Eric Rohmer's Film Theory (1948-1953): From 'école Scherer' to 'politique des auteurs' by Marco Grosoli

would firstly like to thank the British Academy, which made this work possible by granting me a Postdoctoral Fellowship, which I undertook at the University of Kent (Canterbury) between 2012 and 2015. While at Kent, I benefited from the valuable support of Murray Smith (the supervisor of my research project), Cecilia Sayad, Mattias Frey, Maurizio Cinquegrani, Peter Stanfield and from the University of Kent’s School of Arts in general. I want to give particular thanks to Zahra Tavassoli Zea, who translated the many French-language passages in this book into English. Special acknowledgements must also go to Hervé Joubert-Laurencin. Shortly after the completion of my doctoral dissertation (which simply would not have been possible without his help), Hervé encouraged me to undertake this postdoctoral research, offered me invaluable advice and inspiration, supplied me with important scholarly resources, fostered the dissemination of my work, and co-organized a symposium with me at the Institute of Contemporary Arts (ICA) in London in June 2014. This event represented the first tangible outcome of the research project and eventually culminated in this book. In this regard, I would also like to thank the participants of the symposium (Marc Dambre, Antoine de Baecque and Douglas Morrey), the staff of the ICA and Lloyd Michaels (who edited the proceedings and published them in his Film Criticism journal).