This essay explores Jean Benoît-Lévy and Marie Epstein's box-office success La Maternelle and their lesser-known Maternité in the context of interwar debates over women's roles in society. Reflecting natalist-familialist conceptions of motherhood and femininity, the films magnified three pervasive cultural icons in French social and political discourse: the monstrous, childless "modern woman," the exalted mother, and the "single woman" who fell somewhere in the middle. As both products and vehicles of these tropes, La Maternelle and Maternité not only illustrate how popular cinema disseminated and justified certain value-laden assumptions about female identity in the late 1920s and early 1930s; they also reveal the limitations of French feminism and socially-engaged, progressive art of the period.
The Politics of Female Identity in Maternité (1929) and La Maternelle (1933)
Cheryl A. Koos
Renaissance Italy , trans. Lydia G. Cochrane (Chicago, IL: University of Chicago Press, 1985), 117–118. First published as “La ‘mère cruelle’: Maternité, veuvage et dot dans la Florence des XIV-XV siècles,” Annales: Économies, sociétés, civilisations 38, no
Elizabeth C. Macknight
patrie et de la famille”: femmes catholiques et maternité sous la III République (Paris: L’Harmattan, 2000); Bruno Dumons, Les Dames de la Ligue des femmes françaises (1901–1914) (Paris: Cerf, 2006). 5 John K. Huckaby, “Roman Catholic Reaction to the