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This article describes the advantages of teaching Agnès Varda’s early short film L’Opéra-Mouffe, known in English as Diary of a Pregnant Woman, in an introductory course on film form. This award-winning, sixteen-minute film offers a compelling demonstration of the core characteristics of the essay film, along with readily teachable examples of visual metaphor, cinematography, sound, and editing. Its cultural and auteurist contexts can also complement a variety of curricular topics, including the French New Wave and Left Bank creators, post-war France, and feminist filmmaking. Finally, its focus on Varda’s personal experience of pregnancy also makes L’Opéra-Mouffe an ideal vehicle to introduce radical feminist pedagogies that recognize and value personal experience as a valid way of knowing about the world.

This introduction to the dossier on Teaching Women’s Filmmaking contextualizes the contributions among recent work that examines classroom praxis and relevant innovations in film and media studies scholarship, such as videographic criticism and online publication. It considers three key components of building a course—what to study, how to run a classroom, and how to implement assessments—and discusses each area according to critical feminist pedagogies.

This essay highlights the shared critical terrain of adaptation and nostalgia: how they critically juxtapose the past with the present, and how they underscore the impossibility of return while also relying on prior experience. It also explores nostalgia’s effect on personal responses to adaptations and its interaction with textual form. Drawing from various areas of literary, media, and performance studies, including film adaptations of children’s literature, Watchmen and its screen adaptations, and Disney’s live-action remakes, this essay underscores how both nostalgia and adaptation are inherently multivalent concepts, and how they each rely on perspective to generate critical meaning.

Cem Yılmaz has become nearly synonymous with Turkish comedy through comedies like Arif V 216 (2018). Taking this film as its focus, this article situates Yılmaz among his competitors while tracing his roots in Turkish entertainment by discussing his relationship to mid-twentieth-century Yeşilçam and to the meddah storytelling tradition. ©, Copyright Taylor & Francis.

This article presents the story of a symposium dedicated to the life and legacy of Agnès Varda and its move online due to COVID-19, reflecting on this process and its implications for future scholarship. Based on this experience, and using Varda's own late-career digital transition as a model, the author interrogates the potential for online platforms to serve as a kind of scholarly postcard that offers accessible and more sustainable practices for sharing research and building more resilient and inclusive academic communities.

Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.

After her passing in 2019, French director Agnes Varda left a pioneering, deeply personal oeuvre. Her connections and collaborations had always influenced her work: her marriage to Jacques Demy, her status as “mother” of the French New Wave, her co-directorship with artist JR. The personal reflections in her final documentaries, particularly The Beaches of Agnes (2008) and her final film Varda par Agnes (2019) invite new consideration of these sometimes friendly, sometimes fraught relationships between Varda and the men who made films around and alongside her. In undertaking this reconsideration, this essay poses broader questions about Varda’s legacy and examines what both film studies and popular cinephilia can learn from her singular, feminine approach to screen art.

Marjane Satrapi's Poulet aux prunes offers an intriguing example of self-adaptation from comics to live-action film. This essay will consider how the Franco-Iranian Satrapi, within her dual role as self-adapter and transnational filmmaker, uses intertextuality and remediation beyond her own source text in ways that pointedly expand the transnational resonance of her film. These narrative and aesthetic strategies also extend to the film's paratextual discourses, namely, the extras available on the French DVD release of the film. The book, film, and DVD paratexts related to Poulet aux prunes thus form the core of this discussion of self-adaptation and transnationality. © The Author 2014.

Chapter 10 Known for making movies about movies, writer-director Quentin Tarantino reached new heights of Oscar success with the intertextual war film Inglourious Basterds (2009) and the allusive representation of slavery in Django Unchained (2012). This chapter examines both films through the lens of industry recognition by looking at how the history of writing awards at the Academy indicates a shifting relationship to the kind of multi-sourced, cinema-focused adaptation that Tarantino undertakes. The categorization of Tarantino’s writing under ‘Original Screenplay’ shows how contemporary awards culture defines both adaptation and originality, while his success with awards voters has started new cycles of prestige and pushed industry focus away from conventional representations of war and white-centred representation of race relations.

The centennial of World War I has turned a great deal of scholarly attention to reframing that epochal moment in history. In French Cinema and the Great War, editors Marcelline Block and Barry Nevi...

$25.00 paper.This collection of thoughtfully curated, impeccably translated interviews with director Agnes Varda offers useful context for a cresting wave of renewed interest in her eclectic oeuvre...