Jacques Audiard (Manchester University Press, 2021)

Fragile yet powerful, masculine yet transgressive, Jacques Audiard’s films portray disabled, marginalised or otherwise non-normative bodies in constant states of crisis and transformation. Jacques Audiard is the first book on the cinema of one of the most important French directors working today. It studies Audiard’s screenwriting background, his collaborative practices and his use of genre motifs alongside his reputation as a celebrated French auteur. Using the motif of border-crossing – both physical and symbolic – the book explores how Audiard’s films construct and transcend boundaries of many forms. Focusing on the representation of the physical body, French society and broader transnational contexts, it reveals how Audiard’s cinema occupies a space both within and beyond the imaginary of French cinema.

Decentring France: Multilingualism and power in contemporary French cinema (Manchester University Press, 2017). Published in hardback and paperback.

In a world defined by the flow of people, goods, and cultures, many contemporary French films explore the multicultural nature of today’s France through language. From rival lingua francas such as English to socio-politically marginalised languages such as Arabic or Kurdish, characters in these films exploit their knowledge of multiple languages, and offer counter-perspectives to dominant ideologies on linguistic diversity in society. Decentring France is the first substantial study of multilingual film in France. Unpacking the power dynamics at play in the dialogue of eight emblematic films, this book argues that many contemporary French films take a new approach to language and power, showing how even the most historically-maligned languages can empower speakers.

Journal articles:

“The boundary has been moved”: Hollywood cinéma-monde, film borders and the multilingual assassin in Sicario and Inglourious Basterds’, Contemporary French Civilization, 46:3, 47-65, 2022.

Cinéma-monde, Jacques Audiard’s Les Frères Sisters and the limits of national cinemas’, French Screen Studies, 22:4, 2021.

Translingualism and ‘Passing’ in Samba: On Fantasies of Migrant Identity in Contemporary France’, L’Esprit Créateur, 59:4, 2019, 84-108.

Multiculturalism obscured: Paris museum cultures and the Institut du monde arabe’, Australian Journal of French Studies, 56:2, 2019, 156-169.

With L. Barnes and A. Collins, ‘Introduction: truth and representation in French and Francophone studies’, Australian Journal of French Studies, 56:2, 2019, 117-124.

In Spike Lee’s BlacKkKlansman, language is power’, The Conversation, September 10 2018.

No laughing matter? Navigating political (in)correctness in Intouchables’, Francosphères, 6:1, 2018, pp. 1-14.

Contemporary French cinema and the langue de passage: from Dheepan to Welcome’, French Cultural Studies, 29:1, 2018, pp. 39-48.

With N. Edwards and C. Hogarth, ‘Introduction: mobility across media in the Francophone world’, French Cultural Studies, 29:1, 2018, pp. 3-7.

En français, s’il te plaît: the linguistic battlegrounds of Entre les murs (Laurent Cantet)’, Contemporary French Civilization, 42:1, 2017, pp. 31-46.

Code-switching as power strategy: multilingualism and the role of Arabic in Maïwenn’s Polisse’, The Australian Journal of French Studies, 52:2, 2015, pp. 162-73.

The power of the treacherous interpreter: multilingualism in Jacques Audiard’s Un prophète’, Linguistica Antverpiensia, 2014, pp. 78-92.

Book chapters:

Multilingual pilgrimages: language and trans-Mediterranean cultural identity in Ismaël Ferroukhi’s Le Grand Voyage’, Eds. Claire Launchbury and Megan MacDonald, Urban Bridges, Global Capital(s): Trans-Mediterranean Francosphères, Liverpool: Liverpool University Press, 2021, 191-212.

The Door of No Return: A Cinema of (Up)rooting and Decentring in Rachid Bouchareb’s Little Senegal’, Eds. Michael Gott and Leslie Kealhofer-Kemp, ReFocus: The Films of Rachid Bouchareb. Edinburgh: Edinburgh University Press, 2020, 166-180.

Le Métro-maison et l’art de la transmédiation dans L’Ecume des jours : de Vian à Gondry’, Eds. Benjamin Andréo, Alistair Rolls, Clara Sitbon and Marie-Laure Vuaille-Barcan, Boris Vian, adaptateur adapté, Paris: Editions Hermann, 2020, 69-88.

Denis Villeneuve’s multilingual cinema: Decentring space, time and language in Arrival’, Gala Rebane and Ralf Junkerjurgen (eds), Multilingualism in Film, Oxford: Peter Lang, 2019, 209-24.

Merry Christmas in no man’s land: European borders, language barriers and front lines in Christian Carion’s Joyeux Noël’, M. Gott and T. Schilt (eds), Cinéma-monde: Decentred Perspectives on Global Filmmaking in French, Edinburgh: Edinburgh University Press, 2018, pp. 175-191.

Langues désancrées: le rôle du français dans London River’, T. Do, V. Duché and A. Rizzi (eds). Genre, Text and Language: Mélanges Anne Freadman, Paris: Librairies Garnier, 2016, pp. 317-26.

Decentring France: multilingualism and the French language in Welcome’, M. Abecassis and G. Ledegan (eds). De la genèse de la langue à Internet, Oxford: Peter Lang, 2015, pp. 221-42.

Public Writing

With Leslie Barnes, ‘How Peer-to-peer Learning Can Improve Your Teaching’, Inside Higher Ed, April 14 2021.

In Spike Lee’s BlacKkKlansman, Language is Power’, The Conversation, September 10 2018.


Achille, Etienne, Forsdick, Charles and Lydie Moudileno. Postcolonial Realms of Memory: Sites and Symbols in Modern France. Liverpool University Press, 2020’, Contemporary French Civilization, 46:1, 2021, 103-5.

With Felicity Chaplin, ‘French Studies: Film Studies’, The Year’s Work in Modern Language Studies, 80:1, 2020, 261-271.