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Steven Spielberg

David Roche


David Roche

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1This is a collected volume and, as such, it is team work. I’d like to start by thanking each author for the time and energy they put into their work. I am proud of what we have accomplished, and it has been an honor working with you. As a Spielberg scholar, Pascal Couté was very supportive from the outset and helped with the bibliography. The translators, Franck Le Gac and Caitlin Vanessa Smith, were especially efficient and reliable.

2Warm thanks are due to Claude Chastagner who encouraged me to make this proposal to the Profils américains team, and to Vincent Dussol for his support and enthusiasm throughout the process—and his fighting for the screen grabs! Feedback from the reviewers (Francis Bordat and Yves Carlet) was very helpful.

3Funding was provided by the CAS (EA 801) of the Université Toulouse Jean Jaurès, with the wonderful Hanane Serjouan at the helm of the administrative side of things. I thank my colleagues for their trust and support.

4Much love to my family and friends, to Virginie for watching the Indiana Jones movies with me and listening to me blab on and on, and to my daughter Lisa whom I can’t wait to watch E.T., Jaws and Schindler’s List with.


David Roche is Professor of Film Studies at the Université Toulouse Jean Jaurès and Vice-president of SERCIA ( He is the author of Making and Remaking Horror in the 1970s and 2000s (2014) and L’Imagination malsaine (2008), and has edited a themed issue of Transatlantica entitled “Exploiting Exploitation Cinema” (2016), as well as the collected volumes Comics and Adaptation (with Benoît Mitaine and Isabelle Schmitt-Pitiot, 2018), Intimacy in Cinema (with Schmitt-Pitiot 2014) and Approaches to Film and Reception Theories (with Christophe Gelly, 2012). He has published articles on North American and European auteur and horror cinema in Adaptation, E-rea, CinémAction, Horror Studies, Miranda, Post-script and Textes & Contextes. His book Quentin Tarantino: Poetics and Politics of Cinematic Metafiction is forthcoming.

© Presses universitaires de la Méditerranée, 2018

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