At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today. Film, by reflecting philosophical concerns in the actions and choices of characters, continues and extends a tradition in which art exemplifies the understanding of existentialist philosophy. In a scholarly yet accessible style, the contributors exploit the rich interplay between Sartre's philosophy, plays and novels, and a number of contemporary films including No Country for Old Men, Lost in Translation and The Truman Show, with film-makers including the Dardenne brothers, Michael Haneke, and Mike Leigh. This volume will be of interest to students who are coming to Sartre's work for the first time and to those who would like to read films within an existentialist perspective.

In this first edited collection in English on the Moroccan author, Abdellah Taia's Queer Migrations frames the distinctiveness of his migration by considering current scholarship in French and Francophone studies, post-colonial studies, affect theory, queer theory, and language and sexuality. In contrast to critics that consider Taia to immigrate and integrate successfully to France as a writer and intellectual, Provencher and Bouamer argue that the author's writing is replete with elements of constant migration, "comings and goings," cruel optimism, flexible accumulation of language over borders, transnational filiations, and new forms of belonging and memory making across time and space. At the same time, his constantly evolving identity emerges in many non-places, defined as liminal and border narrative spaces where unexpected and transgressive new forms of transgressive filial belonging emerge without completely shedding shame, mourning, or melancholy.

Simone de Beauvoir's work has not often been associated with film studies, which appears paradoxical when it is recognized that she was the first feminist thinker to inaugurate the concept of the gendered 'othering' gaze. This book is an attempt to redress this balance and reopen the dialogue between Beauvoir's writings and film studies. The authors analyse a range of films, from directors including Claire Denis, Michael Haneke, Lucille Hadzihalilovic, Sam Mendes, and Sally Potter, by drawing from Beauvoir's key works such as The Second Sex (1949), The Ethics of Ambiguity (1947) and Old Age (1970).

Published on the occasion of Sartre's Centenary, this book helps to understand the man behind the work, offering a psycho-social analysis of Jean-Paul Sartre with an emphasis on his masculinity. It sets out to contextualize Sartre in terms of his psycho-sexual formation and processes of self-constitution in view of his childhood. The main period under detailed study is 1905-1945, before Sartre became the Sartre. It concentrates on his early childhood, his teenage years in La Rochelle, the years at the Ecole Normale, and the first few years of his adulthood, with specific attention on the war years. An analysis of Sartre's relationships follows, with Simone de Beauvoir and other women and men (including love and sex), before a postscript covering the period 1973-1980. This essay is not a reductive account. It tells the story of Jean-Paul Sartre, from the inside out, so that the achievements of one of the major intellectuals of the 20th Century can be measured against his own internal struggles.

Simone de Beauvoir's work has not often been associated with film studies, which appears paradoxical when it is recognized that she was the first feminist thinker to inaugurate the concept of the gendered 'othering' gaze. This book is an attempt to redress this balance and reopen the dialogue between Beauvoir's writings and film studies. The authors analyse a range of films, from directors including Claire Denis, Michael Haneke, Lucille Hadzihalilovic, Sam Mendes, and Sally Potter, by drawing from Beauvoir's key works such as The Second Sex (1949), The Ethics of Ambiguity (1947) and Old Age (1970).

Published on the occasion of Sartre's Centenary, this book helps to understand the man behind the work, offering a psycho-social analysis of Jean-Paul Sartre with an emphasis on his masculinity. It sets out to contextualize Sartre in terms of his psycho-sexual formation and processes of self-constitution in view of his childhood. The main period under detailed study is 1905-1945, before Sartre became the Sartre. It concentrates on his early childhood, his teenage years in La Rochelle, the years at the Ecole Normale, and the first few years of his adulthood, with specific attention on the war years. An analysis of Sartre's relationships follows, with Simone de Beauvoir and other women and men (including love and sex), before a postscript covering the period 1973-1980. This essay is not a reductive account. It tells the story of Jean-Paul Sartre, from the inside out, so that the achievements of one of the major intellectuals of the 20th Century can be measured against his own internal struggles.

At the heart of this volume is the assertion that Sartrean existentialism, most prominent in the 1940s, particularly in France, is still relevant as a way of interpreting the world today. Film, by reflecting philosophical concerns in the actions and choices of characters, continues and extends a tradition in which art exemplifies the understanding of existentialist philosophy. In a scholarly yet accessible style, the contributors exploit the rich interplay between Sartre's philosophy, plays and novels, and a number of contemporary films including No Country for Old Men, Lost in Translation and The Truman Show, with film-makers including the Dardenne brothers, Michael Haneke, and Mike Leigh. This volume will be of interest to students who are coming to Sartre's work for the first time and to those who would like to read films within an existentialist perspective.

Drawing attention to the existence in France of an AIDS literature from 1985 to 1988, before AIDS became either a widly recognised genre or a culturally influential form of writing, this predominately critical literary study is informed by gender studies and psychoanalytic criticism in its readings of individual texts. Interwoven with contextual information, the book provides sympathetic readings of courageous writers who have been unfairly criticised, like Dreuilhe, or forgotten like Simonin, or like Aron, never properly understood.