This article offers a reflection on the ways in which the representation of gays and lesbians in contemporary French cinema has mostly focused on specific and limiting traits. With their choice of locales (Paris and other cities) and bodily characteristics (young, fit), these films convey a restrictive view of homosexuality. Such portrayals have gained traction due to their numerous iterations in films and in the media. By focusing on the works of three directors who have adopted a radically different perspective in their portrayals of homosexuality, this article will highlight the close ties that exist between sexuality and topography. Providing a more true-to-life account of homosexuality, the films move away from cities to investigate the geographical margins. In so doing, they question the tenets of France’s republican ideals, where differences tend to be smoothed out in favor of unity and homogeneity. These films reinstate diversity and individuality at the heart of their narratives.
Non-Metropolitan Representations of Homosexuality in Three French Films
The Embodied Film Style of Éric Rohmer
visual film style of the French filmmaker Éric Rohmer. From both the angle of film style and the angle of embodiment, Rohmer's work makes an interesting case study for a number of reasons. The first reason has to do with Rohmer's reputation as a
What facilitates the psychic process of grieving a traumatic loss, and what happens when that process is blocked? Forbidden Games is, on one level, an intimate film about childhood trauma. When viewed from a psychoanalytic perspective informed by concepts such as introjection and pathological mourning, however, it emerges as a complex allegory that reflects, through its narrative and filmic elements, on the sociocultural and historical dynamics of France's troubled response to the loss of its identity as a democracy during World War II. The film also reflects on the even more shameful history of the rise of French anti-Semitism under the Vichy regime and France's history of silencing or repressing the drama of its willing collaboration with the Nazis' Final Solution. Private trauma thus screens public, political trauma as Clément's film becomes both a medium for sociocultural commentary and a memorial to loss that could not be buried or mourned.
As we complete our second year of publication, we notice how international our journal has become. We now receive submissions and publish writing from France, Italy, England, Scotland, Israel, Spain, Germany, Denmark, Finland, Hungary, Australia, and the United States. We imagine that this list will continue to grow because of the ubiquitous nature of both film and the disciplines we bring to bear on the subject of the motion picture. This internationalism is made possible by new technologies in communication, and also by the continuing internationalism of the English language. Film has been the most international of art forms since its origins and it seems only fitting that film studies should be a joint collaboration of writers from around the globe.
Vanvitelli”) Todd Berliner (University of North Carolina, Wilmington) Rick Busselle (Bowling Green State University) Maarten Coëgnarts (University of Antwerp) Antoine Coutrot (French National Center for Scientific Research) Angela Curran (Kansas State
Some Comments on David Bordwell’s Narration in the Fiction Film
that do not square well with the explanations proposed by Laborit in the embedded interviews. Instead, the quotations of scenes from old French films are meant to inflect our understanding of the characters in another direction, the key idea being that
Beyond the Kuleshov Effect
A major star of prerevolutionary Russian cinema and French cinema in the 1920s, Ivan Mozzhukhin will always be associated with a lost experiment from around 1920 carried out by Russian film director Lev Kuleshov. The purported result of the
Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia
a sound movement, … a dialectic: the quest for truth in a concrete and common expression, where it is innocently at work,” said the French director Bruno Dumont, another important but often overlooked figure of slow cinema. For Dumont, “the discovery
Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth
art and vision is associated with fixity, distance, and mimesis, “Eye and Mind” presents us with an alternative in which images radiate, “filling our perception as well as our imaginary” (2015, 4). Consider Merleau-Ponty's account of France's Lascaux
critical impact of Best Years . He claims it “became a touchstone in the evolution of French criticism and provoked one of the most penetrating critical essays in film history” (1974: 271). Bazin makes the point that Best Years has more consistency in