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.

way in which the idea of impact has become a core feature in determining the cultural value of the arts by policy makers and public and corporate funding bodies. This chapter investigates the assumptions around impact in relation to participatory art, as well as the critical and methodological challenges of thinking them together. Using the 2012 Spanish-language production Afuera: lesbianas en escena (Outside: Lesbians on Stage) by the theatre collective Teatro Siluetas from Guatemala and El Salvador as a point of departure, the chapter reflects on a number of

in The gestures of participatory art

knowledge about the condom and sexuality post AIDS. The aim of the chapter is to question the research methods used by social scientists to evaluate adolescent sexual behaviour and condom use. In particular, I analyse the consequences of qualitative research methods and their impact on the construction of adolescent sexuality. My concern in this chapter is not the content of condom stories (see Chapters 6 and 7) but the production of safer sex narratives. In examining research on condom use I show how the issue of gay and lesbian invisibility raised in relation to the

in Object matters
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Karl Marx observed somewhere that Capitalism is the ghost story of reality. Assuming he intended no compliment, where does this leave the ghost story? Best known of the five long tales which make up In a Glass Darkly (1872) is ‘Carmilla’, a covert account of lesbianism, lusciously filmed with Ingrid Pitt and Kate O’Mara under the drably

in Dissolute characters
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Spinsters, lesbians and widows in British women’s fiction, 1850s–1930s

Women outside marriage between 1850 and the Second World War were seen as abnormal, threatening, superfluous and incomplete, whilst also being hailed as ‘women of the future’. Before 1850 odd women were marginalised, minor characters, yet by the 1930s spinsters, lesbians and widows had become heroines. This book considers how Victorian and modernist women's writing challenged the heterosexual plot and reconfigured conceptualisations of public and private space in order to valorise female oddity. It offers queer readings of novels and stories by women writers, from Charlotte Bronte, Elisabeth Gaskell, Ella Hepworth Dixon and Netta Syrett to May Sinclair, Radclyffe Hall, Clemence Dane, Winifred Holtby and Virginia Woolf. This interdisciplinary study tracks diverse representations of the odd woman in fiction and autobiographical accounts in relation to the rise of feminism. It illuminates singleness in the context of the suffrage campaign, women's work, sexual inversion and birth control as well as assessing the impact of the First World War. It draws on advice literature, medical texts, feminist polemic and articles from the new women's magazines. Developing debates within queer theory about gender non-conformity, heteronormativity and relationships between women, this genealogy of the odd woman shows how new conceptualisations of female singleness and lesbianism troubled, and ultimately transformed, social norms.

Sexual transgression in the age of the flapper

This book looks at the highly publicised, sensational trials of several young female protagonists in the period 1918-1924. These cases, all presented by the press as morality tales involving drugs, murder, adultery, miscegenation and sexual perversion, are used as a prism through which to identify concerns about modern femininity. The book first examines a libel case, brought by a well-known female dancer against a maverick right-wing MP for the accusation of lesbianism. One aspect of this libel trial involved the drawing up of battle-lines in relation to the construction of a new, post-war womanhood. The book then looks at two inquests and three magistrate-court trials that involved women and drugs; young women in relationships with Chinese men were also effectively in the dock. One way of accessing court proceedings has been via the account of the trial published as part of the Notable British Trial Series. There are no extant trial transcripts. But there are prosecution depositions lodged at the National Archives, much press reportage, and a number of relevant memoirs, all giving a keen sense of the key issues raised by the trial. The book also focuses on an extraordinary divorce case, that of Christabel Russell, involving cross-dressing, claims of a virgin birth, extreme sexual ignorance, and a particular brand of eccentric modern femininity.

Wittig asserts that a lesbian is not a woman: ‘for what makes a woman is a specific social relation to a man [ … ] a relation which lesbians escape by refusing to become or stay heterosexual’ (Wittig, 1992: 20). Offering a radical analysis of Rousseau’s social contract, which Wittig reads as a ‘heterosexual contract’, she argues that Lévi-Strauss’s theory of the exchange of women ‘exposes heterosexuality as a political régime’, a social contract from which women are explicitly excluded from benefiting (Wittig, 1992: 40). However, while Rich was not alone in positing

in Mobilising classics
Deneuve’s lesbian transformations

unruffled elegance, as symbolised by the crisp linen suit). Here, we have lost the reference to Deneuve’s film career entirely, and her relation to Yves Saint Laurent works with other signifiers of a cultured Frenchness (Norman skin, painting, beauty) to evoke sophistication and style. For readers of Elle and Vogue magazines, despite the differences between them, Deneuve’s persona remains one of flawless elegance. Deneuve

in From perversion to purity

heterosexuals (including researchers into homosexuality)?58 The ironic comment is indicative of an increasingly self-confident collective lesbian identity: one which sought actively to define itself and its relation to medical science. As such it anticipates the anger expressed by Gay Liberation Movement activists in the early 1970s at aversion therapy and other medical attempts to define and ‘cure’ homosexuality.59 Equally important to Arena Three in defining its relationship with mainstream society was the magazine’s interaction with the printed and broadcasting media

in Tomboys and bachelor girls
Domesticity in postwar lesbian oral history

7 ‘I conformed; I got married.’ ‘I conformed; I got married. It seemed like a good idea at the time’: domesticity in postwar lesbian oral history Amy Tooth Murphy Since the end of the twentieth century research on postwar British lesbian life and culture has commonly focused on themes such as socialising and the creation of networks, especially the lesbian bar scene and lesbian social organisations. Research into the history of Arena Three, the first lesbian magazine in Britain, for example, has provided evidence of the ways in which more geographically isolated

in British queer history