Hélène Charlery
Publications
Publications
Introduction: Mainstreaming Intersectionality in Contemporary Cinema and TelevisionRevue Française d'Etudes Américaines, 2024, 4 (181), pp.3-13 |
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Can You Sell an Intersectional Narrative in the Early 2010s? The Case of Dee Rees’s Pariah (2011)Revue Française d'Etudes Américaines, 2024, Mainstreaming Intersectionality in Contemporary Cinema and Television, 4 (181), pp.14-35 |
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« Get him Grandpa » : féminité et blanchité dans "Get Out" de Jordan Peele (2017)Miranda : Revue pluridisciplinaire sur le monde anglophone. Multidisciplinary peer-reviewed journal on the English-speaking world , 2022, Representing Whiteness in US Film and Television, 24, ⟨10.4000/miranda.43675⟩ |
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Queen of the fields': Slavery’s Graphic Violence and the Black Female Body in "12 Years a Slave" (Steve McQueen, 2013)Transatlantica. Revue d'études américaines/American Studies Journal, 2018, 1, ⟨10.4000/transatlantica.12453⟩ |
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L'action en noir et au féminin dans "New York Taxi" (Tim Story, 2004)Miranda : Revue pluridisciplinaire sur le monde anglophone. Multidisciplinary peer-reviewed journal on the English-speaking world , 2016, 12, ⟨10.4000/miranda.8552⟩ |
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HBO’s Black Women Artist Biopics: "The Josephine Baker Story" and "Introducing Dorothy DandridgeRevue LISA / LISA e-journal, 2016, vol. XIV-n°2, ⟨10.4000/lisa.8993⟩ |
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Burning Mississippi: Race, Fatherhood and the South in "A Time to Kill" (1996)Miranda : Revue pluridisciplinaire sur le monde anglophone. Multidisciplinary peer-reviewed journal on the English-speaking world , 2011, South and Race / Staging Mobility in the United States, 5, ⟨10.4000/miranda.2343⟩ |
Discussing the Margin-Center Paradigm with Ava DuVernay's 'Middle of NowhereConférence de la SERCIA, SERCIA, Sep 2023, Aubervilliers & Paris, France |
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“‘To hell with it—I’m going to build my own table.’ Ava DuVernay’s activist distribution and crewing models”Congrès de la SAES 2023, Université de Rennes, Jun 2023, Rennes, France |
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“‘It won’t happen to you, so you can laugh’: The Spectacle of White Masculinity in Watermelon Man”Melvin Van Peebles Symposium, Ohio Wesleyan University, Mar 2023, Delaware, United States |
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“(Not so) Accidentally Black and Female? Intersectionality in Ava DuVernay's I Will Follow (2010)?”Colloque « Minority Voices in English-Speaking Cinema and Television », Mikaël Toulza, Université de Lille, Oct 2023, Lille, France |
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Black feminism and complex gender identities in Ava DuVernay's Queen Sugar (S01)JE Feminism and TV Series, Aix-Marseille-Université-UT2J, Oct 2022, Aix-en-Provence, France |
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“Voting Rights and Political Empowerment: an Intersectional Analysis of Mrs. America’s First Season (2020)”“Women Suffrage in the United States: Laws, Practices and Representations (19th-21st centuries), Université du Mans, Feb 2022, En ligne, France |
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Don’t Believe the Hype: représentations et récits linéaires dans 13th (2016) et When They See Us (2019)Portraits croisés d’Afro-américains et de peuples autochtones en Amérique, UT2J CAS, Oct 2022, Toulouse, France |
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“Re-presenting Rebellion on Screen: Intersectional Past and Present Agency in Harriet (Kasi Lemmons, 2019) and Antebellum (Gerard Bush and Christopher Renz, 2020)”Colloque international, Mise en scène de la rebellion dans les Amériques, Université Toulouse Jean Jaurès -CAS, Mar 2022, Toulouse, France |
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“The Representations of Black women in 21st century historical films: the case of Harriet (Kasi Lemmons, 2019)”Black Women’s Activism in the Americas, Annual Conference. Society for History of Women in the Americas, Jul 2022, Londres, United Kingdom |
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Discussing Feminisms in Katia von Garnier's Iron Jawed Angels (2004)”Remembering Women’s Suffrage Struggles in the Atlantic World, Université Toulouse Jean Jaurès-CAS, Dec 2022, Toulouse, France |
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In-between: Black feminism(s), workplaces and romances in Issa Rae's first season of Insecure (2016)”.“Researching the Influence of Feminist Film Theory on 21st Century Films and TV Series”, Université Toulouse Jean Jaurès, Nov 2021, Toulouse, France |
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Compte rendu de lecture : Black Feminism Reimagined After Intersectionality, par Jennifer NashSéminaire "Les Jeudis du Genre", Nov 2020, Toulouse, France |
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“Contemporary African American Women Filmmakers and the Memory of Trauma”JE “African American Memories”,, Université Toulouse Jean Jaurès-CAS, Mar 2020, Toulouse, France |
Mainstreaming Intersectionality in Contemporary Cinema and TelevisionRevue Française d'Etudes Américaines, 4 (181), 2024 |
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Images on the Move: Circulations and Transfers in filmMiranda : Revue pluridisciplinaire sur le monde anglophone. Multidisciplinary peer-reviewed journal on the English-speaking world , 10, 2014, ⟨10.4000/miranda.6144⟩ |
Erasure and Recollection. Memories of Racial Passing Within and Beyond the United StatesPeter Lang, 2021 |
Racial Bodies in Kathryn Bigelow’s "Strange DaysMarianne Kac-Vergne; Julie Assouly. From the Margins to the Mainstream: Women in Film and Television, Bloomsbury, pp.113-132, 2022 |
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‘Everybody needs to see this’ : la télévision dans les films du mouvement des droits civiqueLawrence Aje; Nathalie Dessens; Nicolas Gachon; Anne Stefani. Regards croisés sur la (post)racialité aux États-Unis, Presses Universitaires du Midi, pp.111-132, 2021 |
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‘Always Take Care of Ganja’: Intersectional and Postfeminist Contradictions in "Da Sweet Blood of Jesus" (Spike Lee, 2014)Cristelle Maury; David Roche. Women Who Kill: Gender and Sexuality in Film and Series of the Post-feminist Era, Bloomsbury, pp.226-242, 2020 |
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Lee Daniels’ "The Butler": From the Headlines to the Front LineArmelle Prey; Shannon Wells-Lassagne. Adapting Ending from Book to Screen, Routledge, pp.72-85, 2019 |