Reader - Breath of sea air : Jacques Tati's Les vacances de Monsieur Hulot (1952) / Pierre Sorlin - Casque d'or, casquettes, a cask of ageing wine : Jacques Becker's Casque d'or (1952) / Dudley Andrew - No place for homosexuality : Marcel Carné's L'Air de Paris (1954) / Richard Dyer - Script of delinquency : François Truffaut's Les 400 coups (1959) / Anne Gillain - It really makes you sick! : Jean Luc Godard's A bout de souffle (1959) / Michel Marie - Fall of the gods : Jean Luc Godard's Le mépris (1963) / Jacques Aumont - Mise-en-scène degree zero : Jean Pierre Melville's Le samouraï (1967) / Colin McArthur - Eye for irony : Eric Rohmer's Ma nuit chez Maud (1969) / Norman King - Sex, politics and popular culture : Bertrand Blier's Les valseuses (1973) / Jill Forbes - Anti-carnival of collaboration : Louis Malle's Lacombe Lucien (1974) / H.R. Or the redemption of difference : Jean Renoir's Le crime de Monsieur Lange (1935) / Christopher Faulkner - Fleeing gaze : Jean Renoir's La bet̂e humaine (1938) / Michele Lagny - Poetic realism as psychoanalytical and ideological operation : Marcel Carné's Le jour se lève (1939) / Maureen Turim - Beneath the despair, the show goes on : Marcel Carné's Les enfants du paradis (1943-45) / Jean-Pierre Jeancolas - Sacrament of writing : Robert Bresson's Le journal d'un curé de campagne (1951) / Keith A. More specialized forays have opened up other avenues, for instance studies into specific periods (Guy Austin's Contemporary French Cinema Powrie on.In the name of the father : Marcel Pagnol's "trilogy": Marius (1931), Fanny (1932), César (1936) / Ginette Vincendeau - Paris, Arizona These have joined the now classic survey histories of French cinema by Alan Williams (Republic of Images, 1992), Colin Crisp (The Classic French Cinema, 1993) and Susan Hayward (French National Cinema, 1993) as well as more recent anthologies such as Elizabeth Ezra and Sue Harris's France in Focus (2000), Lucy Mazdon's France on Film (2001) and Powrie's The Cinema of France (2005). Since then, certainly, the trend has continued, with, among others, Powrie and Keith Reader's French Cinema: A Student's Guide (2002), and Michael Temple and Michael Witt's The French Cinema Book (2004). Indeed, in one of the first issues of this journal, Phil Powrie provided a substantial and informative round up of work on French cinema, which he characterized as an 'explosion' (Powrie 2001: 143). Such is the growth in books and articles on French film that a number of authors recently have begun to map out this particular terrain. This expansion has taken several forms-a rise in film courses, the growth in French film graduate projects, new faculty appointments, the launch of the journal Studies in French Cinema in 2000 (and its annual conference in April) helmed by Susan Hayward and Phil Powrie, increased exchanges with French colleagues (notably through the AFECCAV (1)), the more active support of the French cultural services at the Institut Francais in London, and many, many publications. Meanwhile, in film studies the current emphasis on world cinema, transnational cinema, 'accented' cinema and 'extreme' cinema brings in significant interest in French material, in addition to longer-established areas. On the contrary, as far as the latter is concerned, film is very much a growth area. Indeed, French cinema studies are no longer the poor cousin, crushed by the mighty Anglo-American bias of film studies on the one hand and contempt for the cinema in French studies on the other. Susan Hayward and myself claimed in the Introduction to French Film: Texts and Contexts in 1990 that 'French cinema sits uneasily between French and film studies' (Hayward and Vincendeau 1990: 1), but by the second edition in 2000 we had to modify this view and recognize that in the period elapsed there had been 'a remarkable expansion in French cinema studies in the English-speaking world' (Hayward and Vincendeau 2000). Over the last ten years, there has been an unprecedented, and welcome, boom in French cinema studies, especially in the U.K. Wilson, Emma (2006) Alain Resnais (Manchester: Manchester University Press) 240 pp. Warehime, Marja (2006) Maurice Pialat (Manchester: Manchester University Press) 192 pp. Schilling, Derek (2007) Eric Rohmer (Manchester: Manchester University Press) 240 pp. Morrey, Douglas (2005) Jean-Luc Godard (Manchester: Manchester University Press) 272 pp. Lloyd, Christopher (2007) Henri-Georges Clouzot (Manchester: Manchester University Press) 192 pp. Cooper, Sarah (2008) Chris Marker (Manchester: Manchester University Press) 224 pp.
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