French Cinema Studies 1920s to the Present (SubStance, vol. 34, nº 3, 2005)

In publication continuously since 1971, SubStance is a major interdisciplinary journal with a reputation for excellence. It is an international nexus for discourses converging upon literature from a variety of fields, including philosophy, the social science, science, and the arts. Readers have come to expect the unexpected from SubStance, and to experience a sense of participating in the formulation of emerging theories.

VOLUME 34, NUMBER 3, 2005:

SPECIAL ISSUE:  French Cinema Studies 1920s to the Present

ARTICLES:

Cortade, Ludovic.
Lapidus, Roxanne, tr. : Le Cinéma du diable: Jean Epstein and the Ambiguities of Subversion

Watts, Philip, 1961- : Roland Barthes's Cold-War Cinema

Israel-Pelletier, Aimée : Godard, Rohmer, and Rancière's Phrase-Image

Flinn, Margaret C. : The Prescience of Élie Faure

Rio, Elena del. : Alchemies of Thought in Godard's Cinema: Deleuze and Merleau-Ponty

DiIorio, Sam : The Woodcutter's Gaze: Luc Moullet and Cahiers du Cinéma

Conley, Tom :  Cinema and its Discontents: Jacques Rancière and Film Theory

Schwartz, Louis Georges : Typewriter: Free Indirect Discourse in Deleuze's Cinema

REVIEWS:

Kendall, Stuart : Pierre Guyotat: Essai Biographique (review)

Porter, Laurence M., 1936- : International Encyclopedia of Linguistics (review)

Consenstein, Peter : Jacques Roubaud: l'amour du nombre (review)