Romain Chareyron is an Associate Professor of French in the Department of Languages, Literature and Cultural Studies at the University of Saskatchewan, Canada. He is a contemporary French and Francophone cinema specialist, with interests that branch into Francophone culture and contemporary French society. His research primarily focuses on gender and sexuality, the representation of disability, and film genres in contemporary French cinema. He edited Trans Identities in the French Media: Representation, Visibility, Recognition (2023) and co-edited Screening Youth: Contemporary French and Francophone Cinema (2019). His current project is investigating the representation of disability in French cinema.

• 1. Introduction: Isabelle Adjani: The Actress as AuteurRomain Chareyron2. In Constant Struggle: Early Formulations of Isabelle Adjani in Faustine et le bel été (1971)Tim Palmer3. ‘“I’m your wife. Forever. We’ll stay together until we die”: Adjani’s Portrayal of a Fractured Psyche in L’Histoire d’Adèle H. (François Truffaut, 1975)Jamie Nicholas Steele4. “I Recognise the Self Who Has Just Done Something Horrible” – Isabelle Adjani and Performance as Uncanny Self-Disclosure in Possession (Andrzej Żuławski, 1981)Alison Taylor5. Cries and Whispers: Adjani’s Voice, Stardom and the Self in L’Eté meurtrier (Jean Becker, 1983)Sarah Leahy6. The Star and the Spokesman: Isabelle Adjani, Harlem Désir, and “Coming Out” As BeurJerry White7. Isabelle Adjani Creating Lives in Camille Claudel (Bruno Nuytten, 1988) and La Reine Margot (Patrice Chéreau, 1994)Homer B. Pettey8. Adjani’s Virtuosity in Four MomentsBenjamin McCann9. Romanticism and Realism in Isabelle Adjani’s Film Adaptation of Benjamin Constant’s 19th-century novel Adolphe (Benoît Jacquot, 2002)Annabelle Doherty10. Managing Adjani’s Ageing: From Denial to mise en abyme – Gwénaëlle Le Gras11. Isabelle Adjani on Stage After 2016: Navigating Between Meta-Performance and Artistic Exploration Arnaud DupratIsabelle Adjani – Filmography

This volume provides detailed analysis of Adjani’s place in contemporary French cinema, as well as a range of interventions into Star Studies, which have been at the forefront of French film studies for at least two decades. I can’t emphasise enough how this collection represents the very best of French film studies