Ch\u00e8res coll\u00e8gues, chers coll\u00e8gues,
\nvous trouverez ci-dessous l’appel \u00e0 communications pour le colloque "George A. Romero, l’\u0153uvre d\u00e9vor\u00e9e?" qui aura lieu les 24 et 25 novembre 2022 \u00e0 Montpellier.
\nBien cordialement,
\nLe comit\u00e9 d’organisation<\/p>\n
[Scroll down for English version]<\/p>\n
Appel \u00e0 communication<\/strong><\/p>\n Colloque international : George A. Romero, l\u2019\u0153uvre d\u00e9vor\u00e9e ?<\/strong><\/p>\n 24-25 novembre 2022 \u00e0 Montpellier<\/strong><\/p>\n L\u2019exhumation, en 2019, du film The Amusement Park <\/em>(1973), et sa sortie en salle en juin 2021, ont rappel\u00e9 que George Andrew Romero (1940-2017) n\u2019\u00e9tait pas seulement le cr\u00e9ateur du zombie moderne, apparu en 1968 avec The Night of the Living Dead<\/em> (La Nuit des Morts-Vivants<\/em>). En abandonnant, \u00e0 l\u2019occasion de cette commande de l\u2019\u00e9glise luth\u00e9rienne,<\/strong> un vieil homme dans un parc d\u2019attraction, o\u00f9 il souffrira humiliations et s\u00e9vices en tous genres, le cin\u00e9aste de Pittsburgh continue \u00e0 \u00ab tirer sur tout ce qui bouge \u00bb dans la soci\u00e9t\u00e9 am\u00e9ricaine, et reste fid\u00e8le \u00e0 une esth\u00e9tique baignant les figures gothiques du cin\u00e9ma fantastique dans le r\u00e9alisme le plus cru.<\/p>\n \u00c0 l\u2019image de cette ressortie tardive, et \u00e0 l\u2019aune d\u2019une pand\u00e9mie mondiale dont les images r\u00e9actualisent l\u2019univers rom\u00e9rien (contamination, vies zombifi\u00e9es, villes et magasins d\u00e9sert\u00e9s\u2026), ce colloque se propose de d\u00e9centrer le regard que l\u2019on porte sur une \u0153uvre d\u00e9vor\u00e9e en partie par les mort-vivants. De 1968 \u00e0 2009, dix films sur seize sont ainsi \u00e9pargn\u00e9s par cette cr\u00e9ature, des sorci\u00e8res de Season of the Witch<\/em> (1972) \u00e0 l\u2019homme sans visage de Bruiser <\/em>(2000), en passant par le vampire de Martin <\/em>(1977) ou encore le singe tueur d\u2019Incidents de parcours<\/em> (Monkey Shines<\/em>, 1988).<\/p>\n Il s\u2019agira d\u2019explorer ce pan m\u00e9connu de l\u2019\u0153uvre, qui va bien au-del\u00e0 du fantastique et de l\u2019horreur (on oublie que le deuxi\u00e8me long m\u00e9trage de Romero, There\u2019s Always Vanilla<\/em> de 1971, est une com\u00e9die romantique), et de sortir de l\u2019orni\u00e8re id\u00e9ologique et politique \u2013 en particulier la critique de la soci\u00e9t\u00e9 de consommation et du patriarcat \u2013 dans laquelle les \u00e9tudes consacr\u00e9es \u00e0 l\u2019\u0153uvre de Romero ont trop souvent \u00e9t\u00e9 enferm\u00e9es. Pour cela, le colloque a pour ambition de cerner ce qui fait l\u2019originalit\u00e9 du geste esth\u00e9tique du cin\u00e9aste, sc\u00e9nariste et monteur (souvent d\u00e9valoris\u00e9 par rapport \u00e0 ses coll\u00e8gues de la m\u00eame g\u00e9n\u00e9ration, tels que John Carpenter ou David Cronenberg), tout en l\u2019inscrivant dans son contexte de production et de cr\u00e9ation, notamment dans le champ du fantastique et de l\u2019horreur cin\u00e9matographique. L\u2019\u0153uvre pourra aussi \u00eatre abord\u00e9e par le biais d\u2019enjeux politiques contemporains comme l\u2019\u00e9cologie.<\/p>\n La coh\u00e9rence formelle (du sc\u00e9nario au montage, en passant par la mise en sc\u00e8ne) et th\u00e9matique (l\u2019utopie, le couple, la communaut\u00e9, la religion, la contamination\u2026) de la filmographie sera \u00e9tudi\u00e9e par-del\u00e0 la figure \u00e9prouv\u00e9e du zombie. Le rapport de l\u2019\u0153uvre aux autres m\u00e9dias (notamment t\u00e9l\u00e9visuels et issus du newsreel), aux comics (Creepshow<\/em>, 1982), \u00e0 la litt\u00e9rature (Stephen King et La Part des t\u00e9n\u00e8bres \u2013 The Dark Half<\/em>, 1993 ; les chevaliers de la Table Ronde dans Knightriders<\/em>, 1981), \u00e0 la tradition gothique, etc., pourra aussi \u00eatre interrog\u00e9.<\/p>\n Ancr\u00e9 dans la ville de Pittsburgh, ou exil\u00e9 au Canada dans la derni\u00e8re partie de son \u0153uvre, le cin\u00e9ma de Romero propose \u00e9galement une topographie\/g\u00e9ographie cin\u00e9matographique particuli\u00e8re o\u00f9 la place de l\u2019humain en regard de l\u2019urbanit\u00e9 est questionn\u00e9e (Martin<\/em>, film pr\u00e9f\u00e9r\u00e9 de son auteur, en \u00e9tant probablement l\u2019exemple le plus frappant). En quoi les espaces rom\u00e9riens, par exemple, qu\u2019ils soient urbains ou ruraux, fournissent-ils la mati\u00e8re \u00e0 une esth\u00e9tique (nostalgique ? parodique ? r\u00e9aliste ? Po\u00e9tique ?) et \u00e0 une pens\u00e9e politique propre au cin\u00e9aste, mais peut-\u00eatre aussi caract\u00e9ristique du cin\u00e9ma et de la culture nord-am\u00e9ricaine de la p\u00e9riode ?<\/p>\n Finalement, comment \u00ab classer \u00bb le cin\u00e9ma de Romero, apparu en 1968, entre influences des cin\u00e9mas classique et moderne, voire post-moderne ? Comment le cin\u00e9aste s\u2019approprie-t-il les genres (gothique, horreur, fantastique, road-movie, western, etc.) et quelles r\u00e9\u00e9critures leur fait-il subir (Martin<\/em> et le film de vampire, etc.) ? Si les films de morts-vivants ne seront pas \u00e9cart\u00e9s, les \u00e9tudes d\u2019\u0153uvres dites \u00ab mineures \u00bb ou \u00ab m\u00e9connues \u00bb seront mises en avant, tout en questionnant leur place dans le cin\u00e9ma am\u00e9ricain contemporain et de genre. \u00c0 ce titre, les \u00e9tudes de la r\u00e9ception de ces \u0153uvres seront aussi appr\u00e9ci\u00e9es.<\/p>\n Cin\u00e9aste \u00e0 la marge, v\u00e9ritable \u00ab maverick \u00bb, mais aussi cin\u00e9aste \u00ab culte \u00bb, Romero est souvent d\u00e9pendant de budgets r\u00e9duits qui conditionnent fortement l\u2019\u00e9criture et la production de ses \u0153uvres, oscillant entre libert\u00e9 et contraintes (censures, etc.). Ainsi, comment ces conditions de production\/cr\u00e9ation ont-elles fa\u00e7onn\u00e9 les films du cin\u00e9aste, jusque dans leur esth\u00e9tique prenant parfois la forme de \u00ab guerilla filmmaking \u00bb ? Comment ces conditions affectent-elles un recours aux effets sp\u00e9ciaux \u00ab artisanaux \u00bb (la collaboration de longue date avec Tom Savini pourra \u00eatre analys\u00e9e), les choix de d\u00e9coupage et de montage, la direction d\u2019acteurs (o\u00f9 les acteurs professionnels et chevronn\u00e9s croisent les com\u00e9diens amateurs habitant \u00e0 Pittsburgh, tel John Amplas et d\u2019autres) ? Plus largement, l\u2019\u0153uvre de Romero s\u2019appuie sur des collaborateurs fid\u00e8les et amis (Stephen King, Tom Savini, Dario Argento, Richard P. Rubinstein, etc.), qui tant\u00f4t participent \u00e0 la cr\u00e9ation de l\u2019esth\u00e9tique rom\u00e9rienne (King, Savini) ou au contraire la d\u00e9familiarisent, voire la pervertissent (Argento). Nous souhaitons ainsi questionner les dynamiques collaboratives du cin\u00e9aste et voir comment son \u0153uvre enti\u00e8re s\u2019en nourrit.<\/p>\n Ce colloque se donne ainsi pour ambition de mettre finalement en lumi\u00e8re la face cach\u00e9e d\u2019une \u0153uvre, derri\u00e8re la figure parfois trop \u00ab cannibale \u00bb du zombie, en mobilisant des notions et des approches th\u00e9oriques et m\u00e9thodologiques novatrices dans le cadre de l\u2019\u00e9tude de cette filmographie.<\/p>\n Les propositions peuvent porter sur les points suivants :<\/p>\n \u2022 Analyse des films de Romero autres que ses films de zombie<\/p>\n \u2022 Nouvelles approches politiques de l\u2019\u0153uvre de Romero (approches \u00e9cologiques, intersectionnelles, queer)<\/p>\n \u2022 Contextes de production<\/p>\n \u2022 Coh\u00e9rence formelle et th\u00e9matique (au-del\u00e0 de la figure du zombie)<\/p>\n \u2022 Liens entre l\u2019\u0153uvre de Romero et les autres m\u00e9dias (litt\u00e9rature, t\u00e9l\u00e9vision, bande dessin\u00e9e)<\/p>\n \u2022 Les collaborateurs de Romero<\/p>\n \u2022 \u00ab Guerilla filmmaking \u00bb et ses m\u00e9thodes<\/p>\n \u2022 Etudes de r\u00e9ception<\/p>\n \u2022 L\u2019\u0153uvre de Romero comme cin\u00e9ma classique \/ moderniste\/ postmoderne<\/p>\n Le colloque s\u2019inscrit dans le cadre du programme \u00ab Films et s\u00e9ries : Politiques des formes audiovisuelles \u00bb du RiRRa21, en collaboration avec l\u2019Universit\u00e9 de Bourgogne-Franche Comt\u00e9 (CRIT) et l\u2019Universit\u00e9 de Grenoble Alpes (Litt&Arts).<\/p>\n Les conf\u00e9rences pl\u00e9ni\u00e8res seront assur\u00e9es par David Church (Indiana University) et Sophie L\u00e9cole-Solnychkine (Universit\u00e9 Toulouse Jean Jaur\u00e8s).<\/p>\n Les propositions de communication (r\u00e9sum\u00e9 de 200-300 mots, bibliographie indicative, courte bio) en anglais et en fran\u00e7ais sont \u00e0 envoyer avant le 31 janvier 2022 \u00e0 l\u2019adresse : romeroreturns22<\/strong><\/p>\n Organisation : Julien Achemchame (Universit\u00e9 Paul Val\u00e9ry Montpellier 3), Adrienne Boutang (Universit\u00e9 de Bourgogne-Franche Comt\u00e9), Claire Cornillon (Universit\u00e9 de N\u00eemes), Pierre Jailloux (Universit\u00e9 de Grenoble Alpes), David Roche (Universit\u00e9 Paul Val\u00e9ry Montpellier 3)<\/p>\n Comit\u00e9 scientifique : Fr\u00e9d\u00e9ric Astruc (Universit\u00e9 Paul Val\u00e9ry Montpellier 3), M\u00e9lanie Boissonneau (Universit\u00e9 Sorbonne Nouvelle), Christophe Chambost (Universit\u00e9 Bordeaux Montaigne), Wickham Clayton (University for the Creative Arts), H\u00e9l\u00e8ne Frazik (Universit\u00e9 de Caen Basse Normandie), Julia Hedstrom (Universit\u00e9 de Lausanne), Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre), Janice Loreck (University of Melbourne), Laura Mee (University of Hertfordshire), Denis Mellier (Universit\u00e9 de Poitiers), Benjamin Thomas (Universit\u00e9 de Strasbourg)<\/p>\n Bibliographie indicative<\/strong><\/p>\n Bishop, Kyle William. How Zombies Conquered Popular Culture: The Multifarious Walking Dead in the 21st Century<\/em>. McFarland, 2015.<\/p>\n Chambost, Christophe. \u00ab Trouble Every Day in Gothic Suburbia: Disorientation in George Romero\u2019s The Season of the Witch\/Jack\u2019s Wife<\/em> \u00bb. In Gothic News Volume 2: Studies in Classic Contemporary Gothic<\/em>, dirig\u00e9 par GIlles Menegaldo.. Michel Houdiard, 2010, pp. 128-39.<\/p>\n Daniel, Joachim. George A. Romero et les zombies : autopsie d\u2019un mort-vivant<\/em>. L\u2019Harmattan, 2014.<\/p>\n Lafond, Frank (dir.). George A. Romero, un cin\u00e9ma cr\u00e9pusculaire<\/em>. Michel Houdiard, 2008.<\/p>\n Le Ma\u00eetre, Barbara. Zombie, une fable anthropologique<\/em>. PU de Paris Ouest, 2014.<\/p>\n — (dir.). La Nuit des morts-vivants, George A. Romero : pr\u00e9cis de composition<\/em>. Le Bord de l\u2019eau, 2016.<\/p>\n Menegaldo, Gilles. \u00ab La Nuit des morts vivants <\/em>de George A. Romero (1968) une modernit\u00e9 subversive \u00bb. In Cauchemars am\u00e9ricains : Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, dirig\u00e9 par Frank Lafond. \u00c9ditions du C\u00e9fal, 2003. p. 141-58.<\/p>\n Paffenroth, Kim. Gospel of the Living Dead: George Romero\u2019s Visions of Hell on Earth<\/em>. Baylor University Press, 2006.<\/p>\n Phillips, Kendall R. Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film<\/em>. Southern Illinois University Press, 2012.<\/p>\n Pitassio, Francesco, \u00ab Mauvais r\u00eaves. George A. Romero, les morts-vivants et le cauchemar am\u00e9ricain \u00bb. In Les Peurs de Hollywood : phobies sociales dans le cin\u00e9ma fantastique am\u00e9ricain<\/em>, dirig\u00e9 par Laurent Guido. \u00c9ditions Antipodes, 2006, pp. 115-27.<\/p>\n Roche, David. \u201cResisting Bodies: Power Crisis\/Meaning Crisis in the Zombie Movie from 1932 to today.\u201d Textes & Contextes<\/em>, vol. 6, 2011, https:\/\/preo.u-bourgogne.fr\/textesetcontextes\/index.php?id=327<\/a>.<\/p>\n —. Making and Remaking Horror in the 1970s and 2000s: Why Don\u2019t They Do It Like They Used To?<\/em> University Press of Mississippi, 2014.<\/p>\n Samocki, Jean-Marie. \u00ab Du cannibale : un pr\u00e9cis de d\u00e9composition – \u00e0 propos de la trilogie des morts-vivants de George A. Romero \u00bb. Simulacres<\/em>, vol. 1, 1999, pp. 34-45.<\/p>\n S\u00e9v\u00e9on, Julien. George A. Romero : r\u00e9volutions, zombies et chevalerie <\/em>(\u00e9dition augment\u00e9e). ESC Editions, 2021.<\/p>\n Sutherland, Meghan. \u00ab Rigor\/Mortis: The Industrial Life of Style in American Zombie Cinema \u00bb. Framework<\/em>, vol. 48, n\u00b01, pp. 64-78.<\/p>\n Thoret, Jean-Baptiste (dir.). Politique des zombies : l\u2019Am\u00e9rique selon George A. Romero<\/em>. Ellipses, 2007.<\/p>\n Thoret, Jean-Baptiste. \u00ab Nous mangeons ce que nous cuisinons : conversation avec George A. Romero \u00bb. Simulacre<\/em>s, vol. 6, 2002, pp. 89-110.<\/p>\n Waller, Gregory A. \u00ab Land of the Living Dead \u00bb. The Living and the Undead: From Stoker\u2019s <\/em>Dracula to Romero\u2019 s <\/em>Dawn of the Dead. University of Illinois Press, pp. 272-327.<\/p>\n Williams, Tony. Hearths of Darkness: The Family in the American Horror Film<\/em>. 1996. University Press of Mississippi, 2014.<\/p>\n — (dir.). George A. Romero: Interviews<\/em>. University Press of Mississippi, 2011.<\/p>\n —. The Cinema of George A. Romero: Knight of the Living Dead<\/em>. . Wallflower Press, 2015.<\/p>\n Wood, Robin. Hollywood: From Vietnam to Reagan . . . and Beyond<\/em>.1986. Columbia University Press, 2003.<\/p>\n Call for Papers International Conference<\/strong><\/p>\n George A. Romero: A Cannibalized Body of Work?<\/strong><\/p>\n November 24-25, 2022, Montpellier, France<\/strong><\/p>\n Dug up in 2019, The Amusement Park <\/em>(1973), and released in theaters in June 2021, commissioned by the Lutherian Church, stands as a reminder that George Andrew Romero (1940-2017) was not just the director of Night of the Living Dead<\/em> (1968) and creator of the modern zombie. By focusing on an old man abandoned in a theme park where he will be subjected to all sorts of humiliation and abuse, the Pittsburgh director once again fires away at US-American society and remains faithful to an aesthetics whereby the figures of Gothic horror are portrayed in a raw realist mode.<\/p>\n Prompted by this posthumous release, and considering the continued relevance of Romero\u2019s stories of contamination, zombified lives, and deserted stores and streets in the light of a global pandemic, this two-day international conference aims to decenter the habitual views cast on a body of work that has been cannibalized by the living dead. From 1968 to 2009, ten out of the sixteen feature films directed by Romero have ignored the creature to focus on witches in Jack\u2019s Wife\/Season of the Witch<\/em> (1972), vampires in Martin<\/em> (1977), killer monkeys in Monkey Shines<\/em> (1988) and faceless yuppies in Bruiser<\/em> (2000).<\/p>\n The conference aims to engage with this less familiar facet of Romero\u2019s cinema, which goes well beyond horror and the Fantastic (Romero\u2019s second feature film, the 1971 There\u2019s Always Vanilla<\/em>, is essentially a romcom), and to approach his work from perspectives other than the usual ideological approaches that emphasise Romero\u2019s critique of contemporary patriarchal capitalism. Novel political approaches (ecological, intersectional, queer approaches, etc.) are warmly encouraged.<\/p>\n The conference also ambitions to uncover other original features and practices of the director, screenwriter and editor, whose formal talent has drawn less attention than that of his peers (John Carpenter and David Cronenberg). It also aims to inscribe Romero\u2019s oeuvre within its production context, and notably with the growing popularity of the horror genre that has spilled out of the less savory waters of exploitation into the mainstream. The cohesion of Romero\u2019s films, whether formal (screenwriting, directing, editing, his use of sound banks) or thematic (utopia, the couple, the community, religion, contamination, etc.), will be studied beyond the figure of the zombie. Attention can also be paid to his work\u2019s relationship to other media, including television and the newsreel, comics (Creepshow<\/em> [1982]), literature (adaptations like The Dark Half<\/em> [1993]) and, more broadly, his debt to literary genres and traditions (the Gothic, of course, but also the Arthurian myth in Knightriders<\/em> [1981]).<\/p>\n Anchored in the city of Pittsburgh until the director moved to Toronto in 2004, Romero\u2019s output also proposes a cinematic topography and geography that questions the place of the human in a modern urban world (Martin<\/em>, the director\u2019s favorite film of his own probably offers the most striking example). To what extent do Romero\u2019s spaces, whether urban or rural, provide the material for an aesthetics (relying on nostalgia, parody, realism or poetry) or a personal politics? Can they also be seen as characteristic of certain tendencies in North American cinema and culture of the time?<\/p>\n Finally, can Romero\u2019s body of work be understood in relation to various understandings of classical, modernist and postmodern cinema? How does the director appropriate and possibly rewrite classical genres such as the Gothic, horror, the Fantastic, the road movie, the Western (Martin<\/em> and Knightriders<\/em> again comes to mind)? Though case studies of the living-dead movies are by no means excluded, special attention will be given to the \u201cminor\u201d or \u201cunknown\u201d films and their place in contemporary North American cinema and genres. Studies of the reception of these films are particularly welcome.<\/p>\n A maverick director who ultimately came to enjoy a cult status among horror fans and even auteur status in France, Romero systematically found himself working with low budgets, which largely conditioned the writing and production of his films, and which came with their lot of freedom and constraints. To what extent are these production conditions responsible for the director\u2019s self-declared mode of \u201cguerilla filmmaking\u201d? How did they affect his reliance on homemade special effects (his long-term collaboration with Tom Savini can be explored in this respect), his editing technique and casting decisions (with professional actors working alongside ordinary Pittsburgh residents such as John Amplas)? Romero\u2019s body of work largely relies on a group of faithful collaborators and friends (producer Richard P. Rubinstein, writer Stephen King, makeup artistic\/actor Tom Savini, director Dario Argento), who often deliberately sought to enhance the Romerian aesthetics and politics (in the case of King and Savini) but occasionally defamiliarized and perhaps even perverted it (in the case of Argento). Speakers are encouraged to explore how such collaborations contributed to nourish and sustain Romero\u2019s films.<\/p>\n This international conference thus aims to shed light on the dark half of the Romerian moon, which has consistently been obscured by the cannibal figure of the zombie, and to call on theoretical and methodological concepts and approaches that have not been utilized to study the director\u2019s work. Proposals can focus on the following points:<\/p>\n Proposals can be in English or in French and must include a 200-300-words abstract, a short bibliography and blurb: they should be sent by January 31 2022 to: romeroreturns22<\/strong><\/p>\n Our keynote speakers will be David Church (Indiana University) and Sophie L\u00e9cole-Solnychkine (Universit\u00e9 Toulouse Jean Jaur\u00e8s).<\/p>\n This conference is part of the \u201cFilms and Series: Politics of Audiovisual Forms,\u201d a research program of the RiRRa21, and is organized in collaboration with the Universit\u00e9 de Bourgogne-Franche Comt\u00e9 (CRIT) and the Universit\u00e9 de Grenoble Alpes (Litt&Arts).<\/p>\n Conference organization : Julien Achemchame (Universit\u00e9 Paul Val\u00e9ry Montpellier 3), Adrienne Boutang (Universit\u00e9 de Bourgogne-Franche Comt\u00e9), Claire Cornillon (Universit\u00e9 de N\u00eemes), Pierre Jailloux (Universit\u00e9 de Grenoble Alpes), David Roche (Universit\u00e9 Paul Val\u00e9ry Montpellier 3)<\/p>\n International Scientific Committee: Fr\u00e9d\u00e9ric Astruc (Universit\u00e9 Paul Val\u00e9ry Montpellier 3), M\u00e9lanie Boissonneau (Universit\u00e9 Sorbonne Nouvelle), Christophe Chambost (Universit\u00e9 Bordeaux Montaigne), Wickham Clayton (University for the Creative Arts), H\u00e9l\u00e8ne Frazik (Universit\u00e9 de Caen Basse Normandie), Julia Hedstrom (Universit\u00e9 de Lausanne), Barbara Le Ma\u00eetre (Universit\u00e9 Paris Nanterre), Janice Loreck (University of Melbourne), Laura Mee (University of Hertfordshire), Denis Mellier (Universit\u00e9 de Poitiers), Benjamin Thomas (Universit\u00e9 de Strasbourg)<\/p>\n Selected Bibliography<\/strong><\/p>\n Bishop, Kyle William. How Zombies Conquered Popular Culture: The Multifarious Walking Dead in the 21st Century<\/em>. McFarland, 2015.<\/p>\n Chambost, Christophe. \u201cTrouble Every Day in Gothic Suburbia: Disorientation in George Romero\u2019s The Season of the Witch\/Jack\u2019s Wife<\/em>.\u201d In Gothic News Volume 2: Studies in Classic Contemporary Gothic<\/em>, dirig\u00e9 par GIlles Menegaldo.. Michel Houdiard, 2010, pp. 128-39.<\/p>\n Daniel, Joachim. George A. Romero et les zombies : autopsie d\u2019un mort-vivant<\/em>. L\u2019Harmattan, 2014.<\/p>\n Lafond, Frank (ed.). George A. Romero, un cin\u00e9ma cr\u00e9pusculaire<\/em>. Michel Houdiard, 2008.<\/p>\n Le Ma\u00eetre, Barbara. Zombie, une fable anthropologique<\/em>. PU de Paris Ouest, 2014.<\/p>\n — (ed.). La Nuit des morts-vivants, George A. Romero : pr\u00e9cis de composition<\/em>. Le Bord de l\u2019eau, 2016.<\/p>\n Menegaldo, Gilles. \u201cLa Nuit des morts vivants <\/em>de George A. Romero (1968) une modernit\u00e9 subversive.\u201d In Cauchemars am\u00e9ricains : Fantastique et horreur dans le cin\u00e9ma moderne<\/em>, edited by Frank Lafond. \u00c9ditions du C\u00e9fal, 2003. pp. 141-58.<\/p>\n Paffenroth, Kim. Gospel of the Living Dead: George Romero\u2019s Visions of Hell on Earth<\/em>. Baylor University Press, 2006.<\/p>\n Phillips, Kendall R. Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film<\/em>. Southern Illinois University Press, 2012.<\/p>\n Pitassio, Francesco, \u201cMauvais r\u00eaves. George A. Romero, les morts-vivants et le cauchemar am\u00e9ricain.\u201d In Les Peurs de Hollywood : phobies sociales dans le cin\u00e9ma fantastique am\u00e9ricain<\/em>, edited by Laurent Guido. \u00c9ditions Antipodes, 2006, pp. 115-27.<\/p>\n Roche, David. \u201cResisting Bodies: Power Crisis\/Meaning Crisis in the Zombie Movie from 1932 to today.\u201d Textes & Contextes<\/em>, vol. 6, 2011, https:\/\/preo.u-bourgogne.fr\/textesetcontextes\/index.php?id=327<\/a>.<\/p>\n —. Making and Remaking Horror in the 1970s and 2000s: Why Don\u2019t They Do It Like They Used To?<\/em> University Press of Mississippi, 2014.<\/p>\n Samocki, Jean-Marie. \u201cDu cannibale : un pr\u00e9cis de d\u00e9composition – \u00e0 propos de la trilogie des morts-vivants de George A. Romero.\u201d Simulacres<\/em>, vol. 1, 1999, pp. 34-45.<\/p>\n S\u00e9v\u00e9on, Julien. George A. Romero : r\u00e9volutions, zombies et chevalerie <\/em>(\u00e9dition augment\u00e9e). ESC Editions, 2021.<\/p>\n Sutherland, Meghan. \u201cRigor\/Mortis: The Industrial Life of Style in American Zombie Cinema.\u201d Framework<\/em>, vol. 48, n\u00b01, pp. 64-78.<\/p>\n Thoret, Jean-Baptiste (ed.). Politique des zombies : l\u2019Am\u00e9rique selon George A. Romero<\/em>. Ellipses, 2007.<\/p>\n Thoret, Jean-Baptiste. \u201cNous mangeons ce que nous cuisinons : conversation avec George A. Romero.\u201d Simulacre<\/em>s, vol. 6, 2002, pp. 89-110.<\/p>\n Waller, Gregory A. \u201cLand of the Living Dead.\u201d The Living and the Undead: From Stoker\u2019s <\/em>Dracula to Romero\u2019 s <\/em>Dawn of the Dead. University of Illinois Press, 1986, pp. 272-327.<\/p>\n Williams, Tony. Hearths of Darkness: The Family in the American Horror Film<\/em>. 1996. University Press of Mississippi, 2014.<\/p>\n —. The Cinema of George A. Romero: Knight of the Living Dead<\/em>. 2003. Wallflower Press, 2015.<\/p>\n — (ed.). George A. Romero: Interviews<\/em>. University Press of Mississippi, 2011.<\/p>\n Wood, Robin. Hollywood: From Vietnam to Reagan . . . and Beyond<\/em>.1986. Columbia University Press, 2003.<\/p>\n Claire Cornillon<\/strong><\/p>\n Ma\u00eetresse de Conf\u00e9rences – Litt\u00e9rature compar\u00e9e Co-responsable du Master Fiction<\/p>\n Universit\u00e9 de N\u00eemes\n
\nAssociate Professor – Comparative Literature<\/p>\n
\nLaboratoire RIRRA 21 (Universit\u00e9 Paul Val\u00e9ry – Montpellier 3)<\/p>\n