Shadow of the spectre
Cinema beyond relation?
in François Ozon
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.

ACCESS TOKENS

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

Redeem token

Francois Ozon's cinema experiments wildly with both the representation of forms of sexuality and the representation of forms of power. The vast majority of Ozon's films in the 2000s drastically reduce even a playful presentation of new relations constructed upon the ashes of a successfully conjured, revealed and exorcised spectral father. Refusing or unable to touch the various spectres structuring their desires, Ozon's second decade of protagonists tend to give up struggling against them. Like Sous le sable and Marie, Swimming Pool and its fascinating central character Sarah Morton have inspired more than one specifically psychoanalytic investigation of the various behavioural tendencies Ozon chooses to explore. 5x2 develops the keen interest in the minutiae of quotidian conjugality that Ozon displayed in earlier films such as La Petite Mort and Gouttes d'eau sur pierres brûlantes.

Metrics

All Time Past Year Past 30 Days
Abstract Views 44 16 0
Full Text Views 18 9 0
PDF Downloads 2 1 0