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
Debates about little girls' loss of innocence, and the sexualization of girls have become an integral part of media in contemporary culture. Fashion advertising representing young girls and certain types of clothes are specifically prone to generate debates about sexualization. This article looks at the sexualization argument through two sets of fashion editorials, one in a December–January 2011 issue of French Vogue, and another in the December–January 1978 issue of the same magazine. The article exposes the problem of sexualization discourse that relates images to lived experiences of girls even though fashion advertising rarely, if ever, is interested in depicting reality. Sexualization is revealed to be a value statement—the Other of innocence which is set up as the norm. Furthermore, fashion photography is shown to be intertextual; images refer to other fashion photographs. In looking at these issues this article opens up space for discussing the visual and sartorial history of the sexual girl.
This article explores attitudes toward boyhood shaped by the traumatic experiences of the First World War. It focuses particularly on the work of the little-known French author, Paul Cazin, and his attempts to commemorate the entirety of “the lost generation” by transcending divisions of religion and secularism that characterized boyhood activities in France before the war. The figure of the “Manneken-Pis” enables him to do this and is particularly suited to the expression of conflicting attitudes toward militarism in boyhood. Cazin’s intellectual program leads to a reading of the famous Manneken-Pis fountain depicting a urinating boy as a religious artifact. A variety of interwar responses to the statue demonstrate the strength of emotion provoked by the figure of the young boy. The fact that these responses have been enshrined in modern cultural and artistic practices suggests the extent to which the experience of the First World War still conditions attitudes toward boyhood.
The Voice of Real Girls
Authentik: Th e voice of real girls—a for-girls-and-by-girls Quebec-based English magazine—has just released its first issue. Th e publication, which is distributed across the province,1 a joint initiative of Maison des Jeunes Bordeax-Cartierville and Laval Liberty Community Learning Centre, is funded in part by Canadian Department of Heritage, Th e Solstice Foundation and Caisse Desjardins de Chomedy. Th e English edition follows in the footsteps of the award winning French language publication—Magazine Authentik—which is now in its third year.2 Th e goal of the magazine is to encourage critical thinking, selfesteem and creative expression among girls between 12 and 17 years of age. Th is youth-based, participatory publication focuses on creating a platform from which girls can work together as agents of change and create something that can have a positive infl uence in their lives and in the lives of other girls. “We all did bits and pieces and we took all the pictures,” said 17 year-old Joanne.
Cinemas of Boyhood Part II
2011. If we look more broadly at postwar European cinema, we cannot forget the film that helped to inaugurate the French New Wave—Truffaut’s The 400 Blows ( 1959) —as well as other French classics about boys such as Murmur of the Heart (1971) , Au
The Figure of the Girl in International Cinema
political issues of queerness and the problem of representation as well, particularly in relation to the intersection of gender, sexuality, and adolescence. In their respective chapters, Mary Harrod and Fiona Handyside both address French cinema's ability to
Introduction British filmmaker Andrea Arnold and her French counterpart, Céline Sciamma, often come together in their work. Like Arnold's American Honey ( 2016 ) and Sciamma's La Naissance des Pieuvres (Water lilies) ( 2007 ) before them, Bande
Diederik F. Janssen
, there are ‘all sorts and conditions;’ environment moulds them” (Anon. 1890: 147). This merits a bit of intercontinental time-travel. Ecce puer : from Lord Baden-Powell’s and American contemporaries’ middle ages to late nineteenth-century Mexico’s French
The Emotional Education of Boys in Mexico during the Early Porfiriato, 1876–1884
Carlos Zúñiga Nieto
the use of fear to instill obedience among boys. The first part of the article describes the influence of French educators during the Third Republic (1870–1940) on their Mexican counterparts—in particular, Ildefonso Estrada Zenea (1826–1912) and
distribution companies. Indeed, Ayouch partially funded his film with the help of two other producers; although he did eventually receive some funding from the Centre National du Cinéma et de l'Image Animée (CNC) in France. 3 Strand Releasing distributed