Dr Roland-Francois Lack
Senior Lecturer in French
Office: rm 106, 1-4 Malet Place
Tel: 020 7679 4423
Internal extension: 34423
Office Hours Term 2: Tuesdays 12-2pm and Thursdays 12-2pm
email: r.lack@ucl.ac.uk
Research areas: cinema and locale, particularly London, Paris and Geneva (see his website 'the Cine-Tourist': http://thecinetourist.net); French and Swiss film, particularly Godard, Soutter and Tanner; nineteenth-century poetry and poetics, particularly Gautier, Baudelaire and Lautréamont.
Publications include:
•'A Photograph and a Camera: two objects in Film Socialisme’, Vertigo 30 (Spring 2012):
• ‘A bout de souffle: les intertextes d’un plan’, in Jean-Louis Leutrat (ed.), Cinéma et Littérature: le grand jeu, II (Paris: De l'Incidence, 2011)
• ‘Sex Power: Bernadette Lafont and the Sexual Revolution in French Cinema circa 68’, in Julian Jackson, Anna-Louise Milne and James Williams (eds), Rethinking May 68 (Basingstoke: Palgrave Macmillan, 2011)
• ‘Echoes of the horn: intertextual variations on Vigny', in Naomi Segal and Gill Rye (eds), When Familiar Meanings Dissolve: Essays in Memory of Malcolm Bowie (Oxford/Bern: Peter Lang, 2011)
• 'Paris nous appartient, Reading Without a Map', Australian Journal of French Studies 47.2 (August 2010):
http://www.faqs.org/periodicals/201004/2122411951.html
• 'L'Ecole des correspondances: Lautréamont et Rimbaud', Dix-Neuf, 13 (April 2010)
• 'The Sign of the Map: Cartographic Reading in Rohmer’s Le Signe du Lion’, Senses of Cinema 54 (2010):
<a href="http://sensesofcinema.com/2010/feature-articles/the-sign-of-the-map-cartographic-reading-and-le-signe-du-lion/
• 'Un écran noir, constellé...', essay accompanying the 2010 Studio Canal blu-ray edition of Godard's Pierrot le fou
• ‘The Swiss Hotel Film’, in D.B. Clarke, V.C. Pfannhauser and M.A. Doel (eds), Moving Pictures/Stopping Places (Lanham MD: Lexington Books, 2009)
• 'First Encounters: French Literature and the Cinematograph’, Film History 20:3 (2008), special issue on Moving Picture Fiction edited by Stephen Bottomore and Richard Koszarski, pp 133-143
http://muse.jhu.edu/journals/film_history/v020/20.2.lack.pdf
• ‘Vivre sa vie: an Introduction and A to Z’, Senses of Cinema 48 (2008): ◦Senses of Cinema 48
• ‘London Circa Sixty Six’ (on Antonioni's Blowup the image of London in 1960s’ cinema), in Gail Cunningham and Stephen Barber (eds), London Eyes ( New York: Berghahn, 2007) http://eprints.ucl.ac.uk/5217/
• ‘Sa voix’ (on Godard’s voice), in M. Temple, J. Williams, M. Witt (eds), For Ever Godard ( London: Black Dog, 2004) http://eprints.ucl.ac.uk/4926/
• 'A bout de souffle: the film of the book’, Literature Film Quarterly 32:3 (2004) http://eprints.ucl.ac.uk/5228/
• ‘Good Work Little Soldier: Text and Pretext’ (on Godard’s Le Petit soldat and Denis’s Beau travail), Journal of European Studies 34:1-2 (2004) http://eprints.ucl.ac.uk/5229/
• ‘The point in time: precise chronology in early Godard’, Studies in French Cinema, 3:2 (2003) http://eprints.ucl.ac.uk/5227/
• ‘Faut-il que j’écrive en vers...? Poésies et prosodie chez Isidore Ducasse, Comte de Lautréamont’, in J-J Lefrère and M. Pierssens (eds) Les poésies d'Isidore Ducasse (Editions du Lérot: Tusson, 2001)
• Poetics of the Pretext: reading Lautréamont (Exeter: University of Exeter Press, 1998)
• The Tel Quel Reader, edited with Patrick ffrench (London: Routledge, 1998)
• ‘Les replis tortueux de l’intertextuel: Racine and Lautréamont; prosody and prose', French Forum, 23:2 (1998)
• 'Screen as figure', Paragraph, 19:1 (1996)
• ‘La Littérature de Martial: plagiarism as figure in Sade, Lautréamont, Ouologuem and Sony Labou Tansi’, Romanic Review, 86:4 (1995)
• ‘Intertextuality or influence: Kristeva, Bloom and the Poésies of Isidore Ducasse’, in Worton and Still (eds), Intertextuality: Theories and Practice (Manchester: Manchester University Press, 1990) http://eprints.ucl.ac.uk/7964/
• Edited catalogue for the ‘Moving Images / Moving Bodies / Camera-Movement’ exhibition (Capture 2008)
• Edited catalogue: Art and Design: a source book (BFI 2004)
• BFI-dvd commentaries for Bande à part (Godard) and Orphée (Cocteau)
