Sapphism on screen : lesbian desire in French and Francophone cinema / Lucille Cairns.

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 befo...

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Bibliographic Details
Main Author: Cairns, Lucille, 1963-
Format: Book
Language:English
Published: Edinburgh : Edinburgh University Press, ©2006.
Subjects:
Online Access:CONNECT
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245 1 0 |a Sapphism on screen :  |b lesbian desire in French and Francophone cinema /  |c Lucille Cairns. 
260 |a Edinburgh :  |b Edinburgh University Press,  |c ©2006. 
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380 |a Filmography. 
504 |a Filmography: pages 198-209. 
504 |a Includes bibliographical references (pages 210-214) and index. 
588 0 |a Print version record. 
505 0 |a Lesbian desire in film: coming to terms -- Bad girls: criminality -- Mad girls: pathology -- Girls on the edge: liminality -- Girls on top: sapphology -- Conclusion. 
520 |a 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 orf÷vres (1947), Louis Malle's Milou en mai (1989), Claude Chabrol's La CÃ♭rÃ♭monie (1995), AndrÃ♭ TÃ♭chinÃ♭'s Les Voleurs (1995), and FranÃʹois 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. 
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