Search results

You are looking at 1 - 2 of 2 items for :

  • "gendered creative identity" x
  • Refine by access: All content x
Clear All
Dominique Cabrera, Noémie Lvovsky, Laetitia Masson and Marion Vernoux
Author:

This book aims to provoke increased interest in the work of the four directors: Dominique Cabrera, Noémie Lvovsky, Laetitia Masson and Marion Vernoux, although some of their early works have become more difficult to access, most of their films remain commercially available through French distributors. The four directors are not new arrivals and began making films in the early 1990s, yet they have received scant critical attention in both popular and academic film criticism. They share similar profiles in terms of box office success, number of films made and generational affinities and, shorts and feature films in France. They make films that straddle boundaries of categorisation and therefore escape the quickly established and self-perpetuating groupings that serve as powerful frameworks for popular access via DVD distribution, critical canonisation and academic curricula. Whilst Cabrera attests her sanguine awareness of the discriminatory treatment of women in all areas of the film industry she rejects the suggestion that the process of her filmmaking is determined by sexual difference or a gendered creative identity, asserting provocatively. The book discusses Masson's use of romance and detective narratives to debunk the former and subvert the later. The career path of Lvovsky remains distinctive from that of other directors. Vernoux's oeuvre maintains a coherent focus on the modes of transgression present within the generic conventions of comedy and romance in films which exploit the common narrative device of the encounter to propel narratives and characters across social boundaries within a dominant generic focus on romantic comedy.

Abstract only
Continuing negotiations
Julia Dobson

gendered creative identity, asserting provocatively that ‘je n’ai pas le sentiment que c’est seulement mon utérus qui pense quand je fais un film’ 13 (Puaux 2001 : 179). The rejection of the title of woman director, in favour of the perceived gender-neutral label of auteur can result in a concomitant distancing from feminism (Tarr with Rollet 2001 : 10), yet the resistance of these filmmakers to any

in Negotiating the auteur