Neil Archer

Publications

Books

Cinema and Brexit: The Politics of Popular English Film (Bloomsbury, 2021).

Twenty-First-Century Hollywood: Rebooting the System (London and New York: Wallflower, 2019).

Beyond a Joke: Parody in English Film and Television Comedy (I.B. Tauris, 2017).                                              

The Road Movie: In Search of Meaning (Wallflower/Columbia University Press, 2016).

Hot Fuzz (Auteur, 2015).

The French Road Movie: Space, Mobility, Identity (Berghahn, 2013).

The Bourne Ultimatum (Auteur, 2012).

Adaptation: Studies in French and Francophone Culture, co-edited with Andreea Weisl-Shaw (Peter Lang, 2011).

Journal Articles

‘But What Has Footlights Ever Done for Us? Gender, Comedy and the Politics of Privilege’. Comedy Studies, 2021, DOI: 10.1080/2040610X.2021.1951104

‘Ken Loach and the Comedians: The Politics of “Acting”’, Journal of British Cinema and Television, 18.3 (2021), 280–302.

French Connection UK: The Dinard Film Festival and the Politics of Culture, Studies in European Cinema, 2021. doi.org/10.1080/17411548.2021.1886454

‘UEFA at the Movies: Producing Space in the 21st Century Football Film’, Sport in Society, 2020. doi.org/10.1080/17430437.2020.1825381

‘The Europeanness of British Cinema: Considering “National” Cinemas from a Continental Perspective', Europe Now, June (2020).

‘Transnational Science Fiction at the End of the World: Consensus, Conflict, and the Politics of Climate Change’, JCMS: Journal of Cinema and Media Studies 58.3 (2019), 1-25.

‘Genre on the Road: The Road Movie as Automobilities Research’, Mobilities 12.4 (2017), 509-519.

‘Gone Girl (2012/2014) and the Uses of Culture’, Literature/Film Quarterly 45.3 (2017)

'Fan du cinema: Imitation, Europe and The Trip to Italy (2014)', Studies in European Cinema 13.3 (2016), 246-259.

‘Speeds of Sound: On Fast Talking in Slow Movies’, Cinema Journal 55.2 (2016), 130-135.

‘“The shit just got real”: Parody and National Film Culture in The Strike and Hot Fuzz’, Journal of British Cinema and Television 13.1 (2016), 42-60.

‘A Novel Experience in Crime Narrative: Watching and Reading The Killing’, Adaptation 7.2 (2014), 212-227.

‘And then as farce: Globalization and ambivalence in Jo Nesbø and Morten Tyldum’s Headhunters (2011)’, New Cinemas: Journal of Contemporary Film 11.1 (2013), 55-70.

‘The Girl with the Dragon Tattoo (2009/2011) and the New “European Cinema”’, Film Criticism 37.2 (2013) 1-20.

‘The City Presented to Itself: Perspective, Performance and the Anxiety of Authenticity in Recent Parisian Films’, Studies in European Cinema 8.1 (2011), 31-42.

‘The Rhetoric of the Transnational: Interpretation and Identity in Géla and Temur Babluani's L'Héritage/Legacy (2006)’, New Cinemas: Journal of Contemporary Film 8.1 (2010), 3-14.

‘Virtual Poaching and Altered Space: Reading Parkour in French Visual Culture’, Modern and Contemporary France 18.1 (2010), 93-107.

‘Baise-moi: The Art of Going Too Far’, E-pisteme 2.1 (2009)

‘Sex, the City and the Cinematic: The Possibility of Female Spectatorship in Claire Denis's Vendredi Soir’, French Forum, 33.1-2 (2008), 245-260.

[Reprinted in Contemporary Literary Criticism, 286 (Gale, 2010)].

‘The Road as the (Non-)Place of Masculinity: L'Emploi du temps’, Studies in French Cinema, 8.2 (2008), 137-148.

Book Chapters

‘Science Fiction Cinema and the Road Movie: Case Studies in the Estranged Mobile Gaze’, in Mobilities, Literature, Culture, eds. Marian Aguiar, Charlotte Mathieson and Lynne Pearce, (Basingstoke: Palgrave Macmillan, 2019), 281-306.

‘Et in Arcadia Ego: Precarious Romanticism and the English Road Movie’, in The Global Road Movie: Alternative Journeys Around the World, ed. Tim Corrigan and José Duarte (Bristol: Intellect, 2018), 203-218.

‘Paris je t’aime (plus): Europhobia as European-ness in Pierre Morel and Luc Besson’s “Dystopia Trilogy”’, in The Europeanness of European Cinema: Identity, Meaning and Globalisation, ed. Mary Harrod, Mariana Liz and Alissa Timoshkina (London: I.B. Tauris, 2015), 185-198.

‘Jamón, Jamón’, ‘10’, ‘Rabbit-Proof Fence’, in The Routledge Encyclopaedia of Films, ed. Sarah Barrow, Sabine Haenni and John White (Abingdon and New York: Routledge, 2014).

‘Beyond Anti-Americanism, Beyond Eurocentrism: Locating Bruno Dumont's Twentynine Palms in the Context of European Extremism’, in The New Extremism in Cinema: from France to Europe, ed. Tina Kendall and Tanya Horeck (Edinburgh University Press, 2011), 55-65.

‘Attack of the Clones: Watching Stars Playing Stars in French Biopics’, in Adaptation: Studies in French and Francophone Culture, ed. Neil Archer and Andreea Weisl-Shaw (Peter Lang, 2011), 163-175.

Book Reviews

David Forrest and Beth Johnson (eds.), Social Class and Television Drama in Contemporary Britain, Cercles: Revue Pluridisciplinaire du Monde Anglophone (2018) http://www.cercles.com/review/r83/Forrest.html

Peter Brunette, Michael Haneke, in Studies in European Cinema, 10.2-3 (2013).