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Queering space, age, relationality
Todd W. Reeser

Guiraudie’s cinematic corpus, beginning with his award-winning L’Inconnu du lac, is analysed in relation to space, place, temporality, capitalism, death, and intergenerational same-sex relations.

in Queer cinema in contemporary France
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The look of queer representation
Todd W. Reeser

Sciamma’s corpus is studied from the perspective of queer representation, from her first film where coming-of-age and coming to see how lesbianism is represented cannot be separated, to Portrait of a Lady on Fire where issues of historical representation take centre stage.

in Queer cinema in contemporary France
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Queer productions
Todd W. Reeser

This book introduction introduces a corpus of French films from the twenty-first century that position queerness as optimistic, forward-looking, and positive and that open up solidified notions of hetero- or cisnormativity. The relation of these films to the French cultural context is also treated.

in Queer cinema in contemporary France
Moving normative structures
Todd W. Reeser

The films to date of Olivier Ducastel and Jacques Martineau are studied in this chapter, from Jeanne et le garçon formidable to Haut perchés. Key themes include the representation of HIV-AIDS, coming out and the closet, and gay futurity.

in Queer cinema in contemporary France
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in Queer cinema in contemporary France
Five directors
Author: Todd W. Reeser

"What does queer signify in twenty-first-century French film? How are lesbian, gay, and trans* characters represented on screen? The book responds to these questions via the cinema of five emblematic directors: Jacques Martineau, Olivier Ducastel, Alain Guiraudie, Sébastien Lifshitz, and Céline Sciamma. From gay sex at a nudist beach to lesbian love at a high school swimming pool, from gay road trips across France to transgender journeys through time, the films treated in this study raise a host of key questions about queerness in this century. From award-winners such as Stranger by the Lake and Portrait of a Lady on Fire to the lesser-known Family Tree and Open Bodies, these productions gesture toward an optimistic future for LGBTQ characters and for the world in which they live, love, and desire. Comprehensive in scope, Queer cinema in contemporary France traces the development of queerness across the directors’ careers, from their earliest, often unknown works to their later, major films. Whether they are white, beur, or black, whether they are lesbian, gay, trans*, or queer, the characters open up oppressive notions of hetero- and cisnormativity to something new, something unexpected, and something oriented towards the future.

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Documenting movements in time and space
Todd W. Reeser

The films of Lifshitz are studied, beginning with the premise that a photographic impulse permeates the director’s films, from his early films with beur characters to his later documentaries about LGBTQ subjects.

in Queer cinema in contemporary France
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Pure cinema and Dada/Surrealist films
Maryann De Julio

This chapter discusses Germaine Dulac’s ties to Dada/Surrealist cinema, especially as they relate to her controversial collaboration with Antonin Artaud on La Coquille et le clergyman (1927), and her own experimental films. I use Dulac’s statements regarding the production of La Coquille et le clergyman, along with her theoretical writings on cinema, to discuss the aesthetics and the structure of the film. I refer to Alain and Odette Virmaux’s Artaud/Dulac: La Coquille et le Clergyman. Essai d’élucidation d’une querelle mythique (Paris Expérimental, 1999) to present the history of the film’s reception. As a director and theoretician of experimental film, Dulac proclaimed her goal to make ‘pure’ cinema, which she spoke of as ‘musically constructed’ films or ‘films made according to the rules of visual music’. I examine L’Invitation au voyage (1927), Disque 957 (1929), Thème et variations (1929), and Etude cinématographique sur une arabesque (1929) as further examples of Dulac’s ‘pure’ cinema or ‘musically constructed’ films.

in Germaine Dulac
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Maryann De Julio

The conclusion compares Germaine Dulac’s career and contributions to cinema with those of Alice Guy Blaché, another early woman film pioneer, in order to highlight their differing paths to recognition, and to bring out the specificity of Dulac’s work. Particular attention is paid to the themes and motifs in their work, especially their representation of women, to the fact that each had their own film production company, and to their promotion of cinema and mentoring of future filmmakers.

in Germaine Dulac
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Radio Londra between myth and reality
Ester Lo Biundo

The conclusion of this book is divided into three sections, focusing on the three main outcomes of this work. The first explains how the myth of the BBC in Italy was created. The second claims that the BBC’s ability to engage with ordinary people led to its success in Italy. The third states that BBC transnational programmes during the Second World War contributed to both the creation of a European identity and audience.

in London calling Italy