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Introduction: Women's film-making in France 2000–2010

This special issue of Studies in French Cinema is one of the outcomes of a conference held in London in December 2010 to reflect on the trends in and achievements of the work of women film-makers in France during the period 2000–2010, almost a decade after the publication of Cinema and the Second Sex: Women’s Filmmaking in France in the 1980s and 1990s (Tarr with Rollet 2001) and Cinéma d’elles 1981–2001 (Audé 2002).1 At the time there appeared to have been little work on women’s film-making in the 2000s, despite the surge of interest generated by women’s contribution to le jeune cinéma français of the mid-1990s onwards (see Prédal 2002, Burch and Sellier 2009), apart from occasional survey articles (Wilson 2005; Ince 2008; Portuges 2009) and an issue of Nottingham French Studies on ‘Focalizing the body in contemporary women’s writing and film-making in France’ (Rye and Tarr 2006). Scholarly work on women’s film-making in the 2000s has tended to focus on individual film-makers and individual films, as in various articles published in previous issues of Studies in French Cinema, notably on the recent work of international auteurs Chantal Akerman, Catherine Breillat, Claire Denis and Agnès Varda, but also on Maghrebi-French 1. The international conference on ‘Women’s Filmmaking in France 2000–2010’, organized by Kate Ince and myself, took place at the French Institute and Institute of Germanic and Romance Studies 2–4 December 2010.