Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications include Cinematic Intermediality (2021, EUP (with Kim KNowles)), Intermedial Dialogues: The French New Wave and the Other Arts (2019, EUP), Chantal Akerman (2010, Manchester UP), and Proust at the Movies (2005, Ashgate (with Martine Beugnet)).

[...] Schmid’s book provides a new angle of inquiry for analyzing New Wave films, and the strength of the book lies in its analysis of a large and diverse body of cinematic works as well as a review of existing scholarship. [It] offers a clear and comprehensive analysis of the ways in which New Wave directors built their revolutionary cinema through engagement with other revolutionary artists in media ranging from theater to architecture.

• List of Illustrations Acknowledgements Introduction Chapter 1: Celluloid and Paper: Rivalries, Synergies, Crossovers Chapter 2: The World as Spectacle: Cinematic Theatricalities Chapter 3: Painterly Hybridisations Chapter 4: Architecture of Apocalypse, City of Lights Chapter 5: Still/Moving: Photography and Cinematic Ontology Conclusion Bibliography Index

Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Her publications include Cinematic Intermediality (2021, EUP (with Kim KNowles)), Intermedial Dialogues: The French New Wave and the Other Arts (2019, EUP), Chantal Akerman (2010, Manchester UP), and Proust at the Movies (2005, Ashgate (with Martine Beugnet)).

[...] Schmid’s book provides a new angle of inquiry for analyzing New Wave films, and the strength of the book lies in its analysis of a large and diverse body of cinematic works as well as a review of existing scholarship. [It] offers a clear and comprehensive analysis of the ways in which New Wave directors built their revolutionary cinema through engagement with other revolutionary artists in media ranging from theater to architecture.

• List of Illustrations Acknowledgements Introduction Chapter 1: Celluloid and Paper: Rivalries, Synergies, Crossovers Chapter 2: The World as Spectacle: Cinematic Theatricalities Chapter 3: Painterly Hybridisations Chapter 4: Architecture of Apocalypse, City of Lights Chapter 5: Still/Moving: Photography and Cinematic Ontology Conclusion Bibliography Index