Film Studies

Cinematheque Francaise

Tim Palmer, professor
King Hall 102 B | 910.962.7475 |

Curriculum Vitae


Ph.D. in Communication Arts (Film Program), 2003
University of Wisconsin-Madison, USA
Dissertation: Tales of the Underworld: Jean-Pierre Melville and 1950s French Cinema

M.A. For Research in Film and Television Studies, 1997
Warwick University, England
Graduated with Distinction

B.A. (Hons.) in Film and Literature, 1996
Warwick University, England

Tim Palmer is Professor of Film Studies at the UNCW. His research has been supported by the National Endowment for the Humanities, the American Council of Learned Societies, and the Wisconsin Alumni Research Foundation. He divides his time between the US, the UK, and France. An international film historian, his major research interests include:

  • French and Francophone cinema history
  • Studio systems and rival modes to mass production in France, the US, and Japan
  • Film archives and revisionist film historiographies
  • Feminist film practice, gender in media, and non-traditional modes of representation
  • Film performance and international star systems
  • Film style and technology
  • Publishing and writing about film
  • The international essay film and atypical non-fiction formats
  • Curatorial work, museums and art history, ciné-clubs, and film programming
  • Film minimalism

Palmer is also co-founding Editor-in-Chief of Film Matters, the world’s first peer-reviewed undergraduate cinema studies journal for undergraduates. (Visit:

Cinema Marianne: A New History of Women in the French Film Ecosystem (Manuscript in progress; archival research sponsored by the National Endowment for the Humanities).

Irreversible (Palgrave Macmillan, 2015).

Directory of World Cinema: France (University of Chicago Press/Intellect, 2013). Co-Editor with Charlie Michael.

Brutal Intimacy: Analyzing Contemporary French Cinema (Wesleyan University Press, 2011).

Peer-Reviewed Publications

“Beside Du côté de la côte: Agnès Varda’s Early Applied Cinephilia,” article forthcoming in Short Film Studies, 2022. 

“Frontier Poetry: New Adventures in Contemporary French Horror Cinema,” article forthcoming in Modern & Contemporary France, 2022. 

“Remembrance of Things to Come: Nicole Vedrès, Paris 1900, and the Postwar French Essay Film,” French Screen Studies 21.2, 2021: 123-145. 

“Horrible Histories of Cinema: Parisian Archival Encounters at the Fondation Jérôme Seydoux-Pathé,” forthcoming in The Moving Image 17.2, 2019.

“In Search of Lost Time: Memory and Recall in French Cinema of the Fourth Republic (1946-1958)” chapter forthcoming in Nancy Membrez, (ed.), Memory and Nostalgia in World Cinema (McFarland, 2019).

“Fine Arts and Ugly Arts: Blue is the Warmest Color, Abdellatif Kechiche’s Corporeal State of the Nation,” in Lindsay Coleman and Carol Siegel, (eds.), Sex and Excess on Film: Intercourse in Television, Documentary, Queer Cinema, Arthouse (Lexington Press, 2018).

“Memories of Media: An Interview with Carine Tardieu,” in The Moving Image 17.1, 2018: 142-150.

“The Joy of Burglary: Wealth Relocation Strategies for the Upwardly Mobile in the Postwar French Policier,” in James Leach and Jeanette Stonioski, (eds.), Best Laid Plans: Interrogating the Heist Film (Wayne State University Press, 2017).

“Drift: Paula Delsol Inside and Outside the French New Wave,” Studies in French Cinema, 17:2, Summer 2017: 144-164.

“Valérie Donzelli’s La Guerre est declarée: War and Peace in the Contemporary French Cinema Ecosystem,” Modern & Contemporary France 25:1, Spring 2017: 31-47.

"Modes of Masculinity in Contemporary French Cinema," in Hilary Radner, Raphaëlle Moine and Alistair Fox (eds.), A Companion to Contemporary French Film (Wiley-Blackwell, 2015).

"Rites of Passing: Conceptual Nihilism in Jean Paul Civeyrac's Des filles en noir," Cinephile 8.2, Spring 2013: 8-15.

"Melodramas of the Everyday: An Interview with Julie Lopes-Curval," The French Review 86:3, February 2013: 94-104.

"Crashing the Millionaires' Club: Popular Women's Cinema in Twenty-First Century France," Studies in French Cinema 12:3, Autumn 2012: 201-214.

"Le Cercle rouge: Jean-Pierre Melville entre cinéma d'auteur et cinéma populaire," in Marguerite Chabrol and Alain Kleinberger (eds.), Le Cercle rouge: Lectures croisées (L'Harmattan, 2011).

"The Rules of the World: Japanese Eco-Cinema and Kiyoshi Kurosawa," in Paula Willoquet-Maricondi (ed.), Framing the World: Explorations in Ecocriticism and Film (University of Virginia Press, 2010).

"Don't Look Back: An Interview with Marina de Van." The French Review, 83:5, April 2010: 96-103. Article here

"Contemporary French Feminine Cinema and Lucile Hadzihalilovic's Innocence," The French Review 83:2, December 2009: 38-49. Article here

"Paris, City of Shadows: French Crime Cinema Before the New Wave." New Review of Film and Television Studies, 6:2, August 2008:213-231. Article here

"An Amateur of Quality: Postwar French Cinema and Jean-Pierre Melville's Le silence de la mer." Journal of Film and Video 59:4, pp. 3-19. Article here

"Under Your Skin: Marina de Van and the Contemporary French cinéma du corps." Studies in French Cinema 6:3, Fall 2006, pp. 171-181. Article here

"Style and Sensation in the Contemporary French Cinema of the Body." Journal of Film and Video 58:3, Fall 2006, pp. 22-32. Article here

"Side of the Angels: Dalton Trumbo, the Hollywood Trade Press, and the Blacklist." Cinema Journal 44:4, Summer 2005, pp. 57-74. Article here

"Jean-Pierre Melville and 1970s French Film Style." Studies in French Cinema 2:3, Spring 2003. Article here

Other Publications: Book Chapters, Critical Essays, Reviews

"Exotic Aesthetics: Long Take Style and Staging in the Films of Mizoguchi and von Sternberg." Filmhäftet 122: 4, July 2002, pp. 1-6. Article here

(for a complete listing of all publications and work, please see Curriculum Vitae)