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  • Contributors

Kelley Conway is Associate Professor in the Department of Communication Arts at the University of Wisconsin-Madison. She is the author of Chanteuse in the City (University of California Press, 2004) and has published essays on Jean Renoir, Jean-Luc Godard, Agnès Varda, Brigitte Bardot, the French musical and sexually explicit French cinema. She is currently completing a monograph on the work of Agnès Varda.

Rosalind Galt is a Reader in Film Studies at King’s College London. She is the author of Pretty: Film and the Decorative Image (Columbia UP, 2011) and The New European Cinema: Redrawing the Map (Columbia UP, 2006), and coeditor of Global Art Cinema: New Theories and Histories (OUP, 2010). Her research addresses the intersections of film theory and geopolitics, with a particular focus on issues of gender and sexuality.

Martine Guyot-Bender teaches French Literature, Film and Culture at Hamilton College. She is the author of Mémoire en Dérive: Poétique de l’Ambiguïté chez Patrick Modiano (Lettres Modernes, 1999) and co-author of Paradigms of Memory: The Occupation and Other Hi/stories in the Novels of Patrick Modiano (Peter Lang, 1998). She has published on Amélie Nothomb, Assia Djebar, and Simone de Beauvoir. She is working on a book on Slon/Iskra.

Will Higbee is a Senior Lecturer in French and Film Studies at the University of Exeter (UK). He is the author of Post-Beur Cinema (EUP, 2013) and Mathieu Kassovitz (MUP, 2006) and the co-editor of Studies in French Cinema: UK Perspectives 1985-2010 (Intellect, 2010) and De-Westernizing Film Studies (Routledge, 2012). He is a member of the editorial board of the international, peer-reviewed journal Studies in French Cinema (Routledge).

Kevin Kopelson is Professor of English at the University of Iowa. He is the author of several books on twentieth-century culture. He is the author, as well, of the memoir Confessions of a Plagiarist: And Other Tales from School (Counterpath, 2012).

Charlie Michael is Visiting Assistant Professor of French at Emory University. He recently co-edited the first volume of the Directory of World Cinema: France (Intellect Press, 2013). His work has also appeared in The Velvet Light Trap, Quebec Studies, French Politics, Culture & Society and The Blackwell Companion to Contemporary French Cinema (forthcoming 2014). He is working on a book-length manuscript entitled “French Blockbusters: Context, Culture, Controversy.” [End Page 198]

Martin O’Shaughnessy is Professor of Film Studies at Nottingham Trent University, UK. He researches various aspects of French film, but his main interest is political cinema. In 2005 he co-edited Cinéma et Engagement. He is the author of Jean Renoir (2000), The New Face of Political Cinema (2007) and La Grande Illusion (2009).

Nathalie Rachlin is Professor of French at Scripps College. She is currently writing a book on contemporary French documentary cinema. Her latest publications include articles on Agnès Varda, Hervé Le Roux, and Rithy Panh.

Anthony Reynolds teaches in Liberal Studies at New York University. His research focuses primarily on the relationship between pragmatism and poststructuralism and has been published in Angelaki, Qui Parle, Diacritics, Literature/Film Quarterly, Theaterschrift, Architecture New York and The Wordsworth Circle. He is currently completing a book on pragmatism and deconstruction in America entitled Getting Out: Exteriority in American Literature and Philosophy.

Mireille Rosello teaches at the Amsterdam School of Cultural Analysis, University of Amsterdam. She focuses on globalized mobility and on queer thinking. Recent publications include the co-edited Multilingual Europe, Multilingual Europeans (with László Marácz), and The Reparative in Narratives: Works of Mourning in Progress (2010, Liverpool UP) and France and the Maghreb: Performative Encounters. Forthcoming from Fordham UP (2014) is a collection of essays, What is Queer about Europe? Productive Encounters and Re-Enchanting Paradigms (ed. Sudeep Dasgupta and M. Rosello).

Rosemarie Scullion is Associate Professor of French, Film Studies and Gender Studies at the University of Iowa. She has written on a number of topics relating to French literary, cultural and historical studies, and on French and global cinemas. She is currently completing a book-length study of French film history and the culture of the Cold War era.

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Additional Information

ISSN
1527-2095
Print ISSN
0049-2426
Pages
pp. 198-199
Launched on MUSE
2014-03-04
Open Access
No
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