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Narrative, conspiracy, community
Douglas Morrey and Alison Smith

, Paris , Gallimard . Bory , J.-L. ( 1974 ), ‘La bande à Rivette’ , Le Nouvel Observateur , 25 March. Bozon , S. ( 1997 ), ‘Tout ce que les acteurs font 2 fois’ , La Lettre du cinéma , 2 , 42–5 . Caillois , R. ( 1964 ), Instincts et société: Essais de sociologie contemporaine , Paris , éditions Gonthier . Cixous , H. ( 1975 ), Un K incompréhensible: Pierre Goldman , Paris , Christian Bourgois . Debord , G. ( 1992

in Jacques Rivette
A tale of three women, if not more
R. Barton Palmer

Saint-Germain-des-Prés cafés as did Sagan.42 By ignoring male dominance and traditional gender rules rather than protesting against them, Sagan anticipated, even as she enacts, the more theoretically sophisticated critiques of patriarchy and phallocentrism that would in the early 1970s be promoted by Hélène Cixous and others in French feminist circles. Sex between the unmarried in both the younger and older generations dominates the novel’s narrative, though without explicitness, except for the famous passage in which Cécile rhapsodizes about her ‘first time’. She is

in French literature on screen
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Sue Harris

for example the work of Andrea Dworkin, and in particular Dworkin ( 1981 ) Pornography: Men Possessing Women, New York, Women’s Press. 11 This scene is even more revealing when read in the context of Stam’s discussion of what Ruby Rich has designated ‘Medusan’ feminist films, a term taken from Cixous’s ‘Laugh of the Medusa’ ‘where

in Bertrand Blier
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Katharine Hepburn and Spencer Tracy
Kathrina Glitre

dynamic, but it also suggests a hidden gender essentialism: male as practical and rational, female as impractical and irrational – or the difference between a straight line and a spiral (Lundberg and Farnham 1947: 3). It is not so much the pairing of terms that is problematic, but the implicit values attached to each term of the pair: one side is preferred, while the other is denigrated. As Hélène Cixous argues, it is ‘always the same metaphor [. . .]. Thought has always worked through [. . .] dual, hierarchical oppositions. Superior/Inferior’ (1997: 91). Patriarchy is

in Hollywood romantic comedy States of the union, 1934–65
From Madonna to Ally McBeal
Geraldine Harris

paradigm shift might be viewed in relation to ‘French Feminism’ of the 1970s and 1980s. This usually signifies the work of Hélène Cixous, Julie Kristeva and Luce Irigarary, although there are important differences between these three thinkers. Nevertheless, in general terms, they all use poststructuralist linguistic and psychoanalytical theory, mostly drawn from Jacques Derrida and Jacques Lacan, to perform a first- and (arguably) second-stage deconstruction of the western, patriarchal ‘phallologocentric’ symbolic system, that constructs woman and/or the feminine as the

in Beyond representation
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Illness, disability and ‘improper’ subjects
Stephen Greer

impropriety might yet challenge their supposed authority. To theorise the misfit –​and experiences of illness, impairment and disability  –​in terms of propriety is to invoke a dense field of ordered, hierarchical meaning. In the work of Hélène Cixous, the domain of the proper describes a political and moral empire that at once includes and excludes, an empire that is semantic, ontological, and sexual: the proper is property (propriéte), possession, the self (mon proper, my own), the generally accepted meaning of a word (le sens proper), that which defines or identifies

in Queer exceptions
Douglas Keesey

members have included Hélène Cixous and Julia Kristeva. These psychoanalytic feminists have argued that ‘Masculinity controls even at the level of the unconscious, and women operate within the confines of masculine unconscious structures and have been turned into misogynists, despising their own womanhood. To free themselves from this internalised oppression, each woman must, according to Psych et Po, work to “chase the phallus from her head”’ (Duchen 1986: 20). The need to be seen through other than patriarchal eyes guides Amira in her selection of the man she hires to

in Catherine Breillat