Constructing subjectivity in the absence of the father and mother
in Luc Besson
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 for pricing options.


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

Redeem token

This chapter talks about constructing subjectivity in the absence of the father and the mother. By reducing subjectivity to a fixed gendered entity (as masculine or feminine), dominant ideology (patriarchy) normalises away questions of power relations. The chapter investigates the issues of transgressive 'child' and absent parent in Luc Besson's films and is going to do so through the triple-optic of genre and gender construction, regression and pathology, resistance and power relations. It first considers the genres that Besson's films exemplify. It is noteworthy that in the main his films are hybrid genres. Thus Subway is a musical and a thriller. Léon is a thriller and a melodrama. Nikita is a film noir and a futurist fantasy. Only Le Dernier Combat and Le Grand Bleu appear to be single generic types.


All Time Past Year Past 30 Days
Abstract Views 51 15 1
Full Text Views 27 14 0
PDF Downloads 5 1 0