Single- and co-authored books

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Phil Powrie: Publications

(updated 25 September 2016)

Single- and co-authored books

  1. (2017). Music in Contemporary French Cinema: The Crystal Song. Palgrave Macmillan. MS to be submitted September 2016.

  2. 2009. (with Eric Rebillard), Pierre Batcheff and Stardom in 1920s French Cinema. Edinburgh University Press. xviii + 254 pp.

  3. 2007. (with Bruce Babington, Ann Davies, Chris Perriam) Carmen on Film: A Cultural History. Bloomington: Indiana University Press. xii + 303 pp.

  • ‘Introduction’, ix-xii.

  • (with Ann Davies) ‘Mapping Carmen’, 1-16.

  • (with Ann Davies) ‘Theorizing Carmen’, 17-33.

  • Carmen and the French Cinema’, 107-08.

  • ‘Two silent Carmens (Calmettes, 1910; Feyder, 1926)’, 109-21.

  • ‘Jean-Luc’s women (Godard, 1984)’, 122-31.

  • ‘Social-realist fantasies (Rosi, 1984)’, 132-42.

  • ‘A postcolonial Carmen (Ramaka, 2001)’, 143-53.

  • (with Bruce Babington) ‘Carmen and Stardom’, 191-92.

  • ‘Viviane Romance’, 205-14.

  • (with Ann Davies) ‘Conclusion’, 237-41.

  1. 2006. (with Ann Davies) Carmen on Screen: An Annotated Filmography and Bibliography. Woodbridge: Boydell and Brewer. 160 pp.

  2. 2002. (with Keith Reader, 25%). French Cinema: A Student’s Guide. London: Arnold. viii + 212 pp. Reprinted 2008.

  3. 2001. Jean-Jacques Beineix. Manchester University Press. xiv + 240 pp.

  4. 1997. French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity. Oxford: Clarendon Press. xiv + 203 pp.

  5. 1997. René Daumal’s Mugle and The Silk. Translated with an Introduction by Phil Powrie. Lewiston/ Queenston/ Lampeter: Edwin Mellen. 97 pp.

  6. 1993. Compo pub. School of Modern Languages Publications, University of Newcastle upon Tyne. Vol.1 Manuel de l’étudiant, vi + 37 pp; vol.2 Manuel de l’animateur, vi + 43 pp.

  7. 1990. René Daumal: Étude d’une obsession. Geneva: Droz. 171 pp.

  8. 1988. René Daumal and Roger Gilbert-Lecomte. London: Grant & Cutler. 172 pp.

Edited and translated books

  1. 2015. (with Peter I. Barta) Bicultural Literature and Film in French and English. London and New York: Routledge.

  • (with Peter I. Barta) ‘Being In Between’, 1-22.

  • ‘The location of the bicultural: the coast in three Maghrebi-French films’, 75-90.

  1. 2014. French Cinema, 4 vols. London and New York: Routledge.

  2. 2008. (with Robynn Stilwell) Composing for the Screen in Germany and the USSR: Cultural Politics and Propaganda. Bloomington: Indiana University Press. 200 pp.

  • (with Robynn Stilwell) ‘Introduction’, 1-15.

  1. 2006. (with Susan Hayward) The Films of Luc Besson: Master of Spectacle. Manchester University Press. 197 pp.

  • ‘Introduction’ (with Susan Hayward), 1-9.

  • ‘Of suits and men in the films of Luc Besson’, 75-89.

  • Léon and the cloacal labyrinth’, 147-59.

  1. 2006. The Cinema of France, edited by Phil Powrie. London: Wallflower Press. 288 pp.

  • ‘Introduction’, 1-10.

  • Nikita’, 197-206.

  1. 2006. (with Robynn Stilwell) Changing Tunes: The Use of Pre-existing Music in Film. Aldershot: Ashgate Popular and Folk Music series.

  • (with Robynn Stilwell) ‘Introduction’, xiii-xix.

  • ‘The fabulous destiny of the accordion in French cinema’, 137-51.

  1. 2004. (with Ann Davies and Bruce Babington) The Trouble with Men: Masculinities in European and Hollywood Cinema. London: Wallflower Press. 264 pp.

  • (with Bruce Babington and Ann Davies) ‘Introduction: turning the male inside out’, 1-15.

  • ‘The w/hole and the abject’ 207-17.

  1. 1999. French Cinema in the 1990s: Continuity and Difference. Oxford University Press. xv + 286 pp.

  • ‘Heritage, history and “new realism”: French cinema in the 1990s’, 1-21.

  1. 1993. Marie Cardinal: Les Mots pour le dire. Edited with an introduction and notes. Bristol Classical Press. lvi + 195 pp.

  2. 1991. (with Margaret Atack) Contemporary French Fiction by Women: Feminist. Manchester University Press. viii + 203 pp.

  • (with Margaret Atack) ‘Introduction’, 1-11.

  • ‘Reading for pleasure: Marie Cardinal’s Les mots pour le dire and the text as (re)play of Oedipal configurations’, 163-76.

  1. 1989. René Daumal, The Lie of the Truth and Other Parables from the Way of Liberation. Translated by Phil Powrie. New York/Madras: Hanuman Books, 44 pp.

Journal articles

  1. 2016. ‘Mobilising desire: the operetta films of Pills and Tabet in 1930s France’, Historical Journal of Film Radio and Television, vol/no tbc.

  2. 2015. (with Diane Gabrysiak) ‘Editorial. Money: now you see it, now you don’t’, ‘Money matters’, Studies in French Cinema 15(3): 197-206.

  3. 2015. ‘Money talks: the logorrheic masquerade in two films from 1934’, ‘Money matters’, Studies in French Cinema 15(3): 207-224.

  4. 2014. (with Guido Heldt) ‘Introduction: trailers, titles, and end credits’, Music, Sound, and the Moving Image 8(2): 111-120.

  5. 2014. ‘Luis Mariano et l’exotisme ordinaire’, ‘Voyez comme on chante! Films musicaux et cinéphilies populaires en France (1945-1958)’, Théorème 20: 19-29.

  6. 2013. ‘The French musical: swing and big bands in the cinema of the 40s and 50s’, Screen 54(2): 1-23.

  7. 2011. ‘Preface’, sp. no. ‘Francophone Postcolonial Cinema’, International Journal of Francophone Studies, 14(3): 289-95.

  8. 2011. ‘Algeria and women in two 1960s film adaptations of the Carmen narrative’, French Cultural Studies 22(2): 127-36.

  9. 2011. ‘Heterotopic spaces and nomadic gazes in Varda: from Cléo de 5 à 7 to Les Glaneurs et La Glaneuse’, sp. no. ‘Watch This Space: Women’s Conceptualisations of Space in Contemporary French Film and Visual Art’, L'Esprit créateur 51(1): 68-82.

  10. 2011. ‘Le moment haptique: analyse d’une chanson de Paolo Conte dans 5 x 2’, ‘Musique et cinéma: harmonie et contrepoints’, Inter-Lignes, 21-38.

  11. 2008. (with Eric Rebillard) ‘Josephine Baker and Pierre Batcheff in La Sirène des tropiques (1927)’, Studies in French Cinema 8(3): 245-64.

  12. 2008. ‘The haptic moment: sparring with Paolo Conte in Ozon’s 5x2’, sp. no. ‘Cinema and the Senses’, Paragraph 31(3): 206-22.

  13. 2008. (with Eric Rebillard) ‘Pierre Batcheff, the surrealist star’, Studies in French Cinema 8(2): 159-77.

  14. 2005. ‘Unfamiliar places: “heterospection” and recent French films on children’, sp. no. ‘The child in film and television’, Screen 46(3): 341-52.

  15. 2004. ‘La Tragédie de Carmen (Peter Brook, 1983) and embodiment’, Studies in European Cinema 1(3): 141-51.

  16. 2004. ‘Politics and embodiment in Karmen Geï (2001)’, Quarterly Review of Film and Video 21(4): 283-91.

  17. 2004. ‘Fifteen years of fifties cinema’, Studies in French Cinema 4(1): 5-13.

  18. 2003. ‘Thirty years of doctoral theses on French cinema’, Studies in French Cinema 3(3): 199-203.

  19. 2003. ‘The w/hole and the abject’, ‘Men’s Bodies’, Paragraph 26(1-2): 232-44.

  20. 2003. ‘The kiss-curl and the resisting eyes: reassessing Carmen (Feyder, 1926)’, Studies in French Cinema 3(1): 15-23.

  21. 2002. ‘Transtitial woman: new representations of women in contemporary French cinema’, Esprit Créateur 42(3): 81-91.

  22. 2002. ‘Out of this world (cinema): French cinema studies now’ [review article], Journal of Romance Studies 1(3): 143-52.

  23. 2002. ‘Diva: A new psychoanalytical approach’, Studies in French Cinema 2(1): 50-58.

  24. 2002. ‘Towards an ethics of intermediality: text, intertext and identification in La Dentellière’, Literature/Film Quarterly 30(2): 92-97.

  25. 2000. ‘Bleu, blanc, rouge: masochism and the distinction between verbal and visual automatism’, Australian Journal of French Studies 37(1): 40-51.

  26. 1998. ‘Heritage, history and the “new realism”’, Modern & Contemporary France 6(4): 479-92.

  27. 1998. ‘Masculinity in the shadow of the slashed eye: surrealist film criticism at the crossroads’, Screen 39(2): 153-63.

  28. 1996. ‘Ten years on: Mauvais Sang and the crisis of masculinity’, Modern & Contemporary France 4(2): 161-70.

  29. 1996. ‘Parody and violation in René Daumal’s Mugle’, ‘Surrealism’, Aura, 24-35.

  30. 1995. ‘Prénom: Carmen and male sexuality’, ‘European film’, Forum for Modern Language Studies 31(1): 64-73.

  31. 1994.(with Jane Bidder] ‘Lesbian speculations on/in Claudine Married’, Women’s Studies 23(1): 57-68.

  32. 1993. ‘Diva’s deluxe disasters’, special no. on French cinema, Nottingham French Studies 32(1): 109-20.

  33. 1993. ‘Francesco Rosi’s Carmen and the fantasy of realism’, Word and Image 9(1): 19-28.

  34. 1992. ‘Reflections on/from the ruined eye’, SuperReal: The British Journal of Surrealism 1: 6-13.

  35. 1992. ‘Configurations of melodrama: nostalgia and hysteria in Jean de Florette/Manon des Sources’, French Studies 46(3): 296-305.

  36. 1992. ‘Interpreting in the undergraduate French degree: a national survey 1990-1991’, Francophonie 4: 18-22.

  37. 1992. ‘Rereading between the lines: a postscript on La Femme rompue’, Modern Language Review 87(2): 320-29.

  38. 1992. ‘Angela Carter/Chantal Chawaf: rewriting the domestic’, New Comparisons 11: 127-36.

  39. 1991. ‘Film-Form-Mind: the Hegelian follies of Roger Gilbert-Lecomte’, Quarterly Review of Film and Video 12(4): 19-32.

  40. 1991. (with D.S. Place) ‘Comparing notes: interactive translating’, ‘The Teaching of Translation’, UEA Papers in Linguistics, 31-32: 77-86.

  41. 1990. ‘Other voices: in defence of feminist literary criticism’, French Studies Bulletin 37: 13-15.

  42. 1990. ‘Breton’s vertical labyrinth: towards a psycho-semiosis’, Romanic Review 82(4): 454-65.

  43. 1990. ‘Truffaut’s Vivement Dimanche ! (1983), or, how to take away with one hand what you give with the other’, Modern & Contemporary France 43: 37-46

  44. 1990. ‘Sexuality in Swann in Love’, in French Cultural Studies 1: 247-56.

  45. 1990. (with G.E. Hare) ‘Working in the permanent revolution: business and administrative French as a complement to a communicatively based core language course’, Association for French Language Studies Newsletter 26: 19-22.

  46. 1990. ‘Ad libbing ! using advertisements as part of a French business course’, Language Learning 1: 83-85.

  47. 1989. ‘A womb of one’s own: the metaphor of the womb-room as a reading-effect in texts by contemporary French women writers’, Paragraph 12(3): 197-213.

  48. 1989. ‘René Daumal and the pataphysics of liberation’, Neophilologus 73(4): 532-40.

  49. 1989. ‘Salon terrorism and the recycling of intellectual commodities: the case of Le Grand Jeu and Surrealism’, ‘Surrealism’, La Chouette 22: 53-62.

  50. 1988. ‘Marketing History: Swann in Love’, Film Criticism 12(3): 33-45.

  51. 1988. ‘Automatic Writing: Breton, Daumal, Hegel’, French Studies 42(2): 177-93.

  52. 1986. ‘Crossing the divide: language/culture integration’, Association for French Language Studies Newsletter 15: 20-33.

  53. 1986. ‘The Twentieth Century, from 1945, in The Year’s Work in Modern Language Studies 48: 260-81.

Chapters in books

  1. (2017). ‘Staging death in Carmen’, in Classical French Literature on Screen, edited by Homer B. Pettey and R. Barton Palmer, Manchester: Manchester University Press, TBC.

  2. 2016. ‘La chanson-cristal’, in La chanson dans le film français et francophone depuis la Nouvelle Vague, edited by Renaud Lagabrielle and Timo Obergöker, Würzburg: Königshausen & Neumann, 65–84.

  3. 2014. ‘Soundscapes of loss: songs in contemporary French cinema’, A Companion to Contemporary French Film, edited by Raphaëlle Moine, Hilary Radner and Alistair Fox, with Michel Marie, Chichester: Wiley-Blackwell, 527-546.

  4. 2014. ‘Les chansons préexistantes dans le cinéma français’, in Musiques de films: nouveaux enjeux, edited by Séverine Abhervé, N.T.Binh, José Mouré, Paris: Les Impressions Nouvelles, 46-59.

  5. 2013. ‘The ecstatic pan’, in A Companion to François Truffaut, edited by Dudley Andrew and Anne Gillain, Chichester: Wiley-Blackwell, 184-204.

  6. 2011. (with Keith Reader) ‘Teaching and research in French cinema’, French Studies in and for the Twenty-first Century, edited by Philippe Lane and Michael Worton, Liverpool: Liverpool University Press, 171-83.

  7. 2010. ‘Four decades of teaching and research in French cinema’, in Studies in French Cinema: UK Perspectives 1985-2010, edited by Will Higbee and Sarah Leahy. Bristol: Intellect Press, 353-71.

  8. 2010. ‘Unfamiliar places: “heterospection” and recent French films on children’, in Studies in French Cinema: UK Perspectives 1985-2010, edited by Will Higbee and Sarah Leahy. Bristol: Intellect Press, 57-68.

  9. 2010. (with Eric Rebillard) ‘Josephine Baker and Pierre Batcheff in La Sirène des tropiques (1927)’, in Not So Silent: Women in Cinema Before Sound, edited by Sofia Bull and Astrid Söderbergh Widding. Stockholm: Stockholm University Press (Acta Universitatis Stockholmiensis, series ‘Stockholm Studies in Film History’), 236-47.

  10. 2009. ‘Le gender et la musique dans les fictions patrimoniales depuis les années 1980’, in Les Fictions patrimoniales sur grand et petit écran: contours et enjeux d'un genre intermédiatique, edited by Pierre Beylot and Raphaëlle Moine, Presses Universitaires de Bordeaux, 123-37.

  11. 2008. (with Eric Rebillard) ‘Marcel L’Herbier au carrefour des avant-gardes: Feu Mathias Pascal et le dédoublement’, in Marcel L’Herbier: l’art du cinéma, edited by Laurent Véray. Paris: Association Française de Recherche sur l’Histoire du Cinéma, 79-90.

  12. 2007. ‘La musique dans le film historique contemporain’, in La Fiction éclatée, vol 2. Petits et grands écrans français et francophones: de l'esthétique à l'économie, edited by Jean-Pierre Bertin-Maghit and Geneviève Sellier, Paris: Institut National de l’Audiovisuel/L’Harmattan (‘Les médias en actes’), 205-14.

  13. 2007. ‘La famille (du cinéma) en désordre: Roudinesco and contemporary French cinema’, Affaires de famille: The Family in Contemporary French Culture and Theory, edited by Marie-Claire Barnet and Edward Welch (Amsterdam/New York, Rodopi, ‘Faux Titre’ 292), 283-307.

  14. 2007. ‘French neo-noir’, in European Film Noir: Transgression, Dissonance and Hybridity, edited by Andrew Spicer (Manchester University Press), 55-83.

  15. 2006. ‘Embodying the nation: Viviane Romance in Carmen (France, 1945, Christian-Jaque) and Rita Hayworth in The Loves of Carmen (USA, 1948, Charles Vidor)’, in Image into Identity: Constructing and Assigning Identity in a Culture of Modernity, edited by Michael Wintle (Amsterdam: Rodopi, ‘Studia Imagologica’), 223-36.

  16. 2006. ‘Outing the synch: music and space in the French heritage film’, European Film Music, edited by Miguel Mera and David Burnand (Aldershot: Ashgate), 86-99.

  17. 2006. ‘The Father with the movie camera: Cet été-là, Mouchette and the “force utérine de l’œil”’, Marie Cardinal: New Perspectives, edited by Emma Webb (Bern: Peter Lang), 31-52.

  18. 2005. ‘Space, the crowd and prostitution in Carmen (France, 1910)’, Revisiting Space: Space and Place in European Cinema, edited by Wendy Everett and Axel Goodbody (Bern: Peter Lang), 99-113.

  19. 2005. ‘"I’m only here for the beer": post-tourism and the recycling of French heritage films’, in The Media and the Tourist Imagination: Converging Cultures, edited by David Crouch, Felix Thompson and Rhona Jackson (London: Routledge), 143-53.

  20. 2005. ‘Blonde abjection: spectatorship and the abject anal-space-in-between’, in Pop Fiction: The Song in Cinema, edited by Matthew Caley and Steve Lannin (Exeter: Intellect), 99-119.

  21. 2005. ‘La communauté impossible, ou pourquoi le film musical français se fait rare’, Les Genres du cinéma français, edited by Raphaëlle Moine (Paris: Association Française de Recherche sur le Cinéma), 213-22.

  22. 2004. (with Eric Rebillard) ‘Sauvage et mignon: a star study of Pierre Batcheff’, in Buñuel, siglo XXI, edited by I. Santaolalla et al. (Zaragoza: Institución Fernando el Católico/Prensas Universitarias de Zaragoza), 413-18. Supported by the British Academy.

  23. 2003. ‘La Roue/The Wheel (1923)’ and ‘Le Dernier combat/The Last Battle (1983)’, in The 1,001 Films You Must See Before You Die (London: Quintet), 50 & 698.

  24. 2003. ‘Cinema’, in French Popular Culture: An Introduction, edited by Hugh Dauncey (London: Arnold), 119-34.

  25. 2003. ‘The Sting in the tale’, Popular Music and Film, edited by Ian Inglis (London: Wallflower Press), 39-59.

  26. 2003. ‘The disintegration of community: a brief history of popular music in French cinema 1945-present’, in Popular Music in France from Chanson to Techno: Culture, Identity and Society, edited by Hugh Dauncey and Steve Cannon (Aldershot: Ashgate), 97-122.

  27. 2002. ‘Jean-Jacques Beineix’, in Fifty Contemporary Film-Makers, edited by Y Tasker, (London: Routledge), 33-41.

  28. 2001. ‘The god, the king, the fool and ØØ: the oedipal trajectory in the films of Beineix’, Gender in the French Cinema, edited by A Hughes & J Williams (Oxford: Berg), 195-208.

  29. 2001. ‘Marius et Jeannette: nostalgia and utopia’, France on Film: Reflections on Popular French Cinema, edited by L. Mazdon (London: Wallflower Press), 133-44.

  30. 2000. ‘On the threshold between past and present: “alternative heritage”’, British Cinema: Past and Present, edited by Andrew Higson & Justine Ashby (London: Routledge), 316-26.

  31. 2000. ‘The “family portrait”: trauma and the punctum in Distant Voices, Still Lives, in The Seeing Century: Film, Vision, and Identity, edited by Wendy Everett (Amsterdam: Rodopi), 20-35.

  32. 1998. Contributions on French cinema for Encyclopaedia of Contemporary French Culture (London/New York: Routledge, editors Alex Hughes & Keith Reader): Adjani (3), Ardant (26), Auteuil (38), Balasko (45), Baye (53), Béart (54-55), Belmondo (61), Berri (63), Binoche (71), Birkin (71-72), Blier (72), Bohringer (73), Bonnaire (74), Brialy (81), Chabrol (96), Delon (147), Depardieu (151), Huppert (288), Marceau (355-56), Miou-Miou (374-75), Pialat (424), Poiré (432), Rappeneau (454), Stars (507-8), Tati (515-16), Tavernier (516).

  33. 1996. ‘The surrealist poème-objet’, in Silvano Levy (ed.), Surrealism: Surrealist Visuality (Keele University Press), pp.57-77.

  34. 1993. ‘Interpreting from a video source: teaching and evaluation’, in Integrating New Approaches: The Teaching of French in Higher Education (London: AFLS/CILT), 79-94.

  35. 1992. ( with G. E. Hare) ‘Developing transferable personal skills in a business studies option of a French undergraduate degree’, in French and the Enterprise Path: Developing Transferable and Professional Skills (London: CILT), 63-80.

  36. 1990. ‘Myth versus allegory: the problematisation of narrative in Chantal Chawaf’s Le Soleil et la terre’, in The Body and the Text: Hélène Cixous, Reading and Teaching, edited by Helen Wilcox, Keith McWatters, Ann Thompson, Linda Williams (New York/London/Toronto/ Sydney/ Tokyo/ Singapore: Harvester/ Wheatsheaf), 78-86.

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