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<p> Cette &eacute;tude a commenc&eacute; par un int&eacute;r&ecirc;t et un questionnement portant sur la probl&eacute;matique du silence en tant qu'impossible &agrave; dire h&eacute;g&eacute;monique. Le silence &eacute;tant la cons&eacute;quence d'un ph&eacute;nom&egrave;ne immotiv&eacute; il se traduit en une impossibilit&eacute; de d&eacute;crire absolue qui peut r&eacute;sulter d'une exp&eacute;rience difficile comme un traumatisme, ou d'une exp&eacute;rience impossible comme celle de l'alt&eacute;rit&eacute; inconcevable, et qu'on rassemblera sous la d&eacute;nomination d'indicible. Le probl&egrave;me du pouvoir r&eacute;f&eacute;rentiel du langage et en corollaire du pouvoir de l'art est d&egrave;s lors imm&eacute;diatement mis en lumi&egrave;re. Si l'&eacute;criture, expression conceptuelle n&eacute;cessairement symbolique, ne permet de parler de ce que l'on voit qu'au travers du prisme de sa pens&eacute;e propre, alors les mots sont un outil inadapt&eacute; &agrave; la complexit&eacute; de la pens&eacute;e de certaines exp&eacute;riences limites et notamment celle qui implique les questions d'alt&eacute;rit&eacute; et en particulier la pens&eacute;e animale. Les textes choisis pour cette &eacute;tude sont pr&eacute;sent&eacute;s comme une tentative pour lutter contre les d&eacute;rives anthropomorphiques et l'animal y tient donc une place de premier plan. De plus ces textes sont des tentatives d'autofiction, le moi &eacute;tant comme l'animal incapable d'&ecirc;tre saisi et captur&eacute; pour &ecirc;tre mis en mots, il s'agit d&egrave;s lors dans ces ouvrages de travailler sur les limites de l'autofiction et de parvenir &agrave; la renouveler, mais il s'agit aussi de faire reculer les limites de l'irrepr&eacute;sentable en mettant en lumi&egrave;re la possibilit&eacute; m&ecirc;me d'une telle saisie, d'une telle capture. Celle de l'animal mais aussi peut-&ecirc;tre au travers ou avec elle celle du moi. Ainsi la question des limites des moyens de repr&eacute;sentation au coeur de la probl&eacute;matique de l'&eacute;criture du moi rejoint la question que se pose Jacques Ranci&egrave;re quant au pouvoir de l'art en general mais surtout quant &agrave; son pouvoir de repr&eacute;senter ce que certains penseurs ont choisi d'appeler l' &laquo; irrepr&eacute;sentable &raquo;. L'animal en tant qu'il est &agrave; la fois semblable et tout autre se pose comme une figure centrale dans la probl&eacute;matique de la question de la repr&eacute;sentation identitaire. Cependant, et c'est l&agrave; le probl&egrave;me et la question que se pose cette &eacute;tude, il s'agit de savoir s'il est possible de concilier cette approche de l'animal comme figure avec le refus de faire rentrer l'animal dans une d&eacute;marche le r&eacute;duisant &agrave; un contre exemple ou &agrave; une all&eacute;gorie. C'est le pari des auteurs &eacute;tudi&eacute;s dans le travail qui constitue cette &eacute;tude. Les textes choisis affrontent diff&eacute;remment et avec plus ou moins de succ&egrave;s cette difficult&eacute; r&eacute;sultant d'un contexte &eacute;pist&eacute;mologique o&ugrave; s'est op&eacute;r&eacute; un changement paradigmatique vis &agrave; vis de notre relation au monde et aux images.</p>

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This thesis showcases the work of four costume designers working within the genre of costume drama during the 1950s in France, namely Georges Annenkov, Rosine Delamare, Marcel Escoffier, and Antoine Mayo. In unstitching the cinematic wardrobes of these four designers, the ideological impact of the costumes that underpin this prolific yet undervalued genre are explored. Each designer’s costume is undressed through the identification of and subsequent methodological focus on their signature garment and/or design trademark. Thus the sartorial and cinematic significance of the corset, the crinoline, and accessories, is explored in order to determine an ideological pattern (based in each costumier’s individual design methodology) from which the fabric of this thesis may then be cut. In so doing, the way in which film costume speaks as an independent producer of cinematic meaning may then be uncovered. By viewing costume design as an autonomous ideological system, rather than a part of mise-en-scène subordinate to narrative, this fabric-centric enquiry consolidates Stella Bruzzi’s insightful exploration of film costume in Undressing Cinema, Clothing and Identity in the Movies (1997). Where this study diverges from previous work, however, is in its focus on specific costume designers to illustrate the way in which the costume of costume drama may operate as a complex component of cinematic signification in terms of gender, authenticity, status and power.

The aim of this thesis is to analyse the configuration of gender in Giscardian France (1974-1981), as it is represented through the life and work of Patrick Dewaere. To this end, this thesis has the following three correspondent aims: first, to document and analyse the socio-political and historical contexts that influenced the configuration of gender during this period. Second, to position Dewaere in relation to the broader context of 1970s French cinema primarily in the form of contemporary stars with whom he worked – and the filmic representation of gender during this period. Third, to map and explore Dewaere’s on and off-screen life against these sets of contexts. By looking at Dewaere’s life in this way this thesis will not only present a critical response to the research question as it concerns gender identity but it will also fill a small gap in the current dearth of work that exists on 1970s French film.

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According to the latest Celluloid Ceiling Report, conducted by the Center for the Study of Women in Television and Film at San Diego State University, only 7% of all directors working on the top 250 films in the United States in 2014 were women. These bleak statistics no doubt replicate the condition of women in countless other national cinemas. It is, therefore, critical that more attention be given to the women who do manage to succeed in the male-dominated film industry. In my dissertation, I examine the work of two major French women filmmakers, Catherine Breillat and Claire Denis, who have resisted the kind of marginalization and even erasure of women’s presence which this data represents, achieving along the way distinction not just in the French, but in the global cinema context. I analyze their work primarily through the lens of auteur theory and the Cixousian notion of the feminine. For the purpose of this work, I define an auteur as a filmmaker who has established a distinctive but evolving style as well as a set of thematic preoccupations across a significant number of films and a considerable span of time and whose films are recognizable no matter the subject they treat or the context in which they are made. At its inception, auteur theory signaled a radical break with the tradition of film adaptations and literary screenplays that either did not understand or did not care to exploit the specificity of the filmic medium. Yet, in spite of the revolutionary aspects of auteurism, it has remained somewhat regressive in its recognition of and engagement with gender problematics. The putative gender neutrality of auteurism is, in practice, an assumption of masculinity. Female film directors who achieve auteur status (a minority compared to the number of men given the same consideration) are then marked by their difference, they are not simply auteurs but female auteurs. While this designation is potentially limiting, I assert that it is, in fact, a valuable designation, since it has opened up a space for female filmmakers to rewrite dominant cultural narratives and from a feminine perspective. Claire Denis and Catherine Breillat consistently practice a feminine form of filmmaking, that is, filmmaking that opposes through form and representation, the logical, teleological narratives and adherence to patriarchal values associated with traditional filmmaking. While traditional, masculine filmmaking is designed to halt the proliferation of meaning, feminine filmmaking allows for ellipses, creates a space for the unsaid and the unknowable; it asks questions but does not answer them; it allows the reader or viewer to participate in the production of meaning. These are the kinds of films that Denis and Breillat are making and they need to be recognized for their exemplary artistic contributions as well as the space they have created for others to challenge the status quo in the film industry.