Cinema and the Second Sex

Women's filmmaking in France has been a source of both delight and despair.

Cinema and the Second Sex

Women's filmmaking in France has been a source of both delight and despair. On the one hand, the numbers are impressive – over 250 feature-length films were made by over 100 women directors in France in the 1980s and 1990s. On the other hand, despite the heritage of French feminism, French women directors characteristically disclaim their gender as a significant factor in their filmmaking. This incisive study provides an informative, critical guide to this major body of work, exploring the boundaries between personal films (intimate psychological dramas relating to key stages in life) and genre films (which demonstrate women's ability to appropriate and rework popular genres). It analyzes the effects of postfeminism, women's desire to enter the mainstream, and the impact of a new generation of filmmakers, enabling readers to take stock of the wealth and diversity of women's contribution to French cinema during the 1980s and 1990s.

Studies in French Cinema

Because Cinema and the Second Sex treats almost exactly the same historical period as Audé's Cinéma d'elles, 1981–2001, a comparison of the two books may ...

Studies in French Cinema

Studies in French Cinema looks at the development of French screen studies in the United Kingdom over the past twenty years and the ways in which innovative scholarship in the UK has helped shape the field in English- and French-speaking universities. This seminal text is also a tribute to six key figures within the field who have been leaders in research and teaching of French cinema: Jill Forbes, Susan Hayward, Phil Powrie, Keith Reader, Carrie Tarr, and Ginette Vincendeau. Covering a wide range of key films—contemporary and historical, popular and auteur—the volume provides an invaluable overview for students and scholars of the state of French cinema, and French film studies at the beginning of the twenty-first century.

Existentialism and Contemporary Cinema

This is a volume of essays which addresses a relatively neglected topic and conceptual approach, and is of relevance across a range of interrelated areas, specifically film studies, French studies, existentialist studies, philosophy, modern ...

Existentialism and Contemporary Cinema

Simone de Beauvoir's work has not often been associated with film studies. This is paradoxical when it is recognized that she was the first feminist thinker to inaugurate the concept of the gendered "othering" gaze. Moreover, other concepts associated with Beauvoirian existentialism such as ambiguity, gendered alienation, situated freedom, and woman as absolute Other are highly suggestive for reading screen culture. This book is an attempt to redress this balance and reopen the dialogue between Beauvoir's writings and film studies. The authors analyze a range of films, from directors including Claire Denis, Michael Haneke, Lucille Hadzihalilovic, Sam Mendes, and Sally Potter, by drawing from Beauvoir's key works such as The Second Sex (1949),The Ethics of Ambiguity (1947),and Old Age (1970). The breadth of this book demonstrates the extent to which "existential" themes transcend space and time, continue to resonate with contemporary stars and film directors, and add value and meaning to the basic questions about human existence, and the quest for "authenticity."

A Belle Epoque

This book explores all these facets of the period, weaving them into a complex, multi-stranded argument about the importance of this rich period of French women’s history.

A Belle Epoque

The Third Republic, known as the 'belle époque', was a period of lively, articulate and surprisingly radical feminist activity in France, borne out of the contradiction between the Republican ideals of liberty, equality and fraternity and the reality of intense and systematic gender discrimination. Yet, it also was a period of intense and varied artistic production, with women disproving the critical nearconsensus that art was a masculine activity by writing, painting, performing, sculpting, and even displaying an interest in the new "seventh art" of cinema. This book explores all these facets of the period, weaving them into a complex, multi-stranded argument about the importance of this rich period of French women's history.

Swedish Cinema and the Sexual Revolution

The second sex scene is of fundamental importance, marking a radical turning point in Julie and Jean's relationship, and thus in the story.

Swedish Cinema and the Sexual Revolution

Swedish cinema became recognized for daring representations of sexuality with such films as One Summer of Happiness (1951), The Silence (1963), I Am Curious (Yellow) (1967) and a wave of sex films in the late 1960s and 1970s. The association between Swedish film and sexuality shows up frequently in popular culture. From Taxi Driver (1976) to Mad Men (2007-2015), dirty Swedish movie references abound. Yet the connection has attracted little critical attention. In this collection of new essays, Swedish and American scholars go beyond popular misconceptions to explore the origins, influences and reception of sexuality in Swedish cinema during the "sexual revolution" on both sides of the Atlantic. A broad range of topics are covered, from analyses of key films, to a behind-the-scenes study of the Swedish Film Institute, which played a significant role in opposing Swedish film censorship.

A Companion to Contemporary French Cinema

Translated by Alistair Fox Notes 1 See Carrie Tarr and Brigitte Rollet, Cinema and the Second Sex: Women's Filmmaking in France in the 1980s and 1990s (New ...

A Companion to Contemporary French Cinema

A Companion to Contemporary French Cinema presents a comprehensive collection of original essays addressing all aspects of French cinema from 1990 to the present day. Features original contributions from top film scholars relating to all aspects of contemporary French cinema Includes new research on matters relating to the political economy of contemporary French cinema, developments in cinema policy, audience attendance, and the types, building, and renovation of theaters Utilizes groundbreaking research on cinema beyond the fiction film and the cinema-theater such as documentary, amateur, and digital filmmaking Contains an unusually large range of methodological approaches and perspectives, including those of genre, gender, auteur, industry, economic, star, postcolonial and psychoanalytic studies Includes essays by important French cinema scholars from France, the U.S., and New Zealand, many of whose work is here presented in English for the first time

Hollywood s Second Sex

"Women stars in Hollywood were invariably in two categories," said director Otto Preminger.

Hollywood      s Second Sex

“Women stars in Hollywood were invariably in two categories,” said director Otto Preminger. “One group was of women who were exploited by men, and the other, much smaller group was of women who survived by acting like men.” Beginning with silent film vamp Theda Bara and continuing with icons like Greta Garbo, Marilyn Monroe and Raquel Welch, this study of film industry misogyny describes how female stars were maltreated by a sexist studio system—until women like Katharine Hepburn and Bette Davis fought for parity. The careers of Doris Day, Brigitte Bardot, Carole Landis, Frances Farmer, Dorothy Dandridge, Inger Stevens and many others are examined, along with more recent actresses like Demi Moore and Sharon Stone. Women who worked behind the scenes, writing screenplays, producing and directing without due credit, are also covered.

Britain and the Cinema in the Second World War

Costello, Sex, Love and War (op. cit.) pp. 316, 29, 14; Raymond Minns, Bombers and mash; the domestic front 1939–45 (London, 1980) pp. 178–9; A. Calder, ...

Britain and the Cinema in the Second World War

The essays which appear in this book for the most part originated as papers delivered at a conference on Britain and the cinema in the Second World War held in London in May 1985.

Cool Men and the Second Sex

Silverman describes the masochistic pleasure movie viewers—male and female alike—take in experiencing a loss ofplenitude “through the agency of the cut,” ...

Cool Men and the Second Sex

The author identifies a number of male figures with 'cool masculinity', including Edward Said, Henry Louis Gates Jr, Quentin Tarantino, Spike Lee and Brian de Palma.

A new dawn for the second sex

Courtly love obviously differs from Sade's model of sex as violence and rape, which, ... The director and scriptwriter of the first film were women, as, ...

A new dawn for the second sex

To what extent is Simone de Beauvoir's study The Second Sex still relevant? From her work it emerges that patriarchy is a many-headed monster. Over the past decades, various heads of this monster have been slayed: important breakthroughs have been achieved by and for women in law, politics, and economics. Today, however, we witness movements in the opposite direction, such as a masculinist political revival in different parts of the world, the spread of the neoliberal myth of the Super Woman, the rise of transnational networks of trafficking in women and children, and a new international 'Jihadism'. This suggests that patriarchy is indeed a Hydra: a multi-headed monster that grows several new heads every time one head is cut off. Since different - often hybrid - heads of patriarchy dominate in different settings, feminism requires a variety of strategies. Women's movements all over the world today are critically creating new models of self and society in their own contexts. Drawing on notions of Beauvoir, as well as Michel Foucault, this book outlines a 'feminism in a new key' which consists of women's various freedom practices, each hunting the Hydra in their own key - but with mutual support.

The Cinema Book

Ginette Vincendeau, The Companion to French Cinema, London, BFI Publishing, 1996. ... Carrie Tarr with Brigitte Rollet, Cinema and the Second Sex: Women's ...

The Cinema Book

The Cinema Book is widely recognised as the ultimate guide to cinema. Authoritative and comprehensive, the third edition has been extensively revised, updated and expanded in response to developments in cinema and cinema studies. Lavishly illustrated in colour, this edition features a wealth of exciting new sections and in-depth case studies. Sections address Hollywood and other World cinema histories, key genres in both fiction and non-fiction film, issues such as stars, technology and authorship, and major theoretical approaches to understanding film.

European Cinema in Motion

Migrant and Diasporic Film in Contemporary Europe D. Berghahn, C. Sternberg ... 2000), Cinema and the Second Sex: Women's Filmmaking in France in the 1980s ...

European Cinema in Motion

This collection brings together international experts on the cinema of migration and diaspora in postcolonial and postnational Europe. It offers a comprehensive theoretical and analytical discussion of a highly productive creative sector and documents the spectrum of this area of exploration in European, transnational and World Cinema studies.

The European Cinema Reader

( 1993 ) Red Women on the Silver Screen – Soviet Women and Cinema from the ... ( 2001 ) Cinema and the Second Sex – 20 Years of Film - making in France ...

The European Cinema Reader

This is a comprehensive introduction to the theory and practice of national cinemas in Europe, bringing together classic writings by key film-makers such as Eisenstein, Bunuel and Grierson and by critics such as Bazin and Wollen.

Bicultural Literature and Film in French and English

He has published a number of books, mainly on French cinema: French Cinema in ... Her publications include Cinema and the Second Sex: Women's Filmmaking in ...

Bicultural Literature and Film in French and English

This book focuses on literature and cinema in English or French by authors and directors not working in their native language. Artists with hybrid identities have become a defining phenomenon of contemporary reality following the increased mobility between civilisations during the postcolonial period and the waves of emigration to the West. Cinema and prose fiction remain the most popular sources of cultural consumption, not least owing to the adaptability of both to the new electronic media. This volume considers cultural products in English and French in which the explicitly multi-focal representation of authors' experiences of their native languages/cultures makes itself conspicuous. The essays explore work by the peripheral and those without a country, while problematising what might be meant by the widely used but not always well-defined term ‘bicultural’. The first section looks at films by such well-known filmmakers working in France as Bouchareb, Kechiche, Legzouli and Dridi, as well as the animated feature Persepolis. Here the focus is on the representation of human experience in spatial terms, exploring the appropriation of territory cohabited by ‘local’ people, newcomers and their children, haunted by the cultural memories of distant places. The second part is devoted to multicultural authors whose ‘native’ language was English, Russian, Polish, Hungarian or Spanish (Beckett, Herzen, Voyeikova, Triolet, Conrad, Hoffmann, Kristof, Dorfman), and their creative engagement with difference. A study of the emergence of multilingual writing in Montaigne and an autobiographical essay by Elleke Boehmer on growing up surrounded by English, Dutch, Afrikaans and Zulu frame the volume's chapters. The collection relishes the freedom provided by liberation from the confines of one language and culture and the delight in creative multilingualism. This book will be of significant interest to those studying the subject of biculturalism, as well as the fields of comparative literature and cinema.

The French Cinema Book

Tarr, C. with Rollet, B. (2001) Cinema and the Second Sex: Women's Filmmaking in France in the 1980s and 1990s, New York, Continuum.

The French Cinema Book

This thoroughly revised and expanded edition of a key textbook offers an innovative and accessible account of the richness and diversity of French film history and culture from the 1890s to the present day. The contributors, who include leading historians and film scholars, provide an indispensable introduction to key topics and debates in French film history. Each chronological section addresses seven key themes – people, business, technology, forms, representations, spectators and debates, providing an essential overview of the cinema industry, the people who worked in it, including technicians and actors as well as directors, and the culture of cinema going in France from the beginnings of cinema to the contemporary period.

Lesbian Cinema after Queer Theory

Tarr, Carrie and Brigitte Rollet (2001), Cinema and the Second Sex: Women's Filmmaking in France in the 1980s and 1990s, New York: Continuum.

Lesbian Cinema after Queer Theory

The unprecedented increase in lesbian representation over the past two decades has, paradoxically, coincided with queer theory's radical transformation of the study of sexuality. In Lesbian Cinema after Queer Theory, Clara Bradbury-Rance argues that this contradictory context has yielded new kinds of cinematic language through which to give desire visual form. By offering close readings of key contemporary films such as Blue Is the Warmest Colour, Water Lilies and Carol alongside a broader filmography encompassing over 300 other films released between 1927 and 2018, the book provokes new ways of understanding a changing field of representation. Bradbury-Rance resists charting a narrative of representational progress or shoring up the lesbian's categorisation in the newly available terms of the visible. Instead, she argues for a feminist framework that can understand lesbianism's queerness. Drawing on a provocative theoretical and visual corpus, Lesbian Cinema after Queer Theory reveals the conditions of lesbian legibility in the twenty-first century.

Studying French Cinema

Hughes, A. and J.Williams, Gender and French Cinema, Oxford: Berg, 2001. ... Tarr, C. (with B. Rollet), French Cinema and the Second Sex, London: Continuum, ...

Studying French Cinema

Adopting a textual approach, with an emphasis on recent popular films, Studying French Cinema is geared toward nonspecialists studying French and film studies, as well as the general reader who might be interested in postwar French cinema. Each chapter focuses on one or more key films, from the groundbreaking output of the Nouvelle Vague ( Les 400 coups, 1959) to contemporary documentaries ( Etre et avoir, 2002) and situates these works within explorations of childhood, adolescence, and coming of age; auteur ideology and individual style; the representation of recent French history; aesthetic approaches; transnational production practices; and popular cinema, comedy, and gender issues. Taken together, this history provides a fresh perspective on postwar French history and points readers toward further study of related films.

The Cinema of Catherine Breillat

Tarr, C. and Rollet, B. (2001) Cinema and the Second Sex. Women's Filmmaking in France in the 1980s and 1990s. New York and London: Continuum.

The Cinema of Catherine Breillat

In The Cinema of Catherine Breillat, Bélot offers a detailed analysis of Breillat’s films by looking at the representation of women as sexual beings. These women’s search of identity echoes that of Breillat’s in establishing a personal or intimate cinema.

New Extremism in Cinema From France to Europe

Tarr, Carrie and Brigitte Rollet (2001), Cinema and the Second Sex: Women's Filmmaking in France in the 1980s and 1990s, London: Continuum.

New Extremism in Cinema  From France to Europe

Explosive images of sex and violence in films by directors such as Catherine Breillat, Gaspar Noe, Michael Haneke and Lars von Trier have attracted media attention for the ways in which they seek to shock and provoke the spectator into powerful affective and visceral responses. This first collection of essays devoted to the new extremism in contemporary European cinema critically interrogates this highly contentious body of work and demonstrates that these films and the controversies they engender are indispensable to the critical task of rethinking the terms of spectatorship. Through critical discussions of key films and directors, this book sheds new light on cutting-edge debates in Film Studies regarding sexuality, violence and spectatorship, affect and ethics, and the political dimensions of extreme cinema.Including important new work from internationally renowned scholars Martin Barker and Martine Beugnet, as well as combining a range of approaches to extreme cinema across audience research and