CV Roche David

 Ouvrages

Making and Remaking Horror in the 1970s and 2000s: Why Don’t They Do It Like They Used To? Jackson, MS: UP of Mississippi, 2014. 352 p.

L’Imagination malsaine : Russell Banks, Raymond Carver, David Cronenberg, Bret Easton Ellis, David Lynch. Paris: L’Harmattan, 2008. 367p.
 

Directions d’ouvrages collectifs et de numéros de revues (avec liens si électroniques)

Steven Spielberg, Hollywood Wunderkind and Humanist. Montpellier: Presses universitaires de la Méditerranée, 2017. Fortchcoming.

“Exploiting Exploitation Cinema.” Transatlantica 15.1 (2016).

avec Schmitt-Pitiot, Isabelle. “De l’intime dans le cinéma anglophone.” CinémAction 154 (2015). 190 p.

avec Mitaine, Benoît et Isabelle Schmitt-Pitiot. Bande dessinée et adaptation (littérature, cinéma, TV). Clermont-Ferrand: PU Blaise Pascal, 2015. 374 p.

avec Schmitt-Pitiot, Isabelle. Intimacy in Cinema: Critical Essays on English- Language Films. Jefferson, NC: McFarland, 2014. 277p.

avec Gelly, Christophe. Approaches to Reception Studies and Film / Théories de la réception et cinéma : études et panorama critique. Clermont-Ferrand: PU Blaise Pascal, 2012. 284p. 

Conversations with Russell Banks. Jackson, MS: UP Mississippi, 2010. 193p. 

Articles

“Remaking Horror According to the Feminists or How to Have Your Cake and Eat It, Too.” Représentations (2017). Forthcoming.

“Fault Lines in Under the Skin (Jonathan Glazer, 2013): An Ethics and Aesthetics of the ‘Monstrous.’” Horror Studies 8.1 (2017). Forthcoming.

“The Remake as (Dis)avowal: The Ambivalent Stances of the Hollywood Blockbuster Remakes of the 2000s.” Représentations (2015).

“Irony in The Sweet Hereafter by Russell Banks (1991) and Atom Egoyan (1997).” Adaptation 8.2 (2015): 237-53.

“Exprimer l’intime dans The Fountain de Darren Aronofsky.” CinémAction 154 (2015): 113-23.

“Choreographing Genre in Kill Bill Vol.1 & 2 (Quentin Tarantino, 2003 & 2004).” Miranda 10 (2014).

“Le Noir chez David Cronenberg ou la persistance des obsessions.” CinémAction 150 “Panorama mondial du film noir” (2014): 39-47

“Revoir les Final Girls : Massacre à la tronçonneuse (Marcus Nispel, 2003) et Halloween (Rob Zombie, 2007).” Interfaces 33 (2013): 165-76.

“Tarantino’s Round Flat Characters: A (Mainly) Verbal Study of Reservoir Dogs (1992).” Bulletin du CICLAHO 6 (2012): 411-31.

“Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today.” Textes & Contextes 6 (2011).

“Comment Hollywood figure l’intériorité dans les films « hollywoodiens » de David Lynch : Lost Highway (1997), Mulholland Drive (2001) et Inland Empire (2006).” E- rea 9.1 (2011).

“‘That’s Real! That’s What You Want!’: Producing Fear in George A. Romero’s Dawn of the Dead (1978) vs. Zack Snyder’s Remake (2004).” Horror Studies 2.1 (2011): 75-87.

“Twin Peaks: Fire Walk With Me (1992) and David Lynch’s Aesthetics of Frustration.” Textes & Contextes 5 (2010).

“(De)constructing ‘America’: the Case of Emir Kusturica’s Arizona Dream (1993).” EJAS Special Issue: Film (2010).

“L’Horreur viscérale de David Cronenberg, ou l’horreur de l’anti-nature.” CinémAction 136 (2010): 141-49.

“French Fries, French Foxes and Crazy Frenchmen in Quentin Tarantino’s Pulp Fiction (1994) and Roger Avary’s Killing Zoe (1994): Reading Hollywood ‘Frenchness’ / French Readings.” Bulletin du CICLAHO 5 (2010): 291-311.

“Reading the Body in Bret Easton Ellis’s American Psycho (1991): Confusing Signs and Signifiers.” GRAAT On-Line 5.1 (2009).

“The ‘Unhealthy’ in “The Fall of the House of Usher”: Poe’s Aesthetics of Contamination.” The Edgar Allan Poe Review X.1 (Spring 2009): 20-35.

“Disease and Anti-Naturalism in Raymond Carver’s ‘Fat’ and ‘A Small, Good Thing’ and David Lynch’s Blue Velvet.” Interfaces 27-28 (2007): 159-73.

“Books and Letters in Joe Wright’s Pride & Prejudice (2005): Anticipating the Spectator’s Response through the Thematization of Film Adaptation.” Persuasions On-Line 27.2 (Summer 2007).

“David Cronenberg’s Having to Make the Word Be Flesh.” Post Script 23.2 (Winter/Spring 2004): 72-87.

“The Death of the Subject in David Lynch’s Lost Highway and Mulholland Drive.” E- rea 2.2 (Automne 2004).

Chapitres d’ouvrages

“The Spectatorial Terms of Ed Wood (Tim Burton, 1994).” Tim Burton. Ed. Gilles Menegaldo. Montpellier: PU de la Méditerranée, 2017. Forthcoming.

“Lignes de faille dans Under the Skin (Jonathan Glazer, 2013) : une esthétique du « monstrueux ».” Signatures du monstre. Eds. Jean-François Chassay, Hélène Machinal and Myriam Marrache-Gourraud. Rennes: PUR, 2017. Forthcoming.

“Gibson, Vinyl & First Editions: Gothic Fetishism in Only Lovers Left Alive (Jim Jarmusch, 2013).” Le Cinéma de Jim Jarmusch. Ed. Esther Heboyan. Arras: PU Artois, 2017. Forthcoming.

 “(In)stability of Point of View in When a Stranger Calls (Fred Walton, 1979) & Eyes of a Stranger (Ken Wiederhorn, 1981).” Style and Form in the Hollywood Slasher. Ed. Wickham Clayton. Basingstoke, UK and New York: Palgrave Macmillan, 2015. 17-36.

“Mad Narrators & Sadomasochistic Narration in The Blair Witch Project (Daniel Myrick & Eduardo Sánchez, 1999) and Paranormal Activity (Oren Peli, 2007).” Mad Narrators. Eds. Nathalie Jaëck, Clara Mallier, Arnaud Schmitt and Romain Girard. Cestas: Maison des Sciences de l’Homme d’Acquitaine, 2014. 319-34.

“More or Less American: Sergio Leone’s Vision of American in Once Upon a Time in the West (1968).” Europe et Hollywood à l’écran: Regards croisés. Ed. Gilles Menegaldo. Paris: Michel Houdiard, 2012. 356-72.

“Bastard Remakes: Homage and Betrayal in Dawn of the Dead (Zack Snyder, 2004) and Halloween (Rob Zombie, 2007).” In Praise of Cinematic Bastardy. Eds. Sébastien Lefait and Philippe Ortoli. New Castle upon Tyne, UK: Cambridge Scholars, 2012. 136-45.

“Quentin Tarantino’s Death Proof (2007): Subverting Gender through Genre or Vice Versa?” Generic Attractions: New Essays on Film Genre. Eds. María del Mar Azcona and Celestino Deleyto. Paris: Michel Houdiard, 2010. 337-53.

“(De)constructing Lolita as ‘Sexual Object’: Metonymy, Identification and Subjecthood in Stanley Kubrick’s Lolita (1962).” Lolita, roman de Vladimir Nabokov (1955) et film (1962) de Stanley Kubrick. Ed. Dider Machu et Taina Tukhunen. Paris: Ellipses, 2009. 171-82.

“The Blues of David Lynch.” Cinéma et couleur / Film and Colour. Ed. Raphaëlle Costa de Beauregard. Paris: Michel Houdiard, 2009. 447-59.

“David Cronenberg : une mission utopique.” Éclats du noir : gothique, fantastique et détection dans le livre et le film. Eds. Max Duperray, Gilles Menegaldo and Dominique Sipière. Aix-en-Provence: Publications de Provence, 2006. 163-84.

Comptes rendus

“Tony Williams, George A. Romero: Knight of the Living Dead.” Horror Studies (2016): 151-54.

“Taïna Tuhkunen, Demain sera un autre jour.” South Atlantic Review (2016): 10-13.

“Tony Williams, Hearths of Darkness: Family in the American Horror Film.” Cercles (2015).

“Tom Folsom, Born to Be Wild: Dennis Hopper, un voyage dans le rêve américain.” Transatlantica 14.1 (2015).

“Melvyn Stokes, American History through Hollywood Film: From the Revolution to the 1960s.” Cercles (avril 2015).

“Philippe Ortoli, Le Musée imaginaire de Quentin Tarantino.” Transatlantica 13.1 (2014).