15(3): 197-206.

2015. ‘Money talks: the logorrheic masquerade in two films from 1934’, ‘Money matters’, Studies in French Cinema 15(3): 207-224.

2015. ‘Soundscapes of loss: songs in contemporary French cinema’, A companion to contemporary French cinema, edited by Alistair Fox, Michel Marie, Raphaëlle Moine, and Hilary Radner, Chichester: Wiley-Blackwell, 527-546.
Author version

2014. (with Guido Heldt) ‘Introduction: trailers, titles, and end credits’, Music, Sound, and the Moving Image 8(2): 111-120.

2014. ‘Luis Mariano et l’exotisme ordinaire’, in S. Layerle and R. Moine (eds), Voyez comment on chante!: films musicaux et cinéphilies populaires en France (1945–1958), Paris: Presses Sorbonne Nouvelle, 19-29.
Author version

2014. ‘Les chansons préexistantes dans le cinéma français’, in Musiques de films: nouveaux enjeux, edited by Séverine Abhervé, N.T.Binh, José Mouré, Paris: Les Impressions Nouvelles, 46-59.

2013. ‘The French musical: swing and big bands in the cinema of the 40s and 50s’, Screen 54(2): 1-23.

2013. ‘The ecstatic pan’, in A companion to François Truffaut, edited by Dudley Andrew and Anne Gillain, Chichester: Wiley-Blackwell, 184-204.
Author version

2011. (with Keith Reader) ‘Teaching and research in French cinema’, French Studies in and for the twenty-first century, edited by Philippe Lane and Michael Worton, Liverpool: Liverpool University Press, 171-83.
Author version

2011. ‘La musique dans les films de Beineix’, Studio Beineix, Lyon: Fage, 95-103.
Author version

2011. ‘Le moment haptique: analyse d’une chanson de Paolo Conte dans 5 x 2’, ‘Musique et cinéma: harmonie et contrepoints’, Inter-Lignes, 21-38.
Author version

2011. ‘Heterotopic spaces and nomadic gazes in Varda: from Cléo de 5 à 7 to Les Glaneurs et La Glaneuse, sp. no. ‘Watch this space: women’s conceptualisations of space in contemporary French film and visual art’, L’Esprit créateur 51(1): 68-82.

2011. ‘Algeria and women in two 1960s film adaptations of the Carmen narrative’, French Cultural Studies 22(2): 127-36.

2010. (with Eric Rebillard) ‘Josephine Baker and Pierre Batcheff in La Sirène des tropiques (1927)’, in Not so silent: women in cinema before sound, edited by Sofia Bull and Astrid Söderbergh Widding. Stockholm: Stockholm University Press (Acta Universitatis Stockholmiensis, series ‘Stockholm studies in film history’), 236-47.

2010. ‘Unfamiliar places: “heterospection” and recent French films on children’, in Studies in French cinema: UK perspectives 1985-2010, edited by Will Higbee and Sarah Leahy. Bristol: Intellect Press, 57-68.

2010. ‘Four decades of teaching and research in French cinema’, in Studies in French cinema: UK perspectives 1985-2010, edited by Will Higbee and Sarah Leahy. Bristol: Intellect Press, 353-71.

2009. ‘Le gender et la musique dans les fictions patrimoniales depuis les années 1980’, in Les Fictions patrimoniales sur grand et petit écran: contours et enjeux d’un genre intermédiatique, edited by Pierre Beylot and Raphaëlle Moine, Presses Universitaires de Bordeaux, 123-37.
Author version

2008. (with Eric Rebillard) ‘Pierre Batcheff, the surrealist star’, Studies in French Cinema 8(2): 159-77.

2008. (with Eric Rebillard) ‘Marcel L’Herbier au carrefour des avant-gardes: Feu Mathias Pascal et le dédoublement’, in Marcel L’Herbier: l’art du cinéma, edited by Laurent Véray. Paris: Association Française de Recherche sur l’Histoire du Cinéma, 79-90.
Author version

2008. (with Eric Rebillard) ‘Josephine Baker and Pierre Batcheff in La Sirène des tropiques (1927)’, Studies in French Cinema 8(3): 245-64.

2008. ‘The haptic moment: sparring with Paolo Conte in Ozon’s 5×2, sp. no. ‘Cinema and the senses’, Paragraph 31(3): 206-22.

2007. ‘La musique dans le film historique contemporain’, in La Fiction éclatée, vol 2. Petits et grands écrans français et francophones: de l’esthétique à l’économie, edited by Jean-Pierre Bertin-Maghit and Geneviève Sellier, Paris: Institut National de l’Audiovisuel/L’Harmattan (‘Les médias en actes’), 205-14.
Author version

2007. ‘La famille (du cinéma) en désordre: Roudinesco and contemporary French cinema’, Affaires de famille: the family in contemporary French culture and theory, edited by Marie-Claire Barnet and Edward Welch, Amsterdam/New York: Rodopi (‘Faux Titre’ 292), 283-307.
Author version

2007. ‘French neo-noir’, in European film noir: transgression, dissonance and hybridity, edited by Andrew Spicer, Manchester: Manchester University Press, 55-83.
Author version

2006. ‘The Father with the movie camera: Cet été-là, Mouchette and the “force utérine de l’œil”’, Marie Cardinal: new perspectives, edited by Emma Webb, Bern: Peter Lang, 31-52.
Author version

2006. ‘Outing the synch: music and space in the French heritage film’, European Film Music, edited by Miguel Mera and David Burnand, Aldershot: Ashgate, 86-99.
Author version

2006. ‘Embodying the nation: Viviane Romance in Carmen (France, 1945, Christian-Jaque) and Rita Hayworth in The Loves of Carmen (USA, 1948, Charles Vidor)’, in Image into identity: constructing and assigning identity in a culture of modernity, edited by Michael Wintle, Amsterdam: Rodopi,] (‘Studia Imagologica’), 223-236.
Author version

2005. ‘Unfamiliar places: “heterospection” and recent French films on children’, sp. no. ‘The child in film and television’, Screen 46(3): 341-52.

2005. ‘Space, the crowd and prostitution in Carmen (France, 1910)’, Revisiting space: space and place in European cinema, edited by Wendy Everett and Axel Goodbody, Bern: Peter Lang, 99-113.
Author version

2005. ‘La communauté impossible, ou pourquoi le film musical français se fait rare’, Les cinéma français face aux genres, edited by Raphaëlle Moine, Paris: Association Française de Recherche sur le Cinéma, 213-22.
Author version

2005. ‘Blonde abjection: spectatorship and the abject anal-space-in-between’, in Pop fiction: the song in cinema, edited by Matthew Caley and Steve Lannin, Exeter: Intellect, 99-119.
Author version

2005. ‘”I’m only here for the beer”: post-tourism and the recycling of French heritage films’, in The media and the tourist imagination: converging cultures, edited by David Crouch, Felix Thompson and Rhona Jackson, London: Routledge, 143-153.
Author version

2004. (with Eric Rebillard) ‘Sauvage et mignon: a star study of Pierre Batcheff’, in Buñuel, siglo XXI, edited by I. Santaolalla et al., Zaragoza: Institución Fernando el Católico/Prensas Universitarias de Zaragoza, 413-418. Supported by the British Academy.
Author version

2004. ‘Politics and embodiment in Karmen Geï (2001)’, Quarterly Review of Film and Video 21(4): 283-91.

2004. La Tragédie de Carmen (Peter Brook, 1983) and embodiment’, Studies in European Cinema 1(3): 141-51.

2004. ‘Fifteen years of fifties cinema’, Studies in French Cinema 4(1): 5-13.

2003. ‘Thirty years of doctoral theses on French cinema’, Studies in French Cinema 3(3): 199-203.

2003. ‘The w/hole and the abject’, ‘Men’s bodies’, Paragraph 26(1-2): 232-44.

2003. ‘The Sting in the tale’, Popular music and film, edited by Ian Inglis, London: Wallflower Press, 39-59.
Author version

2003. ‘The kiss-curl and the resisting eyes: reassessing Carmen (Feyder, 1926)’, Studies in French Cinema 3(1): 15-23.

2003. ‘The disintegration of community: a brief history of popular music in French cinema 1945-present’, in Popular music in France from chanson to techno: culture, identity and society, edited by Hugh Dauncey and Steve Cannon, Aldershot: Ashgate, 97-122.
Author version

2003. ‘La Roue/The Wheel (1923)’ and ‘Le Dernier combat/The Last Battle (1983)’, in The 1,001 films you must see before you die, London: Quintet, 50 & 698.

2003. ‘Cinema’, in French popular culture: an introduction, edited by Hugh Dauncey, London: Arnold, 119-34.
Author version

2002. ‘Transtitial woman: new representations of women in contemporary French cinema’, Esprit Créateur 42(3): 81-91.

2002. ‘Towards an ethics of intermediality: text, intertext and identification in La Dentellière, Literature/Film Quarterly 30(2): 92-97.

2002. ‘Out of this world (cinema): French cinema studies now’ [review article], Journal of Romance Studies 1(3): 143-52.

2002. ‘Jean-Jacques Beineix’, in Fifty contemporary film-makers, edited by Y Tasker, London: Routledge, 33-41.
Author version

2002. Diva: A new psychoanalytical approach’, Studies in French Cinema 2(1): 50-58.

2001. ‘The god, the king, the fool and ØØ: the oedipal trajectory in the films of Beineix’, Gender in the French cinema, edited by Alex Hughes and James Williams, Oxford: Berg, 195-208.
Author version

2001. ‘Marius et Jeannette: nostalgia and utopia’, France on film: reflections on popular French cinema, edited by Lucy Mazdon, London: Wallflower Press, 133-144.
Author version

2000. ‘The “family portrait”: trauma and the punctum in Distant Voices, Still Lives, in The seeing century: film, vision, and identity, edited by Wendy Everett, Amsterdam: Rodopi, 20-35.
Author version

2000. ‘On the threshold between past and present: “alternative heritage”’, British cinema: past and present, edited by Andrew Higson and Justine Ashby, London: Routledge, 316-326.
Author version

2000. Bleu, blanc, rouge: masochism and the distinction between verbal and visual automatism’, Australian Journal of French Studies 37(1): 40-51.

1998. Contributions on French cinema for Encyclopaedia of contemporary French culture, edited by Alex Hughes and Keith Reader, London/New York: Routledge: Adjani (3), Ardant (26), Auteuil (38), Balasko (45), Baye (53), Béart (54-55), Belmondo (61), Berri (63), Binoche (71), Birkin (71-72), Blier (72), Bohringer (73), Bonnaire (74), Brialy (81), Chabrol (96), Delon (147), Depardieu (151), Huppert (288), Marceau (355-356), Miou-Miou (374-375), Pialat (424), Poiré (432), Rappeneau (454), Stars (507-508), Tati (515-516), Tavernier (516).

1998. ‘Masculinity in the shadow of the slashed eye: surrealist film criticism at the crossroads’, Screen 39(2): 153-63.

1998. ‘Heritage, history and the “new realism”’, Modern & Contemporary France 6(4): 479-92.

1996. ‘The surrealist poème-objet’, in Surrealism: surrealist visuality, edited by Silvano Levy, Keele University Press, pp.57-77.
Author version

1996. ‘Ten years on: Mauvais Sang and the crisis of masculinity’, Modern & Contemporary France 4(2): 161-70.

1996. ‘Parody and violation in René Daumal’s Mugle’, ‘Surrealism’, Aura, 24-35.

1995. ‘Godard’s Prénom: Carmen: masochism and the male gaze’, European film’, Forum for Modern Language Studies 31(1): 64-73.

1994.(with Jane Bidder] ‘Lesbian speculations on/in Claudine Married, Women’s Studies 23(1): 57-68.

1993. ‘Interpreting from a video source: teaching and evaluation’, in Integrating new approaches: the teaching of French in higher education, London: AFLS/CILT, 79-94.

1993. ‘Francesco Rosi’s Carmen and the fantasy of realism’, Word and Image 9(1): 19-28.

1993. Diva’s deluxe disasters’, special no. on French cinema, Nottingham French Studies 32(1): 109-20.

1992. ( with G. E. Hare) ‘Developing transferable personal skills in a business studies option of a French undergraduate degree’, in French and the enterprise path: developing transferable and professional skills, London: CILT, 63-80.

1992. ‘Rereading between the lines: a postscript on La Femme rompue, Modern Language Review 87(2): 320-29.

1992. ‘Reflections on/from the ruined eye’, SuperReal: The British Journal of Surrealism 1: 6-13.

Author version

1992. ‘Interpreting in the undergraduate French degree: a national survey 1990-1991’, Francophonie 4: 18-22.

1992. ‘Configurations of melodrama: nostalgia and hysteria in Jean de Florette/Manon des Sources, French Studies 46(3): 296-305.

1992. ‘Angela Carter/Chantal Chawaf: rewriting the domestic’, New Comparisons 11: 127-36.

1991. (with D.S. Place) ‘Comparing notes: interactive translating’, ‘The Teaching of Translation’, UEA Papers in Linguistics, 31-32: 77-86.

1991. ‘Film-Form-Mind: the Hegelian follies of Roger Gilbert-Lecomte’, Quarterly Review of Film and Video 12(4): 19-32.

1990. (with G.E. Hare) ‘Working in the permanent revolution: business and administrative French as a complement to a communicatively based core language course’, Association for French Language Studies Newsletter 26: 19-22.

1990. ‘Truffaut’s Vivement Dimanche ! (1983), or, how to take away with one hand what you give with the other’, Modern & Contemporary France 43: 37-46

1990. ‘Sexuality in Swann in Love, in French Cultural Studies 1: 247-56.

1990. ‘Other voices: in defence of feminist literary criticism’, French Studies Bulletin 37: 13-15.

1990. ‘Myth versus allegory: the problematisation of narrative in Chantal Chawaf’s Le Soleil et la terre’, in The body and the text: Hélène Cixous, reading and teaching, edited by Helen Wilcox, Keith McWatters, Ann Thompson, Linda Williams, New York: Harvester/Wheatsheaf, 78-86.

1990. ‘Breton’s vertical labyrinth: towards a psycho-semiosis’, Romanic Review 82(4): 454-65.

1990. ‘Ad libbing ! using advertisements as part of a French business course’, Language Learning 1: 83-85.

1989. ‘Salon terrorism and the recycling of intellectual commodities: the case of Le Grand Jeu and Surrealism’, ‘Surrealism’, La Chouette 22: 53-62.

1989. ‘René Daumal and the pataphysics of liberation’, Neophilologus 73(4): 532-40.

1989. ‘A womb of one’s own: the metaphor of the womb-room as a reading-effect in texts by contemporary French women writers’, Paragraph 12(3): 197-213.

1988. ‘Marketing history: Swann in Love, Film Criticism 12(3): 33-45.

1988. ‘Automatic writing: Breton, Daumal, Hegel’, French Studies 42(2): 177-93.

1986. ‘The Twentieth Century, from 1945’, The Year’s Work in Modern Language Studies 48: 260-81.

1986. ‘Crossing the divide: language/culture integration’, Association for French Language Studies Newsletter 15: 20-33.