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Sapphism on Screen : Lesbian Desire in French and Francophone Cinema / Lucille Cairns.

By: Material type: TextTextPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2006Description: 1 online resource (232 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780748621651
  • 9780748626632
Subject(s): Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgements -- Author’s Note -- Illustrations -- CHAPTER ONE Lesbian Desire in Film: Coming to Terms -- CHAPTER TWO Bad Girls: Criminality -- CHAPTER THREE Mad Girls: Pathology -- CHAPTER FOUR Girls on the Edge: Liminality -- CHAPTER FIVE Girls on Top: Sapphology -- CHAPTER SIX Conclusion -- Annotated Filmography -- Bibliography -- Index
Summary: GBS_insertPreviewButtonPopup('ISBN:9780748621651);This book sets out to investigate and theorise mediations of lesbian desire in a substantial corpus of films (spanning the period 1936-2002) by male and female directors working in France and also in French-speaking parts of Belgium, Canada, Switzerland and Africa. The corpus is unique in never before having been assembled, and represents a valuable tool not just for researchers but also for university teachers creating courses both on lesbianism in film and on sexuality in French cinema. A fair number of the 89 texts treated are mainstream films which have achieved high critical acclaim and/or high viewing figures: to cite just a few examples, Henri-Georges Clouzot’s Quai des orfèvres (1947), Louis Malle’s Milou en mai (1989), Claude Chabrol’s La Cérémonie (1995), André Téchiné’s Les Voleurs (1995), and François Ozon’s Huit femmes (2001). As such, they have contributed to hegemonic constructions of and debate on (female) homosexuality, in a century wherein sexed/ gendered identity, including sexual orientation, has become a preeminent factor in the constitution of subjectivity. While such constructions and debate have a French-language specificity, and have been produced in distinct socio-political and cultural contexts, this study also engages in analytical comparisons with relevant anglophone films and their own distinct discursive contexts."
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780748626632

Frontmatter -- Contents -- Acknowledgements -- Author’s Note -- Illustrations -- CHAPTER ONE Lesbian Desire in Film: Coming to Terms -- CHAPTER TWO Bad Girls: Criminality -- CHAPTER THREE Mad Girls: Pathology -- CHAPTER FOUR Girls on the Edge: Liminality -- CHAPTER FIVE Girls on Top: Sapphology -- CHAPTER SIX Conclusion -- Annotated Filmography -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

GBS_insertPreviewButtonPopup('ISBN:9780748621651);This book sets out to investigate and theorise mediations of lesbian desire in a substantial corpus of films (spanning the period 1936-2002) by male and female directors working in France and also in French-speaking parts of Belgium, Canada, Switzerland and Africa. The corpus is unique in never before having been assembled, and represents a valuable tool not just for researchers but also for university teachers creating courses both on lesbianism in film and on sexuality in French cinema. A fair number of the 89 texts treated are mainstream films which have achieved high critical acclaim and/or high viewing figures: to cite just a few examples, Henri-Georges Clouzot’s Quai des orfèvres (1947), Louis Malle’s Milou en mai (1989), Claude Chabrol’s La Cérémonie (1995), André Téchiné’s Les Voleurs (1995), and François Ozon’s Huit femmes (2001). As such, they have contributed to hegemonic constructions of and debate on (female) homosexuality, in a century wherein sexed/ gendered identity, including sexual orientation, has become a preeminent factor in the constitution of subjectivity. While such constructions and debate have a French-language specificity, and have been produced in distinct socio-political and cultural contexts, this study also engages in analytical comparisons with relevant anglophone films and their own distinct discursive contexts."

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022)