Talk:Catherine Breillat

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Comment

Hi Wikipedians! I'm compiling a few sources on Catherine Breillat to be added later on her Wikipedia page. I'm hoping to update the information about her style and reoccurring thematic elements through her film. Let me know if you have any thoughts on these:

Bélot, Sophie. The Cinema of Catherine Breillat. Leiden, NETHERLANDS: BRILL, 2017.

Constable, Liz. "Unbecoming Sexual Desires for Women Becoming Sexual Subjects: Simone de Beauvoir (1949) and Catherine Breillat (1999)." MLN; Baltimore 119, no. 4 (September 2004): 672-95.

Garcia, Maria, and Catherine Breillat. "Rewriting Fairy Tales, Revisiting Female Identity: An Interview with Catherine Breillat." Cinéaste 36, no. 3 (2011): 32-35.

Ince, Kate. The Body and the Screen: Female Subjectivities in Contemporary Women's Cinema. Thinking Cinema ; v. 5. New York, NY ; London: Bloomsbury Academic, 2017.

Keesey, Douglas, Diana Holmes, and Robert Ingram. Catherine Breillat. French Film Directors. Manchester: Manchester University Press, 2016. Nicolelswords (talk) 21:30, 4 March 2018 (UTC)[reply]

Police (film)

This work now has a stub, but I am unclear how to include it in her credits as they are currently structured. Can a more frequent editor here help? -- nae'blis 19:08, 20 October 2006 (UTC)[reply]

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External links modified

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Student work

I've removed some student work for the time being as it's written like an essay. The student's work can be seen below:

Demystifying female sexuality

Throughout her career, Catherine Breillat makes it a priority in her films to expose female sexuality and desire. A self proclaimed romanticist herself, Breillat creates a new definition of romance that encapsulates varying aspects. ^[1] In her films, she shows a more realistic portrayal of romance that doesn't sugarcoat every situation a women encounters either in a relationship or single. According to Breillat, the word romance contains sentiments of darker passion and an unattainable relationship ideal ^[2] Through the lens of her definition of romanticism, Catherine Breillat brings narratives about the female experience to the fore front.

In her film Romance (1998), Breillat rebels against the traditional mainstream narrative in which the female is the passive figure in a relationship. Her protagonist in Romance, Marie, tackles a gender role reversal in her relationship with her partner, Paul. Marie has a lustful appetite for sex and doesn't see much more in a relationship besides the physical aspect of one. Although Paul views her sexual hunger as exhausting, Marie yearns for something much deeper than just sex: true intimacy ^[3] She attempts to find this missing component by cheating on Paul with various lovers. Each new lover she encounters reveals that sex plays an integral role to understanding a human's identity ^[4] Breillat uses graphic, sometimes discomforting, sex scenes to show Marie's understanding of different components of a relationship. She experiences negotiating in sex, BDSM and submission, and consent for sexual encounters.

Similar to Romance, Breillat's film Anatomy of Hell (2003) explores the exchange between two individuals in a relationship and the power dynamics that go along with it. Although the plot of the film isn't too complex, Breillat uses this opportunity to experiment with the idea of the male gaze and the male fantasy through her unnamed female protagonist and the man she pays to explore her body over the course of 4 nights. As she lies passively on the bed, the women asks the man what he sees. Breillat suggests that a woman is susceptible to a male gaze and sometimes almost dependent on it in a variety of cinema.^[5] However, Breillat challenges the male gaze through her selective cropping and editing of the female body. In the scene where the man applies red lipstick both on the woman's lips and vagina, Briellat creates an interesting dichotomy between the lips of her mouth and the lips of her labia.^[6] The camera cropping doesn't sexualize or objectify the female body. The film further moves away from objectifying women, since the main male character is a homosexual. His "gaze" on her body becomes one more of curiosity rather than fetishizing her body.

This is just a bit too much of an OR essay and while there looks to be some good material there, it will take a while for anyone to really verify the sourcing (especially page numbers) and re-write this to Wikipedia's specifications. In the meantime I've moved it here. Shalor (Wiki Ed) (talk) 14:24, 23 May 2018 (UTC)[reply]

References

^ \Bélot, The Cinema of Catherine Breillat.
^ \Bélot, The Cinema of Catherine Breillat.
^ Bélot, The Cinema of Catherine Breillat.
^ Bélot, The Cinema of Catherine Breillat.
^ Belot, Embracing Sexual Difference in Catherine Briellat's Anatomy of Hell
^ Belot, Embracing Sexual Difference in Catherine Briellat's Anatomy of Hell

Are we related

Mark Breillat.

Been taking quite an interest in your French films absolute brilliant master peices. 92.40.200.222 (talk) 17:32, 3 March 2022 (UTC)[reply]

[1] \Bélot, The Cinema of Catherine Breillat.

[2] \Bélot, The Cinema of Catherine Breillat.

[3] Bélot, The Cinema of Catherine Breillat.

[4] Bélot, The Cinema of Catherine Breillat.

[5] Belot, Embracing Sexual Difference in Catherine Briellat's Anatomy of Hell

[6] Belot, Embracing Sexual Difference in Catherine Briellat's Anatomy of Hell

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