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Douglas Keesey

Breillat’,27 appear over the same open school notebook as that used by Alice, and the semi-autobiographical film we are seeing is like Breillat’s diary, her cinematic version of ‘écriture féminine’ (‘feminine writing’). Hélène Cixous might almost have had Alice/Breillat’s story in mind when she wrote: ‘J’ai plus d’une fois été émerveillée par ce qu’une femme me décrivait d’un monde sien qu’elle hantait secrètement depuis sa petite enfance. Monde de recherche, d’élaboration d’un savoir, à partir d’une expérimentation systématique des fonctionnements du corps, d

in Catherine Breillat
British pagan landscapes in popular cinema
Tanya Krzywinska

Morgana is intent on overthrowing Arthur’s glorious age of men, which makes her available to be read as a threat to both patriarchal and Christian values. Her representation resonates within the feminist appropriation of witchcraft as a discourse of gender dissidence, as is evident in Cixous and Clement’s (re)appropriation of witchcraft as an anarchic discourse of female empowerment with capacity to subvert

in Cinematic countrysides
L’Année dernière à Marienbad
John Phillips

littérature ’, Positif , no. 44 , March . Burch , Noël ( 2005 ), ‘ Retour sur L’Immortelle ’, in Prédal, Robbe-Grillet Cinéaste , 25–33 . Cixous , Hélène ( 1976 ), Portrait de Dora , Paris , Éditions du Seuil des femmes . Deleuze , Gilles ( 1989 ), Cinema 2: The Time Image , London , Athlone Press . Dittmar , Linda ( 1980 ), ‘ Structures of

in Alain Robbe-Grillet
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Douglas Keesey

fellow director Christine Pascal, whom she considered to be a kind of second sister. I will study the impact of a gender-conservative family environment and a strict religious upbringing, and then the countervailing influence of the Women’s Liberation Movement on Breillat when she moved from the provinces to Paris. My discussion of Breillat’s films will connect them to feminist writings by Beauvoir, Hélène Cixous, Claire Duchen, Juliet Mitchell, Anita Phillips and Susan Bordo as well as to male gender studies by Elisabeth Badinter, Pierre Bourdieu and Daniel Welzer

in Catherine Breillat
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Douglas Keesey

Breillat is not only a filmmaker, but a figure of some prominence on the French literary scene, with eight novels, two published screenplays, a book of interviews and a collection of poems and plays to her credit. Breillat’s texts – particularly her most radical work, Pornocratie (2001) – are strongly indebted to the writings of Marguerite Duras and Hélène Cixous, and Breillat can be seen as part of a growing group of women writers who are most unladylike in their sexually explicit confrontations with some of the darker aspects of passion. These authors include Virginie

in Catherine Breillat
Renate Günther

of binary oppositions which underpins Western culture and thought. As Hélène Cixous has shown, it is only by denying or even destroying one side of this oppositional framework that the hierarchy it supports can remain intact (Cixous and Clément 1975 : 116). The continued dominance of culture, for instance, depends on the repudiation of nature, just as the privileged status of the mind and of reason entails the

in Marguerite Duras
Victoria Best and Martin Crowley

, a loss of self-control that expresses a loss of cultural power and manifests itself in an excessive eroticism. This hystericisation can be productively linked to a postmodern concept of the women’s role in men’s self-creation. In her discussion of the muse, Bronfen uses Cixous’ distinction between two forms of libidinal economy: ‘one – a masculine economy of preservation, the other a feminine one of

in The new pornographies
Subjective realism, social disintegration and bodily affection in Lucrecia Martel’s La ciénaga (2001)
Julián Daniel Gutiérrez- Albilla

the realm of the feminine. This was previously unthought in the phallocentric psychoanalysis of Freud and Lacan, as well as in the psychoanalysis of Kristeva, Cixous and Irigaray. These psychoanalytic theorists still emphasise a language of objects which remain haunted by their relationship to the cut of castration and to the Lacanian phallic signifier. See Ettinger (2005

in Hispanic and Lusophone women filmmakers
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The multiple faces of Chantal Akerman
Marion Schmid

less importantly, to capture the dynamics of ressassement that we have already mentioned as one of the central driving forces behind her work. Comparable to authors such as Beckett, Thomas Bernhard, Hélène Cixous or Marguerite Duras, who are similarly known for their ‘brooding’, circular enquiries, Akerman kaleidoscopically reconfigures, behind a multitude of guises, recurrent tropes and preoccupations that haunt her

in Chantal Akerman
Gender, the family and eroticism
Kate Ince

‘diagnosing’ madness in Christiane, readings of the end of the film (including Franju’s own) have repeated and reinforced the phallocentrism of the main part of its diegesis. Feminist critics of the 1970s, including Hélène Cixous, structured many of their analyses around the observation that in phallogocentric texts – literary, philosophical and other – the opposition of ‘male’ to female’ is homologous to other key binary

in Georges Franju