Holocaust Intersections: Genocide and Visual Culture at the New Millennium
Edited by Axel Bangert, Robert S. C. Gordon and Libby Saxton
Moving Image 425 September 2013

  • ‘The 'millennium' of this book's title stands for the reconstitution of Europe since the end of the Cold War - one effect of which has been an enhanced knowledge of the Holocaust based on archives in the former Eastern Bloc - and for the rise of digital media during the same period.’ — Henry K. Miller, Sight & Sound April 2014, 106

Postcolonial studies

Africa's Lost Classics: New Histories of African Cinema
Edited by Lizelle Bisschoff and David Murphy
Moving Image 51 November 2014

  • ‘This is a well-written book that draws attention to those African films and filmmakers that have suffered most from a lack of distribution. Its mission, to renew scholarly and popular interest in African cinema, makes it an invaluable addition to the field of film studies.’ — unsigned notice, Forum for Modern Language Studies 51.3, July 2015
  • ‘Much of the work of this volume is archaeological, seeking to surpass extant Anglophone knowledge of African film and its premises. Since the emergence of African film criticism in the late 1980s/early 1990s... ‘African cinema’ seemed to refer to sub-Saharan, Francophone film, leaving us the impression that it was born in 1962 with Ousmane Sembène’s Borom Sarret. These essays dispel that misprision.’ — Victoria S. Steinberg, French Review 89.3, 2016, 15

Agnès Varda (1928-), French director/artist

Agnès Varda Unlimited: Image, Music, Media
Edited by Marie-Claire Barnet
Moving Image 613 February 2017

  • ‘The essays in this important and richly illustrated volume edited by Marie-Claire Barnet focus on the film, installation art, photography, and use of music by the multi-faceted and creative soon-to-be nonagenarian, Agnès Varda... An inspiring and valuable volume.’ — Dervila Cooke, H-France 18, March 2018, no. 51
  • ‘A wide-angle approach highlighting not only Varda’s move towards art installations in the past decades, but also the influence of various creative forms, some of them non-visual – including photography, sculpture, music, architecture, poetry, and even video gaming – on her earlier works. Contributions span an incredibly broad range of artistic and critical perspectives... Inspires the reader to (re-)discover Varda’s work and its ‘unlimited’ potential: not only in that her work resists labels, but also because her imagination and artistic legacy seem to be boundless.’ — Elise Hugueny-Léger, Modern and Contemporary France 26.1, 2018, 99-100 (full text online)
  • ‘The book’s subtitle suggests that it will give attention to the frequently overlooked music employed in (and often written for) Varda’s films, and here it does not disappoint, with Phil Powrie’s essay offering an excellently informed, disciplined, and particularly well-illustrated investigation of L’Une chante, l’autre pas as the ‘feminist musical’ Varda has claimed it to be, and Hannah Mowat’s brilliantly entitled ‘Lara Croft dans un champ de patates: A Ludomusicological Approach to Agnès Varda’ drawing on ‘the emerging discipline of ludomusicology: a field in which soundscape is inseparable from the act of gameplay’. That Mowat’s essay is the single most stimulating contribution to the volume... says much not just about the consistently high quality of its contents, but also about the remarkably enduring spirit of playfulness and invention that has characterized Varda’s entire career, and with which she continues to engage and entertain us.’ — Kate Ince, Modern Language Review 113.3, July 2018, 663-64 (full text online)
  • ‘The authors all speak with palpable enthusiasm about their subjects, making the book thoroughly enjoyable and engaging.’ — unsigned notice, Forum for Modern Language Studies 54.3, July 2018, 371
  • ‘Any student of Varda’s work will find something indispensable in this collection, which enhances, but in no way exhausts, the growing body of research celebrating the variety, the challenge, and the inclusive playfulness of one of France’s greatest artists.’ — Alison Smith, French Studies 72.3, July 2018, 482-83
  • ‘Une contribution riche et éclairante pour celles et ceux qui étudient l’oeuvre de Varda.’ — François Giraud, H-France 19, January 2019, no. 19

Chantal Akerman (1950-2015), Belgian film-maker

Chantal Akerman: Afterlives
Edited by Marion Schmid and Emma Wilson
Moving Image 923 April 2019

  • ‘What I like in Schmid and Wilson’s book is the breadth of content it offers. It is not a book about the “usual” subjects we speak about in the context of Akerman’s cinema. There is work on the director’s installations; there is work on, yes, ageing and smoking; there is work on what Albertine Fox calls “vocal landscapes”; and there is also work on Akerman’s use of light in Cyril Béghin’s excellent chapter Light out of Joint.’ — Nadin Mai, The Art(s) of Slow Cinema 5 July 2019
  • ‘Afterlives is an array of incredibly rich, beautiful, creative, and often deeply emotional responses to filmmaker, writer and artist Chantal Akerman's later works, looking with much needed detail attention to the final two decades of Akerman's creative output.’ — Ros Murray, Modern and Contemporary France 28.1, 2019, 175-76 (full text online)
  • ‘Together these essays resonate as similar tropes, films, and installations recur in new configurations. It is a testament to the artist, and to the editors, that new thought continues to illuminate Akerman’s oeuvre.’ — Ivone Margulies, H-France 20, May 2018, no. 66
  • ‘The diverse theoretical frameworks utilized in the essays allow for interdisciplinary discussions of Akerman’s oeuvre and propose new approaches for film studies. Elegantly written, this publication will interest scholars of European cinema, documentaries, multimedia art, cinematic adaptations of nineteenth-century literature, cultural memory, and the Holocaust.’ — Tessa Nunn, French Review 94.4, May 2021, 274-75 (full text online)