Studies in French Cinema looks at the development of French screen studies in the United Kingdom over the past twenty years and the ways in which innovative scholarship in the UK has helped shape the field in English and French speaking universities. This seminal text is also a tribute to six key figures within the field who have been leaders in research and teaching of French cinema: Jill Forbes, Susan Hayward, Phil Powrie, Keith Reader, Carrie Tarr, and Ginette Vincendeau.Coinciding with the tenth anniversary of the celebrated Intellect journal of the same title and covering a wide range of key films -contemporary and historical, popular and auteur-the volume provides an invaluable overview of the state of French cinema and French film studies at the beginning of the twenty-first century.

Will Higbee is a senior lecturer in film studies and co-director of the Centre for Research in Film Studies at University of Exeter. He is the author of Matthieu Kassovitz.

Sarah Leahy is a senior lecturer in French and film at Newcastle University. She is the author of Casque d'or.

Will Higbee and Sarah Leahy are associate editors of Studies in French Cinema.

Introduction - W. Higbee and S. Leahy

PART I

Chapter1: 'Pierrot le fou' and post-New Wave French cinema - Jill Forbes

Chapter 2: National Cinemas and the Body Politic - Susan Hayward

Chapter 3: Unfamiliar Places: 'heterospection' and recent French films on children - Phil Powrie

Chapter 4: The circular ruins? Frontiers, exile and the nation in Renoir's 'Le Crime de Monsieur Lange' - Keith Reader

Chapter 5: Beurz N the Hood: The articulation of Beur and French identities in 'Le Thé au harem d'Archimède' and 'Hexagone' - Carrie Tarr

Chapter 6: Community, Nostalgia and the Spectacle of Masculinity - Ginette Vincendeau

PART II

Chapter 7: Asserting text, context and intertext: Jill Forbes and French Film Studies - Julia Dobson

Chapter 8: Jill Forbes: The continued conversation - Sue Harris

Chapter 9: Political Threads and Material Memory: Mayo's Wardrobe for 'Casque d'or' (1952) - Jennie Cousins

Chapter 10: 'Une vraie famille Benetton': Maternal metaphors of nation in 'Il y a longtemps que je t'aime' (Claudel, 2008) - a response to Susan Hayward - Sarah Leahy

Chapter 11: Phil Powrie: French film studies as a heterotopic field - Ann Davies

Chapter 12: Men in Unfamiliar Places: A response to Phil Powrie - Alison Smith

Chapter 13: To elicit and elude: The film writing of Keith Reader - Douglas Morrey

Chapter 14: Sexuality (and Resnais): A response to Keith Reader - Emma Wilson

Chapter 15: Of spaces and difference in 'La Graine et le mulet' (Kechiche, 2007): A dialogue with Carrie Tarr - Will Higbee

Chapter 16: Cinema, the second sex and studies of French women's films in the 2000s - Kate Ince

Chapter 17: The bafflement of Gabin and Raimu and the breathlessness of Belmondo: a dialogue with the work of Ginette Vincendeau - Martin O'Shaughnessy

Chapter 18: Placing French Film History - Alastair Phillips

PART III

Chapter 19: To the distant observer - Jill Forbes

Chapter 20: Censoring French 'Cinéma de qualité' - 'Bel-Ami' (Louis Daquin, 1954) - Susan Hayward

Chapter 21: Raymond Bernard's 'Les Misérables' (1934) - Keith Reader

Chapter 22: Jewish-Arab Relations in French and Maghrebi Cinema(s) - Carrie Tarr

Chapter 23: The Frenchness of French Cinema: The language of national identity, from the regional to the trans-national - Ginette Vincendeau

Chapter 24: Four decades of teaching and research in French cinema - Phil Powrie