Decentring France: Multilingualism and power in contemporary French cinema (Manchester University Press, 2017). Available 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, multilingual characters in these films exploit their knowledge of multiple languages, and offer counter-perspectives to dominant ideologies of the role of 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. This book offers a unique insight to academics and students alike, into the place of language and power in French cinema today.
Jacques Audiard (Manchester University Press, in press)
This volume of the popular French Film Directors series is the first book-length project on Jacques Audiard and uses the motif of border-crossing to analyse his oeuvre. Spanning traditional French contexts and transnational spaces, exploring gender and disability alongside language and violence, it defines Audiard as a key figure in contemporary French cinema.
‘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.
‘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, 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.