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Ce mémoire s'intéresse à deux films de Catherine Breillat : Romance (1999) et Anatomie de l'enfer (2003). Ces œuvres ont généré de fortes réactions auprès du public, principalement parce que chacun de ces films contient des scènes de sexualité explicite. Par ailleurs, on remarque que malgré son traitement cru et audacieux de la sexualité, le cinéma de Catherine Breillat ne franchit pas la limite du genre pornographique. Ce travail de recherche s'est attardé à comprendre pourquoi Romance et Anatomie de l'enfer jonglent avec les codes du cinéma X, sans toutefois appartenir à cette catégorie de films. Nous avançons l'idée selon laquelle ces deux œuvres de Breillat font subversion aux codes pornographiques, notamment grâce à une forme de littérarité qui est perceptible lors de leur visionnement. Ainsi, notre hypothèse suppose que ces films intègrent certains procédés associés à la littérature et que c'est en partie ce qui permet aux films de se distinguer de l'industrie du porno. Plus précisément, nous pensons que cette littérarité participe à la dimension conceptuelle et réflexive des films et ainsi pointe la façon dont chacune de ces œuvres arrive à critiquer la pornographie et les représentations de la sexualité des femmes à l'écran. Pour ce faire, le premier chapitre de ce mémoire expose le contexte de production et la réception des films avant de plonger dans chacune des œuvres pour examiner l'importance qui est donnée au langage verbal des personnages. Le second chapitre use des notions de narratologie pour observer les structures narratives des deux films. Le dernier chapitre fait l'analyse de divers intertextes littéraires auxquels les films font allusion ou référence implicitement. Ces trois parties cherchent à faire surgir cette littérarité, à en tracer les contours et ainsi comprendre quels sont ses effets dans Romance et Anatomie de l'enfer.

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.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains viii, 255 p. Includes bibliographical references (p. 234-255). Available online via OhioLINK's ETD Center

Made available in DSpace on 2016-04-27T17:27:23Z (GMT). No. of bitstreams: 1 Roberta Sendacz.pdf: 683002 bytes, checksum: dbb8e679b3d1d74f350f94f5561c6472 (MD5) Previous issue date: 2008-05-13 / This paper sets out comparisons, differences and affinities between the works by Catherine Breillat, the movie maker, and by Georges Bataille, the philosopher. As authors who were born in different times and engaged themselves in different areas of knowledge, Breillat s thoughts are expressed through motion picture and those of Bataille in the form of writing. This is the reason why the dialogue implied in this paper has a thematic background. The privilege of both authors´ erotic view is used here as the central axis, starting from Bataille s idea that the sense of eroticism is the fusion, the suppression of limits. However, though both see the union of the bodies as corresponding to a violation of the identities, the presence of the female character in Breillat s films permeates such conception with a certain rare complexity concerning gender and love. The analysis of such particulars opens up the possibility of marking out not only strong points in common, but also significant distinctions between the two eroticisms / Cotejar as obras da cineasta Catherine Breillat e do filósofo Georges Bataille é o objetivo deste trabalho. Sendo autores nascidos em épocas diferentes, e alocados em distintas áreas do conhecimento, o pensamento de Breillat se apresenta na forma de filme e o de Bataille na da escrita. Por tal razão, o diálogo que aqui se propõe é de fundo temático. Toma-se como eixo central o privilégio da visada erótica nos dois autores, partindo da concepção batailliana de que o sentido do erotismo é a fusão, a supressão dos limites . Porém, ainda que para ambos a união dos corpos corresponda à violação das identidades, a presença do personagem feminino nos filmes de Breillat faz essa concepção ser atravessada por uma problemática rara do gênero e do amor. O exame de tais particularidades permite circunscrever pontos de contato intensos, mas também distinções significativas entre as duas eróticas