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  • About
    • Advisory Board
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    • In Memoriam >
      • Brian Winston (1941-2022)
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      • Join / renew
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        • Outstanding Achievement Award
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    • Conference and Awards Archive, 2013-21
  • Responses
    • Response to possibile compulsory redundancies at UEA, March 2023
    • Response to Falmouth University re. Falmouth Staffing Ltd (FSL), November 2022
    • Response to Job Cuts at Birkbeck, November 2022
    • Future Research Assessment Programme 2022 (FRAP)
    • Joint MeCCSA and BAFTSS letter regarding Film Studies at Queen Mary, University of London
    • OfS Consultation
    • Research Excellence Framework 2021 >
      • Nominating panel members for REF 2021
      • Response to REF 2021 Consultation (March 2017)
    • Screening Complete Audiovisual Works in the Age of Covid-19
  • SIGs
    • Adaptations
    • Amateur Cinema
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    • Archives and Archival Methods
    • British Cinema and Television
    • Colour and Film
    • Documentary
    • East Asian Screen Cultures
    • Essay Film
    • Euro-Bollywood
    • Film and Philosophy
    • Film/Making Education
    • French and Francophone Cinema
    • German Screen Studies
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    • LGBTQIA+ Screen Studies
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    • Conference / Awards 2023 >
      • Awards 2023 >
        • Outstanding Achievement Award
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        • Practice Awards 2023
        • Publication Awards 2023
    • Conference and Awards Archive, 2013-21
  • Responses
    • Response to possibile compulsory redundancies at UEA, March 2023
    • Response to Falmouth University re. Falmouth Staffing Ltd (FSL), November 2022
    • Response to Job Cuts at Birkbeck, November 2022
    • Future Research Assessment Programme 2022 (FRAP)
    • Joint MeCCSA and BAFTSS letter regarding Film Studies at Queen Mary, University of London
    • OfS Consultation
    • Research Excellence Framework 2021 >
      • Nominating panel members for REF 2021
      • Response to REF 2021 Consultation (March 2017)
    • Screening Complete Audiovisual Works in the Age of Covid-19
  • SIGs
    • Adaptations
    • Amateur Cinema
    • Animation
    • Archives and Archival Methods
    • British Cinema and Television
    • Colour and Film
    • Documentary
    • East Asian Screen Cultures
    • Essay Film
    • Euro-Bollywood
    • Film and Philosophy
    • Film/Making Education
    • French and Francophone Cinema
    • German Screen Studies
    • Horror Studies
    • LGBTQIA+ Screen Studies
    • Media and the Environment
    • Performance and Stardom
    • Practice Research
    • Psychoanalysis and Film
    • Science Fiction and Fantasy
    • Screen Industries
    • Screening Sex
    • Transnational Screens
    • Convenor Resources
  • Postgrads / ECRs
    • Early Career Mentoring Scheme
    • New Connections >
      • Call for proposals
    • Postgraduate Network >
      • PGR Network Website

Special interest group:
French and Francophone Cinema

Convenors:  
  • Kate Ince (University of Birmingham)
  • Ginette Vincendeau (Kings College London)
Social media
  • SIG Facebook Group.

Overview

French and Francophone cinema, and increasingly television series, continue to hold an important place on university syllabuses as well as in screen studies research – whether dedicated to their own history and personnel or within transversal historical and theoretical concerns: national, transnational and post-national studies, authorship, ‘extreme’ cinema, stardom, animation, film and philosophy, etc. The French and Francophone Cinema SIG brings together an international group of scholars and graduate students working in a wide range of areas within the field. 

In addition to research, teaching and organising a range of scholarly activities, the SIG is devoted to facilitating access to French and Francophone cinema beyond academia. In this respect, members’ activities range from collaborations with cultural venues such as the BFI and Ciné-Lumière in South Kensington, London, reviewing French and Francophone films and collaborating with English-speaking and French-speaking media. 

This SIG is partnered by the only journal world-wide devoted entirely to French and Francophone audio-visual media, French Screen Studies (formerly Studies in French Cinema). Launched in 2000, the journal is committed to a broad range of approaches: aesthetic, theoretical, political and cultural and since 2020 has widened its remit to television and viewing platforms. It promotes an equal balance between auteur and popular cinema, a strong focus on gender and sexuality as well as on racial and ethnic diversity, both in terms of the topics considered and the range of writers, and it actively encourages the publication of work by graduate students.

French Screen Studies: ​The Susan Hayward Prize

Since 2010, the Susan Hayward Prize (named after the founder of the journal) has been awarded annually by the Editorial Board for the best article published in the journal in the previous year by an author who was registered as a Doctoral candidate at the time of submission. From this year, the Prize consists of a £200 award. Results are announced in the Spring/Summer for the essays published in the previous year.

Browse French Screen Studies here. 

Reports on activities

SIG Report:
  • French and Francophone SIG Report 2019
Other:
  • Girlhood and Contemporary French Studies Symposium (KCL), 8 February 2020

Founding members

  • ​​Lia Brozgal (UCLA)
  • Geoff Brown (Birkbeck University)
  • Sarah Cooper (King’s College, London)
  • Julia Dobson (University of Sheffield)
  • Annabelle Doherty (Australian National University)​
  • Audrey Evrard (Fordham University)
  • Margaret C. Flinn (Ohio State University)​
  • Maria Flood (University of Liverpool)
  • Sue Harris (Queen Mary University of London)​
  • Mary Harrod (University of Warwick) 
  • Will Higbee (University of Exeter)
  • Lynn Higgins (Dartmouth College)​
  • Kierran Horner (King’s College, London)​
  • Sarah Leahy (Newcastle University)
  • Ally Lee (University of Warwick)
  • Nikolaj Lübecker (Oxford University)​
  • Andrew McGregor (University of Melbourne)​
  • Lucy Mazdon (University of Southampton)​
  • Elizabeth Miller (King’s College London)​
  • Barry Nevin (Dublin Institute of Technology)
  • Jules O’Dwyer (Cambridge University)​
  • David Pettersen (University of Pittsburgh)​
  • Alastair Phillips (University of Warwick)​
  • Phil Powrie (University of Surrey)
  • Daniela Ricci (Université Paris Ouest-Nanterre La Défense)​
  • Alison Smith (University of Liverpool)
  • Muriel Tinel-Temple (Birkbeck and Roehampton)​
  • Dominic Topp (University of Kent)
  • Ginette Vincendeau (King's College, London) ​
  • ​Catherine Wheatley (King’s College, London), ​
  • Leïla Wimmer (London Metropolitan University)
  • Mike Witt (University of Roehampton)

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