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Catherine Breillat

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2017) 32 (2 (95)): 117–151.
Published: 01 September 2017
...Ora Gelley The French director Catherine Breillat has in recent years become a kind of figurehead for what has been perceived by many as a new trend in contemporary European cinema toward extreme representations of violence and graphic sexuality. As a consequence of the controversy provoked by...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2015) 30 (3 (90)): 161–187.
Published: 01 December 2015
... 2015 New French Extremism contemporary art cinema Philippe Grandrieux Catherine Breillat Bruno Dumont Figure 1. A New Life (La vie nouvelle, dir. Philippe Grandrieux, France, 2002) Reframing the New French Extremity: Cinema, Theory, Mediation Mauro Resmini Revelations...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 January 1989) 7 (1 (19)): 134–141.
Published: 01 January 1989
... Breillat’s 36 Fillette (her bra size), is an attempt by a woman director to tell a familiar story from an unfamiliar point of view-the girl’s. Even if 36 Fillette fails to wipe out the pedophilic position endemic to the girl’s coming-of-age genre, a number of other films at the Festival are more...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 157–165.
Published: 01 May 2013
...’ Club event. Then load up Wendy and Lucy (dir. Kelly Reichardt, US, 2008) on Netflix, make every young woman watchFat Girl (dir. Catherine Breillat, France/Italy, 2001), and start midnight shows of Desper- ately Seeking Susan (dir. Susan Seidelman, US, 1985). We can do all this, and more, and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2016) 31 (1 (91)): 5–25.
Published: 01 May 2016
... cry from the coercive sex of À ma soeur! (Fat Girl, dir. Catherine Breillat, France and Italy, 2001) or the rage-­fueled sex of Baise-moi­ (Rape Me, dir. Virginie Despentes and Coralie Trinh Thi, France, 2000) insofar as it is generally playful, humorous, and exceptionally varied. Moreover...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2005) 20 (1 (58)): 33–57.
Published: 01 May 2005
... characterizes the current brand of French cinema, with post- Deleuze auteurs like Catherine Breillat (Romance, France, 1999), Virginie Despentes and Coralie Trinh Thi (Baise-moi [Fuck Me], France, 2000), and Gaspar Noé—than about loss, emptiness, and an unfathomable sense of an interiority separate from...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2007) 22 (3 (66)): 93–127.
Published: 01 December 2007
... écriture feminine differently postulated by Hélène Cixous, Catherine Clément, and Luce Irigaray, and — not least — in the publication that same year of Julia Kristeva’s massive dissertation, La revolution du langage poé- tique (Revolution in Poetic Language).14 In taking on the topics...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2013) 28 (1 (82)): 1–35.
Published: 01 May 2013
... as she is of the New Wave and more recent French cinema, including the work of Catherine Breil- lat, which Grey considers an influence on her own work. Portman moves between discussions of acting and ballet with similar ease. She studied ballet as a child, spending eight years in dance...