Is Sex Comedy or Tragedy? Directing Desire and Female Auteurship in the Cinema of Catherine Breillat
2006; Oxford University Press; Volume: 64; Issue: 1 Linguagem: Inglês
10.1111/j.0021-8529.2006.00237.x
ISSN1540-6245
Autores Tópico(s)Shakespeare, Adaptation, and Literary Criticism
ResumoOver the last few years, the films of Catherine Breillat have run the gauntlet of critical reaction, from condemnation as pornography dressed up as art to acclaim for the audacity required and displayed by her uncompromising depictions of sex acts and female sexuality. Breillat has become a well-known cindaste and novelist (some of her films are translations of her own novels to the screen), but has been less credited as a theorist, despite the philosophical character of interviews such as The Absolute Opacity of Intimacy and texts such as the preface to the screenplay of Romance (1999).' She states in the latter, for example, that what she holds dear is making a moral cinema, but that morality in cinema is to be found not in the morality of the acts filmed, but in the moral dimension of the director's regard [look].2 Breillat's contribution to feminist philosophy has been recognized, however, in a recent essay by Anne Gillain: effect, what Breillat advocates is a symbolic reappropriation of a feminine realm that for centuries has been dissected by the imaginary of men.3 In this essay, I want to draw out the philosophical implications of Breillat's depictions of sexualities and sex acts in order to set out the female
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