French & Francophone Cinema SIG:

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 General Editors 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 for the essays published in the previous year.


Previous awards:

  • 2020, Alice Pember (Queen Mary University of London) for ‘Visions of ecstasy': resilience and melancholy in the musical moments of Bande de filles (Céline Sciamma, 2014)'.

  • 2019, joint-winners: Calum Watt (King’s College London, UK), for ‘Money is a public good’: Godard’s Film Socialisme (2010) and Bernard Maris’, published in volume 19, no 1; Mackenzie Leadston (Ohio State University, USA), for ‘Happily never after: the visual politics of contemporary French interracial romantic comedy’, published in volume 19, no 4.

  • 2018, Emilija Talijan (Cambridge, UK), for ‘“Les petits bruits”: little noises and lower volumes in Catherine Breillat’s Romance (1999) and Anatomie de l’enfer (2004)’, published in volume 18, no 4.

  • 2017Tom Cuthbertson (Oxford, UK), for ‘In/Out: fictionalising autobiography in Vincent Dieutre’s Jaurès (2012)’, published in volume 17, number 3.

  • 2016, joint-winners: Jiewon Baek (Covenant College, USA), for ‘Turning toward the Other the face of humans the face of things and the face of language in the documentaries of Sylvain George’, published in volume 16 number 1; Milosz Paul Rosinski (Cambridge, UK), for ‘Touching Nancy’s ethics death in Michael Haneke’s Amour’, published in volume 15, no 2.

  • 2015, Albertine Fox (Royal Holloway, UK), for ‘Constructing voices in Jean-Luc Godard’s Sauve qui peut (la vie) (1979)’, published in volume 14, no 1.

  • 2014, Mary Harrod (King’s College London, UK), for ‘Sweet Nothings? Imagining the Inexpressible in Contemporary French Romantic Comedy’, published in volume 13, no 2.

  • 2013, Mary Harrod (King’s College London, UK), for ‘Linguistic difference as ontological sameness in Bienvenue chez les Ch’tis’, published in volume 12, no 1.

  • 2012, Jennifer Porst (UCLA, USA), for ‘The Influence of Sound on Visual Style in Renoir’s Tire au flanc and La Chienne’, published in volume 11, no 3.

  • 2010, Davina Quinlivan (King’s College London, UK), for ‘Material Hauntings: The Kinaesthesia of Sound in Innocence (Hadzihalilovic, 2004)’, published in volume 9, no 3.3.