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November 2015, Week 1


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1. Editorial team changes

2. CFP Studies in French Cinema Conference 2016

3. CFP Special Number of Studies in French Cinema on ‘Terrorism’

4. Studies in French Cinema Research Bursary (deadline 1 January 2016)

5. The Studies in French Cinema Postgraduate Essay Prize (Extended to 30 November)

6. New Books


1. Editorial team changes

Two colleagues are stepping down from the General Editor team at Christmas, Will Higbee and Sarah Leahy, both of whom have been key to the success of the journal. I am sure that colleagues working in French cinema will want to join me in thanking them both for their support.

Two colleagues will be taking their place as General Editors of the journal: Martin O’Shaughnessy (Nottingham Trent University) at Christmas 2015, and James Williams (Royal Holloway, University of London) on 1 March 2016.

Two more colleagues will be joining the general Editorial Board with immediate effect: Andrew Asibong (Birkbeck) and Fiona Handyside (Exeter).

Welcome to these new additions to the only journal worldwide dedicated to French cinema.


2. CFP (Second call) Studies in French Cinema Conference 2016

CFP Annual Conference 2016
Thursday 30 June, King’s College London

The day conference will comprise two strands.

Women’s documentary. The filmmaker Dominique Cabrera (Grandir, 2013) will attend the conference for a Q&A. We welcome papers on any aspect of women’s documentary, as well as the work of specific filmmakers, such as Karin Albou, Yannick Bellon, Yamina Benguigui, Sophie Bissonnette, Brigitte Chevet, through to Agnès Varda.

Childhood and adolescence. Inspired by Bande de filles (Sciamma, 2014), we welcome work on any aspect of the child or adolescent in French cinema, whether issues around genre (teen movies), the sociology of cinema (teen fandom), or specific films and filmmakers, ranging from Jeux interdits (Clément, 1952), through the work of Truffaut (L’Argent de poche, 1976), the two versions of La Guerre des boutons (Robert, 1962; Samuell, 2011), and other recent films such as Les Géants (Lanners, 2011) or Le Dernier coup de marteau (Delaporte, 2014).

The day will also include a special panel to celebrate the Manchester University Press ‘French Directors’ series, which has just published its fortieth volume (Martin O'Shaughnessy's Laurent Cantet).

Please send abstracts of no more than 200 words with a brief bio, institutional affiliation and email contact to Phil Powrie ([log in to unmask]<mailto:[log in to unmask]>). The proposals will be considered by the General Editors of Studies in French Cinema. DEADLINE 30 NOVEMBER 2015.


3. CFP Special Number of Studies in French Cinema on ‘Terrorism’

Transnational Crossings: Terrorism and Migration on Maghrebi Screens
Maria Flood and Flo Martin

The concept of “terrorism” has evolved in recent history from the national to the international level. The former, the strategy of an occupied people to free itself from its occupier (e.g. the national liberation struggle in Algeria leading to independence in 1962) was teleological: violence was a means to a precise political end. However, in the last three decades, terrorism has radically shifted in scope from the local to the global, expanding the time of violence and rendering any space as potentially, randomly lethal. Thus, terrorism, no longer qualifying an anti-colonial, nationalist struggle in the Maghreb, now designates a more diffuse set of increasingly publicized practices that have devastating consequences in the region as well as in the world. Among them is that of displaced populations: terror has led to further economic inequity in the South, and to an increase in migrations away from danger zones in the South towards the North. The transversal and transnational movements across borders of bodies (of terrorists and migrants from Africa to Europe, but also of terrorists from Europe to Africa) further challenge European narratives of integration, secularism and humanistic notions of les droits de l’homme.

It is the multiple representations of terrorism and migration that we wish to explore in the filmic production of Algeria, Morocco and Tunisia and the Maghrebian diaspora since the turn of the 21st century.

Among the most salient questions to be asked:
- Does Maghrebian cinema propose cinematic representations of terrorism outside and us/them binary structure?
- Who funds films about terror and who is the target audience?
- Can cinema deploy humor as a strategy to deal with terror?
- How can film humanize terrorism and terrorists, and for what purposes?
- How does the discourse around terrorism and migration in the Maghreb differ from a similar discourse in Europe?
- How might images of terrorism and migration exemplify shifting conceptions of the nation state?
- How does Maghrebian cinema explore the attempts by terrorism and migration to shift symbolic and economic power?
- How much does the media overplay the threat that terrorism represents, and does the cinema of the Maghreb problematize these representations?
- How is our response to the victims of terrorist atrocities differentially distributed in audio-visual media, according to nationality, religion or ethnicity?

Other possible topics include:
- The visibility, invisibility and/ or hypervisibility of terrorism on film
- Victims of terrorism- vulnerability and/or resistance
- Screening images of atrocity and violence- ethical concerns
- Terrorism, economic precariousness, and migration
- New migrations away from terror
- Terrorism and aesthetics: form, genre, and narrative
- Terrorism and gender

Analyses of films such as:
- Rachida (Yamina Bachir-Chouikh, France/Algeria, 2002)
- Village of Women (Mohammed Chouikh, Algeria, 2005)
- Barakat! (Djamila Sahraoui, Algeria/France, 2006)
- Making of (Nouri Bouzid, Tunisia, 2006)
- Gabbla (Tariq Teguia, Algeria, 2008)
- Harragas (Merzak Allouache, Algeria/France, 2009)
- London River (Rachid Bouchareb, UK/France/Algeria, 2009)
- God’s Horsemen (Nabil Ayouch, Morocco/Belgium, 2012)
- The Repentant (Merzak Allouache, Algeria, 2012)
- Yema (Djamila Sahraoui, Algeria/France, 2012)
- The Rooftops (Merzak Allouache, France/Algeria, 2013)
- Roma wa la n’touma (Tariq Teguia, Algeria, 2006)
- Viva Laldjérie (Nadir Moknèche, Algeria/France, 2004)
- Lettre à ma soeur (Habiba Djahnine, Algeria, 2006)
- Aliénations (Malik Bensmaïl, France/UAE/Switzerland/Algeria, 2011)

We invite your contribution, and request a proposal in the form of an abstract in English or French of 350-400 words, for articles of up to 8,000 words. Abstracts should be submitted electronically to both [log in to unmask]<mailto:[log in to unmask]> and [log in to unmask]<mailto:[log in to unmask]> by Monday, December 14, 2015. The final version of your article would be due on July 15 2016.


Traversées Transnationales: terrorisme et migration dans le cinéma du Maghreb

Ces dernières années, le concept de «terrorisme» de national est devenu international. Autrefois stratégie d'un peuple occupé pour se libérer de son occupant (ex : la lutte de libération nationale en Algérie menant à l'indépendance en 1962), il était téléologique: la violence était un moyen d’atteindre une fin politique précise. Cependant, au cours des trois dernières décennies, le terrorisme a considérablement élargi son territoire de local à mondial, prolongé le temps de la violence et rendu tout espace potentiellement mortel. Ainsi, maintenant qu’il ne désigne plus un type de lutte nationaliste anticoloniale au Maghreb, le terrorisme désigne un ensemble de stratégies de plus en plus médiatisées, aux conséquences dévastatrices dans la région et dans le monde. Parmi celles-ci, celle des populations déplacées: la terreur a conduit à un accroissement des inégalités économiques dans le Sud et des migrations hors des zones de danger du Sud vers le Nord. De plus, les mouvements transversaux et transnationaux des corps à travers les frontières (ceux des terroristes et des migrants dans le sens Afrique-Europe, mais aussi ceux des terroristes dans le sens Europe-Afrique) contestent les grands récits européens sur l’intégration, la laïcité et les « droits de l'homme » .
 Ce sont les multiples représentations du terrorisme et de l'immigration que nous souhaitons explorer dans la production cinématographique de l'Algérie, du Maroc et de la Tunisie et de la diaspora maghrébine depuis le tournant du 21ème siècle.

Se posent alors des questions cruciales parmi lesquelles:
- le cinéma maghrébin propose-t-il des représentations du terrorisme hors de la structure binaire nous/eux?
- Qui finance les films sur le terrorisme, et quel public est ciblé?
- Le cinéma peut-il déployer l'humour comme stratégie pour aborder le terrorisme?
- Humanise-t-on le terrorisme et les terroristes, et à quelles fins?
- Comment le discours maghrébin sur le terrorisme et les migrations au Maghreb diffère-t-il de son homologue européen ?
- Dans quelle mesure les images du terrorisme et des migrations proposent-elles des représentations différentes de l'Etat-nation?
- Comment le cinéma maghrébin explore-t-il les déplacements potentiels du pouvoir symbolique et économique causés par les phénomènes du terrorisme et de la migration?
- Les média exagèrent-t-ils la menace que le terrorisme représente, et le cinéma du Maghreb problématise-t-il ces représentations?
- Dans quelle mesure nos réactions aux victimes d'atrocités terroristes dans les média audio-visuels varient-elles selon la nationalité, la religion ou l'origine ethnique des individus concernés?

Autres sujets possibles:
- Visibilité, invisibilité et/ou hyper-visibilité du terrorisme au cinéma
- Victimes du terrorisme : vulnérabilité et/ou résistance
- L'atrocité et la violence à l’écran– questions éthiques
- Précarité économique, terrorisme et migration
- Nouvelles migrations loin de la terreur
- Terrorisme et esthétique : forme, genre et récit
- Terrorisme – question genrée

Analyses de films tels que:
- Rachida (Yamina Bachir-Chouikh, France/Algérie, 2002)
- Douar de femmes (Mohammed Chouikh, Algérie, 2005)
- Barakat! (Djamila Sahraoui, Algérie, 2006)
- Making of (Nouri Bouzid, Tunisie, 2006)
- Gabbla (Tariq Teguia, Algérie, 2008)
- Harragas (Merzak Allouache, Algérie/France, 2009)
- London River (Rachid Bouchareb, RU/France/Algérie, 2009)
- Les Chevaux de dieux (Nabil Ayouch, Belgique/Maroc, 2012)
- Le Repenti (Merzak Allouache, Algérie, 2012)
- Yema (Djamila Sahraoui, France, 2012)
- Les Terrasses (Merzak Allouache, France/Algérie, 2013)
- Rome plutôt que vous (Tariq Teguia, Algérie, 2006)
- Viva Laldjérie (Nadir Moknèche, Algérie/France, 2004)
- Lettre à ma soeur (Habiba Djahnine, Algérie, 2006)
- Aliénations (Malik Bensmaïl, Algérie, France/Suisse/UEA, 2011)

Nous vous invitons à nous envoyer votre contribution en français ou en anglais sous forme d’un abstract de 350 à 400 mots, pour des articles de 8.000 mots maximum. Les abstracts doivent être envoyés par courrier électronique aux deux adresses suivantes:  [log in to unmask]<mailto:[log in to unmask]> et [log in to unmask]<mailto:[log in to unmask]>. La date limite de réception des abstracts est le lundi 14 décembre 2015. Celle de la version définitive de votre article serait le 15 juillet 2016.

Dr. Florence Martin
Editor, Studies in French Cinema,
Professor of French
Goucher College
Baltimore, MD 21204-2794 - USA
[log in to unmask]<mailto:[log in to unmask]>
Tel: + 1 410 337 6377
Office: Julia Rogers 260


4. Studies in French Cinema Research Bursary (deadline 1 January 2016)

We offer Research Bursaries for Early Career Researchers twice a year. The deadline for the next competition is 1 January 2016. Find the details here:


5. The Studies in French Cinema Postgraduate Essay Prize (Extended to 30 November)

The Association offers an annual prize for a postgraduate essay in English on any aspect of French or Francophone cinema. The prize consists of books published by Manchester University Press up to a retail value of £150, and free admission to the Studies in French Cinema annual conference in the year following the award. The essay will automatically be considered for publication in Studies in French Cinema. The extended deadline is 30 November 2015.

Essays will be judged by a sub-committee formed from members of the Editorial and Advisory Board of Studies in French Cinema.

The conditions are as follows:

- Essays receiving less than a mark of 75 should not be submitted.
- The essay (written in English) must be at least 4000-6000 words long (notes and references included).
- It must have been written by a postgraduate student registered at the time of submission at an institution of higher education in the United Kingdom or Ireland.
- It must be submitted as an electronic file to the SFC office<mailto:[log in to unmask]> by the student's supervisor.
- The supervisor should state what mark was achieved, and confirm the originality of the essay, and the date of its first submission.
- The file should not contain any assessor comments.
- The student's name and institution should not appear anywhere on the essay.


6. New Books

Frodon, Jean-Michel, and Dina Iordanova, eds. 2015. Cinemas of Paris. St Andrews: St Andrews Film Studies

Jacobson, Brian R. 2015. Studios Before the System: Architecture, Technology, and the Emergence of Cinematic Space. New York: Columbia University Press. [2 of the chapters examine the first French film studios (Méliès, Gaumont, Pathé)]



Phil Powrie
Professor of Cinema Studies
Lewis Carroll Building 27AC05
School of English and Languages
University of Surrey
T: 01483 682980
E: [log in to unmask]<mailto:[log in to unmask]>
Chief General Editor Studies in French Cinema:
Chair British Association of Film Television and Screen Studies:


Online resources for film/TV studies may be found at ScreenSite