This article focuses on the five-part miniseries, Chernobyl (2019), with its contaminated landscape that deals with a troubled, traumatic history. It takes inspiration from the work of Walter Benjamin and his concept of historical materialism, but principally draws on theoretical paradigms dealing with transcultural memory, to advance a discussion on memory work, (re)mediation of historical events

Published in French Screen Studies (Ahead of Print, 2024)

The long-running French detective series Engrenages/Spiral (2005–2020) anticipates and participates in the changing ecosystem of French TV, one that transnationalises and hybridises content in a gl...

This article considers the parallels that can be drawn between two characters portrayed by Sandrine Bonnaire at distinct junctures in her film career: Mona, a young homeless woman whose wanderings ...

The study is concerned with the possibility of reframing the visibility of migrants onscreen in Želimir Žilnik’s documentary films. It is claimed that Žilnik’s selected works such as the Kennedi tr...

Cet article revient sur le « réalisme psychologique » d’après-guerre à travers la collaboration artistique du scénariste Jacques Sigurd et du réalisateur Yves Allégret entre 1948 et 1952, en se foc...

This paper provides an exploration of the creative and ethical challenges that emerged from producing a 360-degree documentary demo, focusing on two Greek drag artists who live in Athens. It introd...

This article focuses on Juliette Binoche’s career during the past decade, a period running from her mid-forties to her mid-fifties, and suggests that her roles in this period can also be read as a ...

Published in Journal of Popular Film and Television (Ahead of Print, 2024)

Published in Journal of Popular Film and Television (Ahead of Print, 2024)

This article is based on a three-year-long content analysis of the use of reality TV content on the front pages of four popular video streaming services in Denmark: DRTV, TV 2 Play, Viaplay, and Netflix. The results give rare insights into front pages that are normally hidden behind logins but also longitudinal perspectives about the services’ changing curation practices. In particular, the two institutions

In 1998, Judy Singer coined the term neurodiversity to describe the variance in human neurology in a non-pathological way, countering the mainstream understanding of certain neurotypes as disordere...

Tsai Ming-liang’s I Don’t Want to Sleep Alone (2006) follows the life of a mattress as it traverses across the busy streets of Kuala Lumpur, Malaysia. This transient mattress brings together three ...

Agnès Varda’s Cléo de 5 à 7/Cléo from 5 to 7 begins with a divination session that launches a process by which the protagonist will shed her public persona in favour of an inner form of self-awaren...

Published in New Review of Film and Television Studies (Vol. 22, No. 2, 2024)

Published in New Review of Film and Television Studies (Vol. 22, No. 2, 2024)

Published in New Review of Film and Television Studies (Vol. 22, No. 2, 2024)

Published in New Review of Film and Television Studies (Vol. 22, No. 2, 2024)

Published in Studies in Documentary Film (Ahead of Print, 2024)

Une fenêtre ouverte/An Open Window (2005), a documentary by the Senegalese writer and filmmaker Khady Sylla, offers an intimate, unsettling portrait of the mental health difficulties suffered by bo...

Netflix has commissioned and released an increasing number of high-end international series that tap into the genres of science fiction, fantasy and horror. These follow one of two strategies: (1) local productions that engage with local folklore and myths, or (2) productions centred in the ‘West’, where international talent is brought in to create cosmopolitan ‘global’ TV events such as 1899 (2022)

In the recent boom of 1980s-set television period dramas, the Walkman appears again and again as a symbol of the decade. This article argues that the Walkman (or personal stereo) is not just a one-...

This essay argues that Steven Soderbergh’s 2009–2012 films – The Girlfriend Experience (2009), Haywire (2011) and Magic Mike (2012) – form a loose trilogy depicting the plight of the working class ...

Scenes as vivid in our cinematographic memory as Tara’s views in Gone with the Wind (Victor Fleming, 1939), the oppressive sewers in the final sequence of The Third Man (Carol Reed, 1949), the vist...

This article approaches first-person filmmaking as a potential home-making practice – a hometactic – that can actively negotiate reality to set forth new modes of belonging. With a focus on negotia...

The TV anthology series, which enjoyed significant popularity in the past but has been scarce amidst the dominance of episodic series and serials in the 2000s and early 2010s, seemed to experience ...

The ocean is a constant presence in Mati Diop’s award-winning film Atlantique/Atlantics (2019), a ghostly love story about the ongoing migration crisis set in Dakar, Senegal. A critical issue Diop ...

Up until the 19th century, the notion ‘medium’ described the natural elements – e.g. earth, water, fire, and air. John Durham Peters’ media philosophy (2015) demonstrates how contemporary technical...

Published in French Screen Studies (Vol. 24, No. 2, 2024)

Jacques Becker is well known as an auteur, one of the few French directors working in the post-war period who has been hailed as an ‘uncle’ of the New Wave (alongside Robert Bresson, Max Ophuls, Je...

SKAM (2015–2017) and its Flemish adaptation wtFOCK (2018–2021) use several digital platforms to provide viewers with content, enabling different types of audience engagement. By means of a social media analysis, this study investigates how producers utilise transmedia tools to enhance viewers’ involvement with the depicted storyline and how viewers interact with the provided content on LGBTQ issues

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Film-Philosophy, Volume 28, Issue 2, Page 153-180, June, 2024.

Published in French Screen Studies (Ahead of Print, 2024)

In the 1980s, the French documentary field opened up to a number of autobiographical practices which redrew the frontiers of the cinematic landscape. L’Heure exquise (‘The exquisite hour’) (René Al...

Anatole Litvak, a Russian Jew who began his career at Ufa in Berlin, was one of the German émigrés who settled in France after Hitler came to power. His case is little known, yet it is both singula...

This article explores both US and European streaming shows that feature a protagonist in scenes of queer youth sex, focusing on how the show treats and frames these scenes as constitutive of a broader representational narrative of queer youth sex(uality). By comparing US and European shows, I argue that queer pleasure supplants panic featured in each show by framing the scenes of queer youth sex as

La tétralogie « judiciaire » réalisée entre 1950 et 1955 par André Cayatte a apporté au réalisateur une notoriété paradoxale : reconnue par la presse et le public, la plupart des histoires du ciném...

Albeit a director scornfully dismissed by the Cahiers du cinéma’s ‘Young Turks’, writing in the 1950s, as part and parcel of the derided ‘cinéma de papa’, Henri Verneuil was, as this essay will sho...

This paper examines the anti-anthropocentric world-building in documentaries that employ aspeculative mode of inquiry and reckon with the ecological crisis. Dubbed speculative documentaries, they m...

Considering the implications of Netflix’s role as a content producer for cultural diversity in Europe, this methodological article investigates how to define and measure the locality of Netflix Originals. We employ a threefold methodological study based on industry data analysis, audience reception research, and content analysis. This replicable and scalable methodological design provides a solid analytical

This article investigates Jonathan Glazer’s 2013 film Under the Skin as it pertains to the ‘insectile’ or, in other words, to an entomological imagination. The insectile, I argue, is structured acc...

Published in New Review of Film and Television Studies (Vol. 22, No. 1, 2024)

Published in New Review of Film and Television Studies (Vol. 22, No. 1, 2024)