French Queer Cinema

French Queer Cinema

French Queer Cinema

French Queer Cinema

Synopsis

French Queer Cinema looks at queer self-representation in contemporary auteur film and experimental video in France. Whilst there is growing research on representations of queer sexualities in France, this is the first comprehensive study of the cultural formation and critical reception of contemporary queer film and video. French Queer Cinema addresses the socio-political context informing both queer DIY video and independent gay cinema, including films such as Patrice Chéreau's Ceux qui m'aiment prendront le train, Olivier Ducastel and Jacques Martineau's Drôle de Félix, François Ozon's Le Temps qui reste and André Téchiné's Les Témoins. Taking up the recent Anglo-American attention to queer migration, the book looks at gay fantasies of Arab (beur) men, as well as beur self-representation in Europe's fastest-selling gay DV porn production Citébeur. Further chapters cover transgender dissent, and the effects of AIDS and loss on the formation of gay identities. Key Features
• Provides a full, up-to-date account of the formation, reception and setting for contemporary queer film and video in France.
• Situates cinematic representations of migration, social exclusion and queer sexualities in the context of recent repressive legislation on sex work and immigration.
• Covers the work of less well-known directors such as Christophe Honoré, Sébastien Lifshitz and Gaël Morel.

Excerpt

French Queer Cinema documents forms of contemporary queer representation through coverage of auteur film, pornography and diy digital video. Whilst there is important scholarship emerging on queer citizenship, identities and sexualities in France (McCaffrey 2005; Provencher 2007), this is the first study of the cultural formation and critical reception of contemporary queer-authored and queer-themed film and video. French Queer Cinema mixes ideological textual analysis with attention to the aesthetic codes and the socio-political context of a wide range of films from the late 1990s onwards. French Queer Cinema also aims to cut across genres by mixing auteur cinema with both smallscale local pornography and community-based activist video. the corpus includes recent queer-themed films by Patrice Chéreau (Ceux qui m'aiment prendront le train and Son frère), Olivier Ducastel and Jacques Martineau (including Jeanne et le garçon formidable and Drôle de Félix), Christophe Honoré (Dix-sept fois Cécile Cassard and Ma mère), Sébastien Lifshitz (Les Corps ouverts and Wild Side), Gaël Morel (Le Clan), Jacques Nolot (La Chatte à deux têtes and Avant que j'oublie), François Ozon (including Les Amants criminels and Le Temps qui reste) and André Téchiné (Les Temps qui changent and Les Témoins). the scope for queer representation is extended by postcolonial pornography, which shows beur men (French citizens of 'Maghrebi' origin) redefining queer masculinities. the final chapter charts the emergence of a radical, diy digital video culture, combining queer theory, transgender activism and lesbian pornography.

Gay (male) identity is said to have entered an era of hyper-visibility (Pratt 2002). in the arena of cultural representation, two primetime tv fictions, both directed by Christian Faure, are indicative of the current climate of increased gay assimilation – Un amour à taire (2005) documented the history of oppression through the deportation of homosexuals during the Nazi occupation; and Juste une question d'amour (2000), a contemporary coming-out narrative, showed gay male love as both natural and acceptable (Brigitte Rollet has provided a complete overview of homosexual representation on contemporary French television: Rollet 2007). Such 'positive images' of mainstream integration – images . . .

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