Sapphism on Screen

Lesbian Desire in French and Francophone Cinema

Lucille Cairns

$230

Hardback

Not in-store but you can order this
How long will it take?

Availability Information

We source books from suppliers in Australia and overseas. For books we don't currently have in stock, the time it takes to get them from our suppliers can vary widely - from a few days to a few months - so we check each book with each supplier to determine the expected time it will take to be supplied to us.

We then advise you accordingly. If the time taken to get any book is too long for you, you can let us know and we will cancel or adjust your order, and refund as required.

To find out the anticipated arrival time for specific items prior to ordering, please contact us by phone or email:

Phone +61 2 9264 3111, or 1800 4 BOOKS (1800 4 26657) if outside Sydney:
option 1 Abbey's Bookshop (Crime, History, Science, Kids & more) • info@abbeys.com.au
option 2 Language Book Centre (ESL & Foreign Languages) • language@abbeys.com.au
option 3 Galaxy Bookshop (Sci-fi, Fantasy, Romance, Graphic Novels) • sf@galaxybooks.com.au

QTY:

English

Edinburgh University Press
07 July 2006

Film theory & criticism; Lesbian studies

This book sets out to investigate and theorise mediations of lesbian desire in a substantial corpus of films (spanning the period 1936-2002) by male and female directors working in France and also in French-speaking parts of Belgium, Canada, Switzerland and Africa. The corpus is unique in never before having been assembled, and represents a valuable tool not just for researchers but also for university teachers creating courses both on lesbianism in film and on sexuality in French cinema. A fair number of the 89 texts treated are mainstream films which have achieved high critical acclaim and/or high viewing figures: to cite just a few examples, Henri-Georges Clouzot's Quai des orfevres (1947), Louis Malle's Milou en mai (1989), Claude Chabrol's La Ceremonie (1995), Andre Techine's Les Voleurs (1995), and Francois Ozon's Huit femmes (2001). As such, they have contributed to hegemonic constructions of and debate on (female) homosexuality, in a century wherein sexed/ gendered identity, including sexual orientation, has become a preeminent factor in the constitution of subjectivity. While such constructions and debate have a French-language specificity, and have been produced in distinct socio-political and cultural contexts, this study also engages in analytical comparisons with relevant anglophone films and their own distinct discursive contexts.

By: Lucille Cairns
Imprint: Edinburgh University Press
Country of Publication: United Kingdom
Dimensions: Height: 234mm, Width: 156mm, Spine: 24mm
Weight: 536g
ISBN: 9780748621651
ISBN 10: 0748621652
Pages: 232
Publication Date: 07 July 2006
Audience: Professional and scholarly , Undergraduate
Format: Hardback
Publisher's Status: Active

1. Lesbian Desire in Film: Coming to Terms; 2. Bad Girls: Criminality; 3. Mad Girls: Pathology; 4. Girls On The Edge: Liminality; 5. Girls On Top: Sapphology; 6. Conclusion; Annotated Filmography; Bibliography.

Lucille Cairns is Professor of French, School of Modern Languages and Cultures, University of Durham.

Reviews for Sapphism on Screen: Lesbian Desire in French and Francophone Cinema

Cairns provides us not only with a rich and extensive overview of her subject, but also with an apposite starting-point for future fertile debates. As a consequences, this book will be of great value for the fields of French and francophone screen and cultural studies. -- Daren Waldron Modern Language Review It forms an invaluable resource for anyone working on gay and lesbian studies in a French and/or cultural studies context. -- LISA DOWNING, UNIVERSITY OF EXETER French Studies a great resource as much for film studies as for studies in this genre -- Brigitte Rollet, University of London Institute in Paris Modern and Contemporary France Cairns provides us not only with a rich and extensive overview of her subject, but also with an apposite starting-point for future fertile debates. As a consequences, this book will be of great value for the fields of French and francophone screen and cultural studies. It forms an invaluable resource for anyone working on gay and lesbian studies in a French and/or cultural studies context. a great resource as much for film studies as for studies in this genre