Research on Film
Although film is not my primary focus, it is one of my secondary academic interests, pursued as and when projects and passions arise. I am particularly interested in the writerly nature--and humanist (in the original sense of the term) concerns--of cinema, especially regarding the films of Jean-Luc Godard and Pier Paolo Pasolini.
Publications on Film [for my publications on the Renaissance, see here]
"Une première guerre mondiale comique? Urbs et civitas dans le Roi de Coeur de Philippe de Broca (1966)." In: Actes SPFFA, vol 5, no spécial 4, 2015.
"An Anti-Archive of World War I: Philippe de Broca’s Le roi de coeur (1966)." In: Marcelline Bloch and Barry Nevins, eds. French Cinema and World War I. Lanham: Rowman & Littlefield.
« A bout de souffle », Tom Conley et T. Jefferson-Kline, éd., Companion to Jean-Luc Godard, Oxford, Wiley-Blackwell. Final text submitted. Forthcoming.
- This chapter offers an extended discussion of Godard's first feature film, A bout de souffle, showing what was a stake on various theoretical levels, concluding with a discussion of the film's connection with Godard's recent Film, socialisme.
« Les enjeux de la révision tragique : Les Médée de Jean de La Péruse et de Pasolini », Yves Hersant et Irène Salas, éd., Renaissance et Cinéma, Paris, Classiques Garnier. Final text submitted. Forthcoming.
- This article studies how a Renaissance tragedy (by Jean de La Péruse) and a film (by Pasolini) both rework the story of Medea via repetition, rehearsal, and re-vision. Without suggesting the influence of La Péruse on Pasolini, I study how the play and the film replay moments concerning Medea's rival (Glauce) in order to articulate mirrored relationships vis-à-vis Euripides, differences of which I analyze several main consequences. At stake are both the story of Medea and the very similar writerly (and humanist--in the full Renaissance sense) concerns of tragedy and film.
« De sexe incertain : Masculin, Féminin de Godard », French Forum, vol. 34, no 2, 2009, p. 97-112.
- Somewhat in response to Geneviève Sellier's idea of New Wave cinema as written in the masculine singular, in which constellation gender is a monolithic (and oppressive) construct, in this article I offer a reading of the uncertainties of sex and gender in Godard's film Masculin, Féminin.