The killing of sister Catherine
Deneuve’s lesbian transformations
in From perversion to purity
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Catherine Deneuve cinematic queerness has often emerged from on-screen evocations of a wide range of 'perverse', paradoxical or blank heterosexualities. In 1983 Deneuve's lesbian moments on film reach their peak of exposure with a vampire film The Hunger in which she plays Miriam, last in an ancient race of apparently immortal vampires, able to bestow the gift of several centuries of youth to her chosen partners. This chapter considers exactly why directors gravitate towards Deneuve when trying to evoke or represent forms of female homosexual activity on film. It also considers exactly what such directors actually make Deneuve do and mean once they have her performing these particular forms of lesbian relation. Belle de jour provides a useful point of entry into understanding lesbian sadomasochist cinema's potential for the demystification of the Deneuvian persona.

From perversion to purity

The stardom of Catherine Deneuve

Editors: Lisa Downing and Sue Harris


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