[Commlist] French Screen Studies latest issue published

We are delighted to announce publication of the latest issue of 
<https://www.tandfonline.com/toc/rsfc21/current>/French Screen Studies 
<https://www.tandfonline.com/toc/rsfc21/current>/, 25.iv 
<https://www.tandfonline.com/toc/rsfc21/current>. Details of and links 
to individual articles appear below.

We also congratulate Bram Van Beek, whose article _Beyond the split: 
re-imagining ‘Belgitude’ in contemporary Belgian cinema 
<https://www.tandfonline.com/doi/full/10.1080/26438941.2023.2240610>_ has 
been awarded the journal’s Susan Hayward Prize for the Best Essay by a 
PhD student published 2023-2025.

The judges said: ‘An incisive and extremely well-informed study of the 
intranational in contemporary Belgian cinema’, ‘really excellent in 
pretty much every way’ and ‘It is grounded in a very assured knowledge 
of a current and historical Belgian cultural and cinematic contexts and 
the literature relating to them as well as other relevant literature […] 
duly attentive to production contexts but doesn’t lose sight of textual 
elements. It is able to use statistics tellingly to contextualise its 
more specific claims. Its examples are well chosen [and it] shows a 
sensitivity to the importance of location in the discussion of Brussels 
and its specific place both socio-linguistically and cinematically. The 
discussion of how minority ethnic belonging troubles and potentially 
transcends the more familiar Flemish-Francophone divide is fascinating. 
The argument is handled with great command and clarity.’

With thanks to all our authors and also our college of General Editors 
<https://www.tandfonline.com/journals/rsfc21/about-this-journal#editorial-board> for 
their much appreciated judging work.


Co-Chief General Editors, /French Screen Studies/
Mary Harrod and Ginette Vincendeau


_
/_French Screen Studies 
<https://www.tandfonline.com/toc/rsfc21/current>_/_, 25.iv 
<https://www.tandfonline.com/toc/rsfc21/current>_
_Research articles_
Schmid, M. (2024). Rediscovering Guy Gilles, pioneer of queer. /French 
Screen Studies/, 1–19. _https://doi.org/10.1080/26438941.2023.2283985 
<https://doi.org/10.1080/26438941.2023.2283985>_
Scatton-Tessier, M. (2024). The Tarot’s Tower in Agnès Varda’s /Cléo de 
5 à 7/. /French Screen Studies/, 1–19. 
_https://doi.org/10.1080/26438941.2024.2347122 
<https://doi.org/10.1080/26438941.2024.2347122>_
Austin, T. (2023). Connections / disconnections: on Alice Diop’s /Nous/. 
/French Screen Studies/, 1–14. 
_https://doi.org/10.1080/26438941.2023.2283984 
<https://doi.org/10.1080/26438941.2023.2283984>_
McMahon, L. (2024). A poetics of opacity: disability, race and gender in 
Khady Sylla’s /Une fenêtre ouverte/. /French Screen Studies/, 1–20. 
_https://doi.org/10.1080/26438941.2024.2348888 
<https://doi.org/10.1080/26438941.2024.2348888>_
Hodges, E. (2024). Oceanic feeling in Mati Diop’s /Atlantique/. /French 
Screen Studies/, 1–18. _https://doi.org/10.1080/26438941.2024.2343557 
<https://doi.org/10.1080/26438941.2024.2343557>_
_Review articles: _
Miller, E. (2024). Reassessing the French film industry, past and 
present. /French Screen Studies/, 1–6. 
_https://doi.org/10.1080/26438941.2023.2291910 
<https://doi.org/10.1080/26438941.2023.2291910>_
Robinson, F., & Savage, Z. (2024). Fragmented but not dead: auteurism 
lives on. /French Screen Studies/, 1–6. 
_https://doi.org/10.1080/26438941.2023.2291899 
<https://doi.org/10.1080/26438941.2023.2291899>_

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