François Ozon's films to date have oscillated between the exuberant and satirical send-ups of bourgeois family life Sitcom and 8 Femmes, and the contrastingly sober Sous le sable and 5 x 2. This chapter presents an introduction to Ozon's films that revolve around the centrality of queer desire to his cinema, and the continual performative transformations of identity worked within it. It shows that the condemnation of Ozon's 'immaturity' typified by Frédéric Bonnaud's criticism has masked his originality as France's first mainstream queer auteur. The chapter illustrates the performativity of sexuality and identity that characterises many of Ozon's films by turning to his early set of shorts from 1998, Scènes de lit. It discusses Sitcom, 8 Femmes, and Gouttes d'eau sur pierres brûlantes in which the interest for women and queers of all kinds of Ozon's opening up of the family is clear, and its potential exciting.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.