Search results

You are looking at 1 - 9 of 9 items for :

  • "one-woman show" x
  • Refine by access: All content x
Clear All
The stardom of Catherine Deneuve
Editors: Lisa Downing and Sue Harris

Few screen icons have provoked as much commentary, speculation and adulation as the 'she' of this plaudit, Catherine Deneuve. This book begins with a brief overview of Deneuve's career, followed by a critical survey of the field of theoretical star studies, highlighting its potential and limitations for European, and particularly French, film scholarship. It argues the need for the single-star case study as a model for understanding the multiple signifying elements of transnational stardom. Her first role, at the age of 13, was a brief appearance as a schoolgirl in André Hunebelle's Collégiennes/The Twilight Girls. It was in 1965 that Roman Polanski would cast Catherine Deneuve in Repulsion, described by one critic as a 'one-woman show' in a role that would effectively create a persona which would resonate throughout her future film career. The darker shades of the Deneuve persona are in even greater evidence in Tristana. Demy's Donkey Skin is arguably an equal source of the tale's iconic status in France today, and largely because of Deneuve. The book also investigates films of the 1970s; their role in shaping her star persona and the ways in which they position Deneuve in relation to French political culture. The book considers exactly why directors gravitate towards Deneuve when trying to evoke or represent forms of female homosexual activity on film, and to consider exactly what such directors actually make Deneuve do and mean once they have her performing these particular forms of lesbian relation.

‘Frigidity’ and feminism
Lisa Downing

It was in 1965 that Roman Polanski would cast Catherine Deneuve in Repulsion, described by one critic as a 'one-woman show', in a role that would effectively create a persona which would resonate throughout her future film career. The British-made Repulsion was Polanski's first English-language film and his second feature. This chapter contends that Repulsion can be read against the grain to offer a surprisingly sympathetic account of what happens to a young woman of the sexual revolution generation who rejects the imperative of heterosexual activity. It assesses and critiques the reception of Polanski's film Repulsion with regard to its portrayal of female subjectivity, arguing that Deneuve's presence in the film works to disrupt rather than to confirm straightforward stereotypes and codes of femininity. The chapter discusses the significance of this film for the development of Catherine Deneuve's screen persona.

in From perversion to purity
James Thompson

spoken intervention from director Lois Weaver during a performance of Peggy Shaw’s one woman show Ruff , become my chosen examples. My argument is that they illustrate ways that the arts can promote and perhaps produce inter-human relations with deeply embedded mutual care. In each example, the art is being made with and between people, in one sense modelling forms of a caring relationship that might be an inspiration for a more cooperative form of social arrangement, but also crucially enacting that relationship in the moment of the art making. My argument here is

in Performing care
Abstract only
Lisa Downing and Sue Harris

B y 1965, 22-year-old actress Catherine Deneuve had featured in seven films. Of those roles, only one had brought her serious critical recognition: the part of the fresh, innocent heroine of Jacques Demy’s musical extravaganza Les Parapluies de Cherbourg / The Umbrellas of Cherbourg (1964). It was in 1965 that Roman Polanski would cast her in Repulsion, described by one critic as a ‘one-woman

in From perversion to purity
Comedy and humour
Brigitte Rollet

obscene and of “marketplace” speech in language [and the] rejection of social decorum and politeness’ (Stam 1989 : 94) are easily identifiable in café-théátre productions. These places offered one of the few opportunities for women not only to mount their one-woman shows based on scripts they mostly wrote themselves, but also to flout the established order. The transgression was both sexual and social. The birth of more radical women’s comedy dates from this time with Sylvie Joly, a former barrister turned comedian,and Zouc

in Coline Serreau
Humour and narrative control on stage with Ayşe Şahin
Annedith Schneider

3 Home is where the laughter is: humour and narrative control on stage with Ayşe Şahin In a world in which identity is still very tied to nations, an immigrant is by definition someone who is out of place. Anthropologist Liisa Malkki writes about refugees who ‘occupy a problematic, liminal position in the national order of things’ (Malkki 1995: 1–2), emphasising not nationalism, but a way of thinking that orders human beings according to where they supposedly belong or originate from. Ayşe Şahin’s one-woman show, C’est pratique pour tout le monde (It

in Turkish immigration, art and narratives of home in France
Noémie Lvovsky, Valeria Bruni Tedeschi, Maïwenn
Sarah Leahy and Isabelle Vanderschelden

not initially associated with the Young French Cinema, she certainly had direct connections within the cinema industry. She started psychoanalytic therapy in her twenties, which may have triggered her transition to writing: her successful one-woman-show Le Pois-chiche/The Chick Pea , performed at the Café de la Gare in 2001–2, is an in-your-face autobiographical account of her abusive childhood

in Screenwriters in French cinema
Winston James

, but she wasn’t a leader. She had the magnetism to attract people to her organization, but she did not have the power to hold them … It was a one-woman show.’ 56 And this judgement did not only come in hindsight. As early as October 1920 he had privately disclosed to a comrade: I am working quite close to Sylvia & the more I see of her & study her manner & gauge her intellect, the more I recognise how hopeless & what madness it is for her to aspire to be a leader. She is no doubt a

in The Red and the Black
Abstract only
Brian McFarlane and Anthony Slide

Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema.

Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.

in The Encyclopedia of British Film