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Dr Mary Harrod

Associate Professor

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Tel: +44 (0)24 765 23014

Email: M dot G dot M dot Harrod at warwick dot ac dot uk

Research

My primary research is in contemporary film and media history and theory and is tied together by a focus on cultural - especially gender - identity, notably in its relation to aesthetics and in popular and/or transnational modes.

After completing a BA in Modern Languages I worked for six years in film development and production, before writing a PhD thesis examining filmed romantic comedy's phenomenal recent proliferation in France from a cultural studies perspective, the monograph resulting from which was shortlisted for The British Association of Film, Television and Screen Studies' (BATSS) Best Monograph Prize. I concurrently co-edited a book examining the status of European cinema in today's increasingly globalised age.

More recently, alongside maintaining my expertise in cultural approaches to European audiovisual production, I have co-edited a volume looking at genre narratives authored by women in film and television globally that won the BAFTSS Best Edited Collection Prize (2019). Meanwhile, I have completed the related monograph Heightened Genre and Women's Filmmaking in Hollywood: the Rise of the Cine-fille.

In March 2018 I was awarded a British Academy Rising Star Engagement Award to fund a series of events on the theme of 'Imagining "We" in the Age of "I": Romance and Social Bonding in Contemporary Culture'. I have co-edited a forthcoming book for Routledge deriving from the project, with a trans-global and trans-media focus, with Diane Negra and Suzanne Leonard.

In April 2019 I was awarded an AHRC Networking Grant to be Principal Investigator on the project 'Producing the Post-National Popular: The Expanding Imagination of Mainstream French Films and Television Series', whose key intervention is to take French production as emblematic of major expansions in the transnational circulation of audiovisual culture across even linguistic borders in the contemporary moment, drawing out the implications of this change for representations and cross-cultural perceptions and dialogue https://warwick.ac.uk/fac/arts/modernlanguages/research/french/currentprojects/postnationalpopular.

My various strands of contemporary work take in gender and sexuality studies (especially transnational and comparative); questions of embodied address, performance and celebrity; and issues of media technologically-constructed 'posthuman' identity: the focus of my next book project.

I was a member of the College of General Editors for Studies in French Cinema since 2017-2020, before taking over as Co-Chief General Editor with Professor Ginette Vincendeau, renaming the journal French Screen Studies.

Teaching and Supervision

I specialise in teaching French media and society and, together with Douglas Morrey, have been responsible for the second- and final-year French Cinema module, which covers French cinema from the early 1930s to the present, as well as teaching the final-year module States of the Nation: French Cinema From 1990 to the Present. I also teach a final-year module looking at Gender and Representation in French Media since 1970, which encompasses an interdisciplinary focus across film, television and written media and at MA level on various courses (e.g. History and Film and running specialised modules: French Gender Studies, Genre in French Film History and Female Homosociality and Homoeroticism in Postfeminist French Cinema).

In addition, I have taught a second-year module in Hispanic Studies on Contemporary Spanish Cinema and teach on the cross-language module Languages and Cultures Beyond Boundaries.

In 2016-17 I was Visiting Scholar in Comparative Media Studies and Writing at MIT and Visiting Lecturer at Brandeis University, MA, where I taught modules on Introduction to the Moving Image and Genre Films in Cinema and Television.

I am currently supervising PhDs on one-parent families in French cinema of the 2010s and on French screen horror. I am interested in supervising projects on a range of topics in contemporary (transnational) film and media, emphasising popular modes and/or cultural and gender studies.

Publications

Books

Heightened Genre and Women's Filmmaking in Hollywood: the Rise of the Cine-fille, Palgrave Macmillan (2021).

M. Harrod and K. Paszkiewicz (eds), Women Do Genre in Film and Television, Routledge (2017). Nominated for the Kraszna-Krausz Best Moving Image Book Award 2018 (only edited collection nominated) and WINNER of the British Association of Film, Television and Screen Studies Best Edited Collection Prize for 2019.

From France with Love: Gender and Identity in French Romantic Comedy, I.B. Tauris (2015). Shortlisted for the British Association of Film, Television and Screen Studies Best Monograph 2017.

M. Harrod, M. Liz and A. Timoshkina (eds), The Europeanness of European Cinema: Identity, Meaning, Globalization, I.B. Tauris (2015).

Journal Special Issues

M. Harrod and P. Powrie (eds), ‘New directions in contemporary French comedies,’ Studies in French Cinema 18:1 (2018).

Journal Articles

  • ‘From Postnational Mobility to Posthuman Fluidity: Unfixed Identities and Social Responsibilities in Personal Shopper (Assayas 2016) and Happy End (Haneke 2017),’ Northern Lights: Film and Media Studies Yearbook, Special Issue on 'Europe at the Crossroads: Cinematic Takes' no. 18 (2020) (ed. Temenuga Trifonova), pp. 85–101.

  • M. Harrod, G. Vincendeau and P. Powrie, 'Editorial: Studies in French Cinema Becomes French Screen Studies,' French Screen Studies vol. 20, no. 1 (2020), pp. 1-5.
  • ‘“Money Can't Buy Me Love”: Radical Right-wing Populism in French Romantic Comedies of the 2010s,’ New Review of Film and Television Studies, Special Issue on ‘Radical Romantic Comedy', vol. 18, no. 1 (January 2020) (ed. Maria San Fiippo), pp. 101-118.
  • M. Harrod and P. Powrie, ‘New directions in contemporary French comedies: From nation, sex and class to ethnicity, community and the vagaries of the postmodern,’ Studies in French Cinema vol. 18, no.1 (2018), pp. 1-17.
  • ‘Sweet Nothings? Imagining the Inexpressible in Contemporary French Romantic Comedy,’ Studies in French Cinema, vol. 13, no. 2 (2013), pp.171-187. Winner of the 2013 Susan Hayward Prize.
  • ‘The Réalisatrice and the Rom-Com in the 2000s,’ Studies in French Cinema, Special Issue on ‘Women’s Filmmaking in the 2000s,’ vol. 12, no. 3 (2012) (ed. Carrie Tarr), pp.227-240.
  • ‘Linguistic Difference as Ontological Sameness in Bienvenue chez les Ch’tis (Boon 2008),’ Studies in French Cinema vol. 12, no. 1 (2012), pp.75-86. Winner of the 2012 Susan Hayward Prize.
  • The Aesthetics of Pastiche in the Work of Richard Linklater,’ Screen vol. 51, no.1 (2010), pp.21-37.

Book Chapters

  • ‘“Money Can't Buy Me Love": Radical Right-wing Populism in French Romantic Comedies of the 2010s,’ in Maria San Filippo (ed.), After ‘Happily Ever After’ (Wayne State University Press, 2021), pp. 197-216.

  • 'Parisian Lovers in the Contemporary Romcom,' in A. Phillips and G. Vincendeau (eds), Paris in the Cinema - Beyond the Flâneur, Palgrave (2017), pp. 156-166.
  • ‘The Myth of Lena Dunham,’ in M. Harrod and K. Paskiewicz (eds), Women Do Genre in Film and Television, Routledge (2017), pp. 179-197.
  • ‘Introduction,’ (with Paszkiewicz), in M. Harrod and K. Paskiewicz (eds), Women Do Genre in Film and Television, Routledge (2017), pp. 1-20.
  • ‘Cinephilia as Multilingualism in The Artist (Michel Hazanavicius, 2011) and Blancanieves (Pablo Berger, 2012),’ in T. Mamula and L. Patti (eds), The Multilingual Screen, Bloomsbury (2016), pp. 69-89.
  • ‘“As If a Girl’s Reach Should Exceed Her Grasp”: Gendering Genericity and Spectatorial Address in the Work of Amy Heckerling,’ in F. Smith and T. Shary (eds), Refocus on the Films of Amy Heckerling, Edinburgh University Press (2016), pp. 53-72.
  • ‘Girlfriends, Postfeminism and the European Chick-Flick in France,’ in F. Handyside and K. Taylor (eds), International Cinema and the Girl: Local Issues, Transnational Contexts, Palgrave Macmillan (2015), pp.35-49.
  • ‘Danièle Thompson: French Women’s Screenwriting Goes Global,’ in J. Selbo and J. Nelmes (eds), Women Screenwriters: An International Guide, Palgrave Macmillan (2015), pp. 346-351.
  • ‘Franglais, Anglais and Contemporary French Comedy,’ in M. Harrod, M. Liz and A. Timoshkina (eds), The Europeanness of European Cinema: Identity, Meaning, Globalization, I.B. Tauris (2015), pp. 145-158.
  • Introduction,’ (co-authored with Liz and Timoshkina) in M. Harrod, M. Liz and A. Timoshkina (eds), The Europeanness of European Cinema: Identity, Meaning, Globalization, I.B. Tauris (2015), pp.1-13.
  • ‘Auteur Meets Genre: Rohmer and the Rom-Com,’ in L. Anderst (ed.), The Films of Eric Rohmer: French New Wave to Old Master, Palgrave Macmillan (2014), pp.101-113.
  • Three entries, Directory of World Cinema: France, T. Palmer and C. Michael (eds), Intellect (2013).

Review Articles

  • Middlebrow Cinema by Sally Faulkner (ed.), New Cinemas: Journal of Contemporary Film
    Vol.17, No. 1 (2020): 122-125.
  • The Nasty Woman and the Neo Femme Fatale in Contemporary Cinema by Agnieszka Piotrowska, Film-Philosophy no. 24 (2020): 250-253.
  • Nancy Meyers by Deborah Jermyn, Feminist Media Studies, no. 2 (February 2018): 329-330.
  • French Cinema in Close-Up by M. Abecassis with M. Block (eds), Studies in European Cinema vol. 13 (August 2016)
  • Nationalism and the Cinema in France: Political Mythologies and Film Events, 1945-1995 by Hugo Frey, French History vol. 30, no. 2 (2016): 282-283.
  • French Comedy on Screen: A Cinematic History by Rémi Fournier-Lanzoni, French Studies vol. 69, no. 4 (2015): 573-574.
  • Je t’aime...moi non plus: Franco-British Cinematic Relations by L. Mazdon and C. Wheatley (eds), Screening the Past no. 33 (April 2012).
  • Richard Linklater by D. T. Johnson, Senses of Cinema no. 64 (September 2012)

Translation

  • Translation from Spanish (with Paszkiewicz) of Barbara Zecchi’s ‘Comedy as a Feminist Strategy: Spanish Women Filmmakers Reclaim Laughter,’ in M. Harrod and K. Paskiewicz (eds), Women Do Genre in Film and Television, Routledge (2017), pp. 91-105.

Public Engagement and Non-Traditional Academia

Background and Formal Qualifications

BA(/MA Oxon) (Oxford, French and Spanish); MA and PhD (King's College London, Film Studies). After my PhD, I taught at King's College and at the London School of Economics and Political Science's Gender Institute, before joining Warwick in 2014. I have also completed Warwick's PCAPP qualification (Postgraduate Certificate in Academic and Professional Practice).

Administrative Roles

I am Chair of Examinations for French Studies (Honours level) and for the School of Modern Languages and Cultures (intermediate year).

Office hours

Term 1: Tuesday 11-12 or Wednesday 4.30-5.30 (request videocall by email)

Or by appointment.

Teaching

Undergraduate modules
FR340 States of the Nation: French Cinema and Society from 1990 to the present (convenor)
FR335 Gender and Representation in French Media since 1970 (convenor)

HP308 Contemporary Spanish Cinema (convenor)

European Cinema

LN210 Languages and Cultures Beyond Boundaries

FR344 French Cinema (co-convenor)

Postgraduate Courses/Advanced Special Options

History and Film

French Gender Studies

Genre in French Film History

Female Homosociality and Homoeroticism in Postfeminist French Cinema

FR923 Intellectual Contexts: Intercultural Transactions