Dans Ma Peau
Shape-shifting and subjectivity
in She-wolf
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter aims to consider how Dans Ma Peau frees the female werewolf from the status of the body to allow it to be considered as a mode of embodiment. Dans Ma Peau has been classed among a large number of films emerging from France that are aggressively difficult to watch. The chapter discusses similarities between Dans Ma Peau and werewolf narratives, such as the split-self, the split world within the film, representations of transformation, and how each have severe limitations for theorising female subjectivity. In the case of Dans Ma Peau, the entire film is arguably a transformation scene for Esther as she slowly and irreversibly loses herself to her desire for self-harm, yet there is one particular scene where she significantly represents the shape-shifter. A dominant werewolf and shape-shifter narrative is that of the split-self.


A cultural history of female werewolves

Editor: Hannah Priest


All Time Past Year Past 30 Days
Abstract Views 60 19 1
Full Text Views 36 14 0
PDF Downloads 18 11 2