Tel: +44 (0)24 765 23014
Email: M dot G dot M dot Harrod at warwick dot ac dot uk
My primary research is in contemporary film and media, with an emphasis on popular modes. I have written a book on the recent phenomenal proliferation of the French romantic comedy and co-edited, with Mariana Liz (University of Lisbon) and Alissa Timoshkina (King's College London), a collection examining the status of European cinema in today's increasingly globalised age. My research has to date tracked two interrelated axes: the transnational circulation and shaping of French identity through the nation's audiovisual production and the significance of women's contribution to mainstream genre film and television production, principally in France and Hollywood (with a monograph forthcoming on the latter context). I also have an interest in representations of contemporary girlhood and of the body in general in media representation.
Teaching and supervision
I specialise in teaching French film and society and, together with Douglas Morrey, am responsible for the second- and final-year French Cinema module, which covers French cinema from the early 1930s to the present, as well 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 contribute to the MA modules History and Film and Intellectual Contexts: Intercultural Translations.
I am interested in supervising PhDs on a range of topics in European and US film and media, emphasising popular modes and/or cultural and gender studies.
- From France with Love: Gender and Identity in French Romantic Comedy, I.B. Tauris (2015). Short-listed for BAFTSS Best Monograph 2017.
- M. Harrod, M. Liz and A. Timoshkina (eds), The Europeanness of European Cinema: Identity, Meaning, Globalization, I.B. Tauris (2015).
Articles and chapters
- ‘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 (2016), 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).
- ‘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), 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.
- French Cinema in Close-Up by M. Abecassis with M. Block (eds), Studies in European Cinema (August 2016) http://www.tandfonline.com/doi/full/10.1080/17411548.2016.1213085.
- Nationalism and the Cinema in France: Political Mythologies and Film Events, 1945-1995 by Hugo Frey, French History 2016; doi: 10.1093/fh/crw019 http://fh.oxfordjournals.org/cgi/reprint/crw019?ijkey=JmzvOjPY2MUMWHi&keytype=ref
- French Comedy on Screen: A Cinematic History by Rémi Fournier-Lanzoni, French Studies 2015, 69 (4): 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)
- 'Girls may be flawed, but its feminist legacy will last', The Conversation, February 10, 2017. https://theconversation.com/girls-may-be-flawed-but-its-feminist-legacy-will-last-72442.
- Discussing the French rom-com as part of 'French Thought' feature on 'Free Thinking', BBC Radio 3, Thursday 9th July 2015,10pm (at 34 mins 30s) https://www.dropbox.com/s/kgb4zlh3opob56f/Free%20Thinking%20-%209th%20July%202015.mp3?dl=0
- 'How Hollywood-style rom-coms seduced France', The Conversation, June 24 2015 https://theconversation.com/how-hollywood-style-rom-coms-seduced-france-43680.
- I am also a repeat contributor to Sight and Sound.
BA (Oxford), MA, PhD (King's, London)
On leave in 2016/17.
LN101 Languages and Cultures Beyond Boundaries
FR923 Intellectual Contexts: Intercultural Transactions
HI978 History and Film