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Fairytales and the formation of female identity in Catherine Breillat's Barbe Bleue

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Fairytales and the formation of female identity in Catherine Breillat's Barbe Bleue

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Fairytales and the formation of female identity in Catherine Breillat's La Belle Endormie

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Fairytales and the formation of female identity in Catherine Breillat's La Belle Endormie

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Which Breillat films document individuation and a journey towards desire?

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Which Breillat films document individuation and a journey towards desire?

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Rewriting Fairytales - Garcia

Une Vraie Jeune Fille

36 Fillette

Fat Girl

Bluebeard

La Belle Endormie

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Female sexual becomings: (Queer) Intimacy and patriarchal disillusionment

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Female sexual becomings: (Queer) Intimacy and patriarchal disillusionment

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Rewriting fairytales - Garcia

Sexual awakening in the arms of the Romany girl - queer love, sex and desire is liberating.

Anastasia dispenses with Prince Charming - sex with him lacks eroticism and his love his limiting, also Johan later abandons her.

Catherine Breillat - Sophie Bélot

intimacy underpins female sexual be(com)ing

fairytales form part of a socialisation process which effects girls' psycho-sexual formation.

Cinema obsessed with intimacy, or, the self-other and the self-self relation.

'Breillat demythologizes the utopian notion of intimacy by revealing its privatization'. ???

-> Hegemonically intimacy is considered as something which should remain private and is thus connected to te inner self.

->In the West sexuality is private but under public control does she subvert this? ... women's sexuality is intimate, which results in the control and regulation of themselves. 'By revealing women's intimacy, she also brings to the fore their be(com)ing'.

Alex Bellemare

L'identité et sexualité vont de pair

subverts sexual roles - nb Anastasia's father ''la nature a décidé autrement''

le corps passe du l'intime au social - part of growing up - as we have sex?

nighttime riual - dictionary search - puberté - le mot

she craves knowing, gender identity and sexual roles lead her to this - in bed with Peter?

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Fantastical time, wonderful imaginaries, and disappointing realities

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Fantastical time, wonderful imaginaries, and disappointing realities

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Rewriting fairytales - Garcia

Johan asks Anastasia at the end of the film if she still loves him as before, she says she does, but now it's ''after'', 'after her solitary reentry into an utterly different world than that of her dreams.'

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Relationships shape understanding of Self and society

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Relationships shape understanding of Self and society

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Rewriting fairytales - Garcia

Women's encounters with Others allow them to learn about the ways of the world.

Their encounters with other women, allow them to delve into their own nature - what it means to be.

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Rewriting fairytales - Garcia

Breillat's fairytale aesthetic overturns male iconography

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Rewriting fairytales - Garcia

The evolution of the bed - imagery

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Rewriting fairytales - Garcia

Young girls' first desire is to be, not to be married. She makes her way into adulthood by herself, her baby is only hers. She has no mother.

Young girls exist but do not yet exist - simultaneously. They know not who they are going to become.

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Feminist subversions of patriarchy - gender and sexual fluidity

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Feminist subversions of patriarchy - gender and sexual fluidity

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Rewriting fairytales - Garcia

Vladimir - she wants to be a tomboy, to be fearless, she is courageous.

Most young girls are afraid of male desire, Anastasia is not afraid.

Catherine Breillat - Sophie Bélot

She subverts the patriarchal symbolical order which reigns in Walt Disney's adaptations, and is underpinned by rigid conceptualisations of gender and sexuality.

She foregrounds female sexual agency and autonomy

NB but what about ending?

Bellemare

the end of her sleep which isn't passive doesn't require a forced kiss - she is an active subject

Sleep is a a space of invention et de réalisation de soi.

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Dreams and the language of cinema - authorial spectators

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Dreams and the language of cinema - authorial spectators

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Rewriting fairytales - Garcia

NB Fellini

we recognise ourselves onscreen

Anastasia's dream

Catherine Breillat - Sophie Bélot

Mental images created in reading creates a 'reality effect' which impacts and is transformed by the reality of lived experiences in the real world.

Readers tease out new meanings.

Dreams are passive and active acts here, the dream world is where gender identities and behaviours are challenged. (NB verb - to dream up)

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Rewriting fairytales - Garcia

represented by the Romany gypsies

Catherine Breillat - Sophie Bélot

At the time of the film's release gypsies were being expelled from France. Breillat parallels gypsies and girls (all shaped by cultural, social, and political ideologies)

The gypsies' freedom and mobility contrasting to Anastasia's limited world dictated y gender expectations.

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Rewriting fairytales - Garcia

The Snow Queen is a tale of initiation, of the passage from childhood to adulthood.

Peter represents this passage for Anastasia.

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Fariytales as voyages into the unknown, tales of discovery

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Fariytales as voyages into the unknown, tales of discovery

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Rewriting fairytales - Garcia

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La Belle et la Bête - fear and a transformative gaze in Breillat's future cinema

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La Belle et la Bête - fear and a transformative gaze in Breillat's future cinema

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Rewriting fairytales - Garcia

Perhaps this could apply to L'abus de faiblesse?...

The man is not really a beast, but what the woman is afraid of.

When she is no longer afraid, her gaze will transfigure him into an object of desire.

The female gaze (of desire) changes men, albeit sometimes temporarily.

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The feminist textual re-formation and female self-formation

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The feminist textual re-formation and female self-formation

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Catherine Breillat - Sophie Bélot

Through re-forming texts, Breillat addresses female self-formation.

She recreates the text by framing them through acts of reading and dreaming by contemporary protagonists.

-> Reading and dreaming are the mechanisms by which repetition (or oral tales) becomes transformative - a space is opened for gender conventions to be challenged.

She depicts female sexual be(com)ing from an authorial POV.

-> The reading and dreaming framing make the female protagonists the active authors of the films

Through drawing upon intertextualities.

Through showing and undertaking transformations.

The cultural and social power of fairtyales (Bélot, Warner, Zipes)

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The fairytale and metamorphosis/ transformation

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The fairytale and metamorphosis/ transformation

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From the Beast to the Blonde - Marina Warner

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Intertextualities - repetition and reformation

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Intertextualities - repetition and reformation

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Catherine Breillat - Sophie Bélot

La reine des neiges (Andersen)

La belle au bois dormant

Alice au pays des merveilles

Ugly Duckling

Ali Baba

Folk versions of sleeping beauty - sleeping princess is raped by a prince and finds a child born of this assault suckling from her - Madhubanti De

and also article in Fr? on different sleeping beauties

NB Breillat subverts this by creating a virgin birth(? name?)

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Catherine Breillat - Sophie Bélot

Childhood is boring, long waiting for adulthood, waiting passively for Prince Charming when conventional gender roles apply (the clocks around Anastasia's bed act as a reminder of this constraining time).

Madhubanti De

Anastasia is not a victim of time, she asserts her dominance over it.

NB she hides within a clock for 7 hours?! she is apparently still not a passive beauty trapped in frozen time.

---

As before? - love quote

---

Alex Bellemare

le sommeil actif

l'expérience du temps et l'usage des désirs sont deux filtres à travers lesquels l'individu s'invente et se définit

le décalage et l'interversion du temps - sont des principes structurants - states and conditions are placed in parallel and in tension with one another.

-> Sleep and birth are intertwined - the temporal condition of existence is ultimately presented.

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Catherine Breillat - Sophie Bélot

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Feminism: Women's assertion of their own power

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Feminism: Women's assertion of their own power

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Catherine Breillat - Sophie Bélot

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My ideas:

Fairytales have a formative power - Bélot, and children/ readers write shape the stories themselves.

Reading of such tales is not a passive activity but an active one which demands imagination (and the unconscious?)

Madhubanti De

Children's bodies are not yet crystallied - ideal sites for contestation of structures of gender and 'natural' sex that are inscribed on bodies, opening up the very structures to question.

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Fairytales and the formation of female identity in Catherine Breillat's cinema

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Fairytales and the formation of female identity in Catherine Breillat's cinema

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Zipes - The irresistible fairy tale: the cultural and social history of genre

'Breillat explores women's sexuality and the shame that they have been compelled to feel under the male gaze' throughout her cinema.

Reference for shame? Liz Constable: Unbecoming Sexual Desires for Women Becomins Sexual Subjects: Simone de Beauvoir (1949) and Catherine Breillat (1999)

Struggles where women seek to gain a sense of self by discovering and claiming sexual desires.

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Female self-discovery through claiming sexual desires

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Female self-discovery through claiming sexual desires

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Zipes - The irresistible fairy tale: the cultural and social history of genre

Struggles where women seek to gain a sense of self by discovering and claiming sexual desires

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Zipes - The irresistible fairy tale: the cultural and social history of genre

Also seen in A ma soeur (= Fat Girl)

Breillat speaks of this in interview - where??

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Nestled between Europe and Asia, Istanbul is undoubtedly one of most fascinating cities in the world - combining the sensibilities of both continents, it's an exciting and constantly surprising cosmopolitan city with a rich vein of history. Istanbul is also a very vibrant arts capital: the city is awash with festivals, exhibitions, concerts and plays all year round - and perhaps the crowning event is the International Istanbul Film Festival.

The festival showcases the best of both mainstream and independent cinema for an intense and very exciting two weeks every April. It provides an excellent opportunity for foreign visitors to explore Turkish cinema with a selection of the best new productions, as well as restorations of classic (and sometimes thought to be lost) Turkish films. It also introduces audiences to important directors and actors/actresses and gives the prestigious Golden Tulip Award every year to one international and one national production, alongside the FIPRESCI Prize and the Council of Europe Award.

Here are some of the stand-out films from the festival, including the award winners:
The Misfortunates (De helaasheid der dingen) (Winner of the international Golden Tulip)
Set in a small town in the middle of nowhere, Belgium's entry for the Oscars last year follows the story of young Gunther Strobbe, who lives with his father, three uncles and his grandmother. While the male members of the house waste their days away drinking heavy quantities of alcohol, chasing loose women and getting into bar fights, Gunther tries to find his own role within this eccentric and decidedly odd household. Director Felix van Groeningen captures the stark brutality of growing up in what can only be described as unusually appalling conditions. The Strobbe Clan are like overblown, grotesque versions of characters from a Mike Leigh film. Their aspirations are inexistent, and it seems that Gunther might be destined to follow into the same kind of dead-end life. The film is exceptionally simple and yet walks a thin line between pathos and humour as it paints a portrait of an extremely dysfunctional, yet endearing family. The performances are stellar and Kenneth Vanbaeden, Valentijn Dhaenens, Wouter Hendrickx and Johan Heldenbergh shine as older members of the Strobbe family. Although there is no distribution deal for the film in the UK so far, one can only hope that it won't be long before this small and charming masterpiece arrives on our screens.

Vavien
(Winner of the national Golden Tulip)
At once idiosyncratically Turkish and yet marvellously accessible to any foreign audience, the Taylan brothers' third film delivers on the promises made in their previous feature. Borrowing heavily from the films and tone of the Coen Brothers, they create the darkest of comedies in a quintessentially Turkish setting. Engin Günaydin, who also wrote the film, stars as Celal, a hapless electrician whose business and marriage are not going so well. In love with a cheap 'pavyon' singer from Samsun, Celal decides the solution to his problems lies with his wife Sevilay's secret stash of money, sent by her father from Germany. A devious plan slowly hatches in Celal's mind whereby he can solve both his problems with one single act. Reminiscent of Fargo in mood and action, Vavien is a pitch-black comedy. The growing desperation of Celal, his attempts at wooing Sibel, and Sevilay's abrupt conversations with her dad in Germany, are all played straight, and yet the humour never gets lost, thanks to an intelligent and well-written script. Special mention must also go to Serra Yilmaz, who, in spite of her short screen time, manages to steal every scene she is in. A must-see for any lover of intelligent and unique cinema, Vavien is also an indication of the new standards established within Turkish cinema.

Ajami
(Council of Europe Film Award)
I Killed My Mother
(People's Choice Awards)
Canada's bid for the Oscars in 2010, Xavier Dolan's semi-autobiographical film is one of the most emotionally honest and refreshing stories to emerge in years. Focusing on gay teenager Hubert and his tempestuous relationship with his mother, for whom he feels both guilt and contempt, Dolan's feature debut explores the myths and mysteries of adolescence in an unexpectedly direct, amusing and emotional way.
Gainsbourg (Vie HéroÃ¯que)
Almost as creative and outrageous as its subject matter, cartoonist Joann Sfar's debut film based on his graphic novel covers the entire gamut of Serge Gainsbourg's life, from growing up in 1940s Nazi-occupied Paris through to his death in 1996. Filled to the brim with Gainsbourg's unique compositions, the film easily sidesteps the usual traps a biopic can fall into, instead creating an amusing and breathtaking ride through its never-felt 140 minutes. Eric Elmosnino's performance as the titular character is exemplary, effortlessly bringing Gainsbourg's charm and cool to the screen.
Phobidilia
A daring and unusual effort from Israeli directing duo Yoav Paz and Doron Paz, Phobidilia is a modern take on the horrors of the everyday world. After suffering an emotional breakdown in a public place, an unnamed young man vows never to leave his apartment: much to his delight, he quickly discovers that in today's world all his needs can be met easily within the four walls of his apartment. But four years later, his idyllic existence comes under attack from two figures: Daniela, a free-spirited girl who barges into his life, and Grumps, the building's real estate agent. But the young man is not willing to let anyone take his comfortable existence away from him. Both claustrophobic and visually inventive, the debut feature from the duo behind a number of exceptional music videos shows real talent. Add to this a script that dares to ask some very unusual, some might say controversial, questions and you have the makings of a genuinely transgressive film.
Kosmos Space Tourists
Christian Frei's new documentary takes the audience into a fascinating world full of wonder and surprise. Using breathtaking imagery as well as magnificent music by Jan Garbarek, Christian Frei tells the story of Anousheh Ansari, who was the first tourist in space after paying $20 million for the privilege. Her story is juxtaposed with the many other intriguing people who revolve around space travel, from Kazakh rocket debris collectors to photographers exploring abandoned Russian cosmonaut villages. The film is constantly surprising, unexpected and a delight to watch. Christian Frei was awarded the well-deserved Sundance World Cinema Directing Award in the documentary category this year.
Deliver Us from Evil (Fri os fra det onde)
Ole Bornedal returns to the big screen with another re-imagining of the genre film, just as he as done before with science fiction in The Substitute and film noir in Just Another Love Story. Taking the basic idea behind Sam Peckinpah's Straw Dogs, Ole Bornedal twists and reshapes the story into something surreal, disturbing and very, very unique. The film opens with Lars, a drunken failure, running over the town's saintly figure, Ingvar. Although he is racked with guilt, he finds an easy solution in blaming the crime on the local Bosnian refugee Alain. Ingvar's partner Frederik is furious - Ingvar was his only connection to the real world and the only person who could control and subdue his violent rage. The one person who stands up for Alain is Lars's brother Johannes, who has recently moved back to town with his family. When he rescues Alain from being lynched by the mob and retreats to his place, an angry and vicious group lays siege to the only home he now knows. The results are both deadly and tragic. Featuring a blistering final 20 minutes, this film confirms Ole Bornedal's credentials as a major filmmaking talent.
A Town Called Panic (Panique au village)
Based on the Belgian animated cult TV series, A Town Called Panic is perhaps the wackiest, most surreal comedy anyone can hope to see this year.
When Cowboy and Indian want to make a surprise homemade gift for Horse's birthday, little do they know that their efforts will result in the destruction of their entire home and all their belongings. What is even stranger is that the events bring them face to face with an alien race who lives in the centre of the world and whose aim is to steal anything precious. A surreal, mad, hilarious and completely irreverent adventure ends up engulfing not only Cowboy, Indian and Horse, but also their neighbours, the postman and even the local police. With basic stop-motion animation and some of the most charmingly insane characterisations ever seen on the screen, this is the kind of film that reminds you of the power of comedy. It's no surprise that the film won the Audience Award at Austin's prestigious Fantastic Fest last year, as well as the Best Animated Feature award at Sitges 2009.
The Trotsky Evrim Ersoy

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Nestled between Europe and Asia, Istanbul is undoubtedly one of most fascinating cities in the world - combining the sensibilities of both continents, it's an exciting and constantly surprising cosmopolitan city with a rich vein of history.

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Zipes - The irresistible fairy tale: the cultural and social history of genre

The first female filmmaker to adapt Barbe Bleue

She documents a 'young woman's passionate desire to assert herself'. The tale is no longer about curiosity but asserting power.

Explores rebellion over victimisation

Monstrous serial killer - ironically depicted as an intellectual loner - almost incidental

'revolutionises the memetic tradition of bluebeard tales' - showing changed attitudes re women's roles.

-> previously a cautionary tale about women's curiosity - is it still??? - misogynistic silence (literal and intellectual) - Marina Warner

-> Also a warning about male serial killers - does it show they are still a threat or present them rather differently? Is it utopian??

Marriage - subverted power - she refuses to have sex etc, demands own room... - Ruairi McCann

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Zipes - The irresistible fairy tale: the cultural and social history of genre

Catherine (the 6-year-old storyteller - younger sister) and Marie-Catherine (who shares? Breillat's sister's name???) control the narratives of their own lives.

Female narrator contests the dominant male narrative

The female gaze over the male gaze - how shown??

Breillat vs Perrault - check Perrault

Self-assertive young sibling twists Perrault's tale to dominate and kill her sibling - is this unconscious desire?

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Narrative structure and perennial time - an estrangement effect

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Narrative structure and perennial time - an estrangement effect

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Zipes - The irresistible fairy tale: the cultural and social history of genre

No frame narrative, but two similar narratives which the spectator compares.

-> Harks to oral tradition

-> framed by bluebeard discourse

-> demonstrates perennity of issues I think

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Victim or perpetrator? Questionable innocence and ambiguity of female identity

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Victim or perpetrator? Questionable innocence and ambiguity of female identity

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Like in L'Abus de faiblesse

Marie-Catherine and young Catherine

-> Bluebeard is ''in a way... as innocent as Marie Catherine'' - in interivew (electric sheep?) - thus is Marie Catherine ever innocent questions - Madhubanti De

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Catherine Breillat is an award winning French Director - she is also a screenwriter and novelist. She is known for exploring issues of sexuality, gender conflict and sibling rivalry - and has been the subject of controversy over the years. Her latest film, is a reworking of a Charles Perrault fable.

Birds Eye View caught up with Catherine to talk about it.

You've added your own twist with a feminist slant to a classic French fairytale - what was it that attracted you to this fable in the first place and why change the ending?

This is my favourite fairy tale. It is a story for children but it's meant to frighten. It's astonishing that it is a tale about a young girl who loves/likes a man that is going to kill her despite her knowing what it is going to happen to her. She chooses to marry him not because he is rich, but because they are two outsiders that meet/find each other.

She doesn't see the monster everyone sees - the monster is not a monster, but everyone considers him to be.
The Catherine in the telling of the tale and the Catherine in her projection of herself in the tale represent you - they are both the youngest of both sets of sisters, quite precocious and manipulative. How autobiographical were they in terms of character?
You always project. In any given book or film you can always project from inside and then you discover something about yourself. Marie-Catherine is the projection of the Catherine of the tale. Compared with her sister, she is the youngest but also the strongest within the attic.

The youngest sister frightens the eldest and shows her that she is more mature and courageous. Despite everything, the second sister, the youngest one, always suffers from not being the first one.

I (Breillat) have an older sister. It was a great pleasure for me to make her cry a second before I started crying too. Seconds later I would cry, but my eldest sister never knew.
There are lots of themes in Bluebeard, fear and control, sibling rivalry, innocence, as well as temptation and female curiosity - with the consequences not always being positive. Was this your intention? Are you able to expand on these ideas?
What was interesting to me was that this is a very peculiar tale by Perrault. It was transmitted throughout Europe and it reached Japan and USA. In France, Bluebeard is one of the first serial killers in literature. Perrault was inspired by Gilles de Rais, he was a Lord and a serial killer whose wives disappeared too, together with young girls and boys from his county. He was also the best friend of Joan of Arc. I think he was a Count. The youngest girl he married turned to out to be the strongest.
There is latent sexual power themes and imagery in Bluebeard, but different from your previous films there is no explicit sex scenes. Is there a change of tone in your direction?
If I had shot explicit sex scenes I would be in prison because the girls were too young. In any case, this is a tale about desire, manipulation and its obscure object.

There is a small door that hasn't been crossed. The fact that she is too young for him, makes him his teacher. He cannot have sexual desires for her. She is forbidden.
Did having a stoke affect your filmmaking - do you think mortality changes attitudes?
When you grow older it means the end of virginity, of beauty, of eternity. All this gets away from the young girl.
What's next for you - I understand you're working on an adaptation of Sleeping Beauty?
I've just finished La Belle au Bois Dormant (Sleeping Beauty). There will be a big premiere at Venice.

I'm thinking about doing a trilogy on fairy tales, to discover the hidden side of these tales and also of oneself. I have not yet chosen the third tale.

Cristina Moreno spoke to Paris based Director Catherine Breillat. Questions by Lucy Aronica.

Blue Beard is out on Friday. Show your support for Catherine Breillat and women filmmakers by going to see it. For more information, visit our First Weekenders page.

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Bluebeard: An Interview with Director and Screenwriter Catherine Breillat - Birds Eye View Film

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Birds' Eye View is a registered charity which centres wider perspectives of film and the world through advocacy, conversation and community.

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From the Beast to the Blonde

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Power and gender - Feminist psychoanalytic subversions

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Power and gender - Feminist psychoanalytic subversions

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Zipes - The irresistible fairy tale: the cultural and social history of genre

Does she show it's dangerous for the woman to be in power as she kills the man?!

In Perrualt's classic, he suggests that power should always be held by men

-> Connects to Lacan - the husband needing to seek reassurance re the whereabouts of the phallace.

Male unconscious fear of inferiority? create tales to humiliate women and assert hegemony of men - are thus compelled to depict women as fallible

... Breillat subverts this I think.

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Rupturing male domination - the final scene

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Rupturing male domination - the final scene

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The final scene - male domination has ended, but this is not true - just a rupture in the Bluebeard discourse

read intertextualities - NB SECONDARY LIT

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Madhubanti De

Marie Catherine watches Barbe Bleue undressing from the door, unbeknownst to him.

Intertextualities here - Salome (Oscar Wilde); The Bloody Chamber (Carter)

-> desire relates to pleasurable disgust??

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The intersection of spatiotemporal constructs

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The intersection of spatiotemporal constructs

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invoked by Madhubanti De

Sophie Bélot? when young Catherine walks into the bloody chamber it shows that in fairytales through reading you identify with the tale and it changes you???

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Symbolism of transformation and female power/ agency

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Symbolism of transformation and female power/ agency

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Costume - Madhubanti De

white dress marking her as perfect women - can be taken off.. she is no longer the blank (white screen) upon which male heterosexual desire is inscribed.

Shoes - Louboutins - Garcia book?

the bed - Garcia interview

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Madhubanti De

are gendered and the phallic woman is a predatory figure

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Objects, sexual desire, and psychoanalysis

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Objects, sexual desire, and psychoanalysis

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Madhubanti De

key etc

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The role of Fairy Tales in the Self-Realization Process

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The role of Fairy Tales in the Self-Realization Process

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Daniela Sorea

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Archetypes

Numinous experiences

the ouroboros- nb in the tent in La belle endormie