Research

1988
1988
London: Grant & Cutler
1989
René Daumal, The lie of the truth and other parables from the way of liberation. New York: Hanuman Books
1989
1990
Geneva: Droz
1991
1996
. ‘The surrealist poème-objet’, Keele University Press, pp.57-77
1998
2000
2004
(with Eric Rebillard) ‘Sauvage et mignon: a star study of Pierre Batcheff’, Prensas Universitarias de Zaragoza, 413-418
2008
2008
2009
Edinburgh University Press

 

In the first part of my career, I had two major interests. The first was Surrealism with a particular focus on the parasurrealist group Le Grand Jeu (4 books and 10 articles 1988-2000), as I had written my thesis on the work of René Daumal. I translated some of his work, and produced a major bibliography of his work and the work of his colleague in Le Grand Jeu, Roger-Gilbert-Lecomte. I also wrote some articles on the work of André Breton. I returned in part to Surrealism in my work on the French film star of the 1920s, Pierre Batcheff, who starred in Buñuel and Dalí's classic avant-garde film Un chien andalou (1929); this work was supported by a grant from the British Academy.

1989
1990
1991
Manchester University Press. Contains ‘Reading for pleasure: Marie Cardinal’s Les mots pour le dire and the text as (re)play of Oedipal configurations’, 163-76
1992
1993
Bristol Classical Press
1994
2005
‘Space, the crowd and prostitution in Carmen (France, 1910)’, Bern: Peter Lang, 99-113
2006
‘The Father with the movie camera: Cet été-là, Mouchette and the “force utérine de l’œil”’, Bern: Peter Lang, 31-52
2010
(with Eric Rebillard) ‘Josephine Baker and Pierre Batcheff in La Sirène des tropiques (1927)’, Stockholm University Press (Acta Universitatis Stockholmiensis, 236-47
2011
2016
L'Une chante, l'autre pas: music, movement and the utopian community', Oxford: Legenda, 45–64
2017
(with Éric Rebillard) ‘Josephine Baker and Pierre Batcheff in La Sirène des tropiques (1927)’, Jefferson: McFarland, 185-197

 

My second interest was contemporary French women’s writing (2 books and 6 articles/book chapters 1989-1994). I was particularly interested in two writers prominent in the 1980s, Marie  Cardinal and Chantal Chawaf. I published an annotated edition of Cardinal's best-known novel, Les mots pour le dire. I maintained an interest in issues of female voice and space in my work on film versions of the Carmen story and a focus on the work of French filmmaker Agnès Varda. The work on Pierre Batcheff also led to a major article on the 1920s film star Josephine Baker; the article has twice been anthologised.

2000
‘On the threshold between past and present: “alternative heritage”’, London: Routledge, 316-326
2000
‘The “family portrait”: trauma and the punctum in Distant Voices, Still Lives, Amsterdam: Rodopi, 20-35
2003
‘The Sting in the tale’, London: Wallflower Press, 39-59. A chapter on films with the singer Sting.

 

My principal focus since the early 1990s has been cinema studies. I have published articles and book chapters on American and British cinema, on heritage cinema, the films of Sting, Tarantino's Reservoir Dogs and Terence Davies's Distant Voices, Still Lives.

1990
1992
1997
Oxford: Clarendon Press
1998
1998
1999
Oxford University Press. Contains one of my most frequently cited texts, ‘Heritage, history and “new realism”: French cinema in the 1990s’, 1-21
2001
‘Marius et Jeannette: nostalgia and utopia’, London: Wallflower Press, 133-144
2002
2002
2002
2005
2007
‘French neo-noir’, Manchester University Press, 55-83
2008
2017
Selected essays on French cinema. Beijing: Encyclopedia of China Publishing. [Fourteen previously published articles and book chapters translated into Chinese by Li Lina]

 

But I have concentrated on French cinema. All of the books I have published in cinema studies are either directly focused on French cinema, or my contributions in books I have co-authored, edited or co-edited have been on aspects of the French cinema. I have written across the range of French cinema, including silent cinema as well as recent French films. In 1999 I was made Chevalier dans l’Ordre des Palmes Académiques by the French government for services to French cinema.

 

Susan Hayward established the journal Studies in French Cinema in 2000, and I joined her as co-General Editor. The journal was published by Intellect Press until 2014 when it was acquired by Routledge/Taylor & Francis. It is the only journal world-wide dealing entirely with French and Francophone cinemas. We were committed to issues of gender, popular cinema, as well as to promoting new talent. Over the years the journal has become one of the top journals in its field as measured by impact and citations, as well as reputation. Anniversary conferences were held in Paris in 2010 and 2015, and a twentieth anniversary conference will be held in Lyon in 2020.

1996
1997
Oxford: Clarendon Press
2003
2004
London: Wallflower Press
2018
‘« Losing the plot » : le loser français s:et les masculinités à l’écran’, Limoges: Presses universitaires de Limoges, 31-52

 

I have had four major research projects since the mid-1990s: masculinities, the cinéma du look, film adaptations of the Carmen story and finally music in the cinema. The first of these was masculinities, emerging from my interest in women's writing. After an initial book on the French cinema of the 1980s pursuing this focus, I organised a conference on masculinities in the cinema as part of the programme of the Centre for Research into Film that I had established in 1996. I returned to masculinities for a keynote talk at Texas Tech University in 2016 for a conference on the 'loser'.

1993
2001
‘The god, the king, the fool and ØØ: the oedipal trajectory in the films of Beineix’, Oxford: Berg, 195-208
2001
'French Directors Series', Manchester University Press. With a foreword by Jean-Jacques Beineix
2002
‘Jean-Jacques Beineix’, London: Routledge, 33-41.
2002
2006
Manchester University Press. Contains 'Of suits and men in the films of Luc Besson’, 75-89, and ‘Léon and the cloacal labyrinth’, 147-59.
2008
An interview with Jean-Jacques Beineix as an extra on a DVD of Diva (1981, Lions Gate)
2013
‘La musique dans les films de Beineix’, exhibition catalogue, Lyon: Fage, 95-103.

 

Susan Hayward had published one of the first books in Manchester University Press's 'French Directors' series on Luc Besson , the same series as my later book on Jean-Jacques Beineix, hence our joint project on the films of Besson. Beineix wrote an introduction to my book on his films, and I later recorded a DVD commentary for a reissue of Diva.

1993
1995
2003
2005
A collection on Carmen by two of the team, Amsterdam: Rodopi
2004
2004
2005
‘Space, the crowd and prostitution in Carmen (France, 1910)’, Bern: Peter Lang, 99-113
2006
Woodbridge: Boydell and Brewer
2006
‘Embodying the nation: Viviane Romance in Carmen (France, 1945, Christian-Jaque) and Rita Hayworth in The Loves of Carmen (USA, 1948, Charles Vidor)’, Amsterdam: Rodopi, 223-236
2007
Bloomington: Indiana University Press
2011

 

In 1999 I was awarded a large grant by the predecessor of the Arts and Humanities Research Council, the Arts and Humanities Research Board for a three-year project on film versions of the Carmen story. This led to a number of academic publications by members of the team (myself, Bruce Babington, Ann Davies and Chris Perriam), as well as spin-offs such as news reports, radio programmes, opera programmes and CD liner notes.

1990
1998
London: Routledge: Adjani, Ardant, Auteuil, Balasko, Baye, Béart, Belmondo, Berri, Binoche, Birkin, Blier, Bohringer, Bonnaire, Brialy, Chabrol, Delon, Depardieu, Huppert, Marceau, Miou-Miou, Pialat, Poiré, Rappeneau, Stars, Tati, Tavernier
2003
‘Cinema’, London: Arnold, 119-34
2003
‘La Roue/The Wheel (1923)’ and ‘Le Dernier combat/The Last Battle (1983)’, London: Quintet
2006
London: Wallflower Press

 

I believe strongly in the importance of outreach, hence the publications in this slider, which are aimed at students and the general public.

2005
‘Blonde abjection: spectatorship and the abject anal-space-in-between’, Exeter: Intellect, 99-119. A chapter on Tarantino's Reservoir Dogs.
2005
‘La communauté impossible, ou pourquoi le film musical français se fait rare’, Paris: Association Française de Recherche sur le Cinéma, 213-22
2006
‘Outing the synch: music and space in the French heritage film’, Aldershot: Ashgate, 86-99
2006
Changing tunes: the use of pre-existing music in film. Aldershot: Ashgate. Contains ‘The fabulous destiny of the accordion in French cinema’, 137-51
2008
Bloomington: Indiana University Press
2009
‘Le gender et la musique dans les fictions patrimoniales depuis les années 1980’, Presses Universitaires de Bordeaux, 123-37
2014
‘Les chansons préexistantes dans le cinéma français’, Paris: Les Impressions Nouvelles, 46-59
2014
‘Luis Mariano et l’exotisme ordinaire’, Paris: Sorbonne Nouvelle, 19-29
2015
‘Soundscapes of loss: songs in contemporary French cinema’, Chichester: Wiley-Blackwell, 527-546
2016
‘La chanson-cristal’, Würzburg: Königshausen & Neumann, 65–84
2018
‘La canción-cristal y la repetición’, Buenos Aires: Libraria, 21-35

 

My major focus for the last decade has been on music and film. This followed on from my interest in Carmen adaptations, and led to a major conference in 2006, out of which came two edited collections with Robynn Stilwell. I have published a number of articles and book chapters in this field, culminating in a major book on music in contemporary French cinema in 2017. I am currently preparing a history of the French film musical with French-based scholar Marie Cadalanu.