Directory of World Cinema: France ed. by Tim Palmer, Charlie Michael (review)

Reviews 245 Palmer, Tim, and Charlie Michael, eds. Directory of World Cinema: France. Bristol: Intellect, 2013. ISBN 978-1-84150-563-3. Pp. 325. $25. French cinema’s long history and vast scope render comprehensive coverage difficult at best, particularly if one seeks to stand out from previously established norms. Yet according to the editors’ introduction, the present volume does just that, creating a “new model of French cinema history”(7) that makes room for well-established classics as well as relatively unknown films and directors. This is indeed a refreshing change, though most cinephiles will probably regret one omission or another, wondering for example why Louis Malle merits no entries, while Agnès Varda and François Truffaut receive no fewer than three apiece. Even so, the introduction of previously unheralded films and directors is to be applauded, as is the inclusion of less-studied categories such as horror and le film policier. This reviewer also appreciates the attention to films by women, along with the effort to rehabilitate le cinéma de qualité and examine its crucial role in the evolution of French films. In spite of these attributes, the text does not always live up to its promises.Without a thorough grounding in traditional French cinema history, readers will find some of the arguments difficult to follow. Moreover, some pieces fall short in terms of their engagement with current theory and criticism, especially in the areas of feminism and colonialism, although other segments are considerably stronger, particularly the essays reflecting on le cinéma du look. It is also difficult to use this text as one might consult a directory, for the table of contents is not especially comprehensive, there is no index, and there is no clear rationale for the sequencing of films within each section. There is a filmography that references page numbers, but it does not clearly link each title with its filmmaker or the section of the text in which it appears. Readers may also find themselves distracted by numerous typographical and grammatical errors, a certain inconsistency in the handling of film title translations, and an absence of references for many of the essays. When present, these source lists provide a sense of the theoretical basis for each essayist’s work, possible directions for future research, and valuable complements to the“Recommended Reading” and “French Cinema Online” sections at the end of the text. It would thus be ideal to have them for all the essays. Finally, a more developed introduction and concluding remarks would help contextualize the individual essays, particularly the five seemingly stand-alone pieces that follow the introduction, whose role in the volume is not readily apparent.While readers may be tempted by the text’s premise and engaging presentation, which features an effective use of color, the inclusion of color stills, and an attractive page layout, Directory of World Cinema: France will not replace other histories or overviews of French cinema. It may all the same be of some interest to readers and cinephiles who wish to encounter lesser-known films or to revisit French film history from a slightly different angle. University of the Cumberlands (KY) Laura Dennis ...