'Queering the Family? Fantasy and the Performance of Sexuality and Gay Relations in French Cinema 1995-2000

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'Queering the Family? Fantasy and the Performance of Sexuality and Gay Relations in French Cinema 1995-2000. / Ince, Katherine.

In: Studies in French Cinema, Vol. 2, No. 2, 01.07.2002, p. 90-7.

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@article{e77d00e4a89e4128b8d191e42ae6addd,
title = "'Queering the Family? Fantasy and the Performance of Sexuality and Gay Relations in French Cinema 1995-2000",
abstract = "This paper looks in detail at the representation of sexuality in the family in three films of the mid to late 1990s, Balasko{\textquoteright}s Gazon maudit, Berliner{\textquoteright}s Ma Vie en rose, and Giusti{\textquoteright}s Pourquoi pas moi? Its double focus is the changing structure of the French family at the end of the twentieth century, considered against key political developments such as the pacte civil de solidarit{\'e} (PaCS) of November 1999, and the cinematic fantasies in which these structural changes are envisioned. Fable, fantasy or anti-realism mark the endings of Gazon maudit and Pourquoi pas moi?, while sequences of childhood fantasy punctuate the entire length of Ma Vie en rose. No particular theoretical approach to fantasy is preferred, but the conclusion of the paper is that cinema may be a privileged cultural vehicle for politically enabling fantasy, and that the three films discussed demonstrate this where the French family is concerned.",
author = "Katherine Ince",
year = "2002",
month = jul,
day = "1",
doi = "10.1386/sfci.2.2.90",
language = "English",
volume = "2",
pages = "90--7",
journal = "Studies in French Cinema",
issn = "1471-5880",
publisher = "Intellect",
number = "2",

}

RIS

TY - JOUR

T1 - 'Queering the Family? Fantasy and the Performance of Sexuality and Gay Relations in French Cinema 1995-2000

AU - Ince, Katherine

PY - 2002/7/1

Y1 - 2002/7/1

N2 - This paper looks in detail at the representation of sexuality in the family in three films of the mid to late 1990s, Balasko’s Gazon maudit, Berliner’s Ma Vie en rose, and Giusti’s Pourquoi pas moi? Its double focus is the changing structure of the French family at the end of the twentieth century, considered against key political developments such as the pacte civil de solidarité (PaCS) of November 1999, and the cinematic fantasies in which these structural changes are envisioned. Fable, fantasy or anti-realism mark the endings of Gazon maudit and Pourquoi pas moi?, while sequences of childhood fantasy punctuate the entire length of Ma Vie en rose. No particular theoretical approach to fantasy is preferred, but the conclusion of the paper is that cinema may be a privileged cultural vehicle for politically enabling fantasy, and that the three films discussed demonstrate this where the French family is concerned.

AB - This paper looks in detail at the representation of sexuality in the family in three films of the mid to late 1990s, Balasko’s Gazon maudit, Berliner’s Ma Vie en rose, and Giusti’s Pourquoi pas moi? Its double focus is the changing structure of the French family at the end of the twentieth century, considered against key political developments such as the pacte civil de solidarité (PaCS) of November 1999, and the cinematic fantasies in which these structural changes are envisioned. Fable, fantasy or anti-realism mark the endings of Gazon maudit and Pourquoi pas moi?, while sequences of childhood fantasy punctuate the entire length of Ma Vie en rose. No particular theoretical approach to fantasy is preferred, but the conclusion of the paper is that cinema may be a privileged cultural vehicle for politically enabling fantasy, and that the three films discussed demonstrate this where the French family is concerned.

U2 - 10.1386/sfci.2.2.90

DO - 10.1386/sfci.2.2.90

M3 - Article

VL - 2

SP - 90

EP - 97

JO - Studies in French Cinema

JF - Studies in French Cinema

SN - 1471-5880

IS - 2

ER -