Gendered Frames, Embodied Cameras Gendered Frames, Embodied Cameras Varda, Akerman, Cabrera, Calle, and Maïwenn Cybelle H. McFadden FAIRLEIGHDICKINSONUNIVERSITYPRESS Madison•Teaneck PublishedbyFairleighDickinsonUniversityPress CopublishedwithRowman&Littlefield 4501ForbesBoulevard,Suite200,Lanham,Maryland20706 www.rowman.com 10ThornburyRoad,PlymouthPL67PP,UnitedKingdom OriginalFrenchextracts&EnglishsubtitlesfromDemainetencoredemain Extractsfrom“EntretienavecDominiqueCabrera,”LafauteàRousseau22 ExtractsfromCalle,M’as-tuvue Copyright©2014byCybelleH.McFadden Allrightsreserved.Nopartofthisbookmaybereproducedinanyformorbyany electronicormechanicalmeans,includinginformationstorageandretrievalsystems, withoutwrittenpermissionfromthepublisher,exceptbyareviewerwhomayquote passagesinareview. BritishLibraryCataloguinginPublicationInformationAvailable LibraryofCongressCataloging-in-PublicationData McFadden,CybelleH.,1975- Genderedframes,embodiedcameras:Varda,Akerman,Cabrera,Calle,andMaïwenn/CybelleH. McFadden. pagescm Includesbibliographicalreferencesandindex. ISBN978-1-61147-632-3(cloth:alk.paper)--ISBN978-1-61147-633-0(electronic) 1.Varda,Agnès,1928---Criticismandinterpretation.2.Akerman,Chantal--Criticismandinterpreta- tion.3.Cabrera,Dominique,1957---Criticismandinterpretation.4.Calle,Sophie--Criticismand interpretation.5.LeBesco,Maïwenn,1976---Criticismandinterpretation.6.Humanbodyinmotion pictures.7.Sexroleinmotionpictures.8.Motionpictures--France.I.Title. PN1998.3.V368M342014 791.4302'330925--dc23 2014012984 TMThepaperusedinthispublicationmeetstheminimumrequirementsofAmerican NationalStandardforInformationSciencesPermanenceofPaperforPrintedLibrary Materials,ANSI/NISOZ39.48-1992. PrintedintheUnitedStatesofAmerica Formyfamily InmemoryofT–T(1979–2001) Contents Acknowledgments ix Introduction:GenderedFrames,EmbodiedCamerasin ContemporaryFrenchCinema(1987–2009) 1 I:Self-AuthorizationthroughSelf-Representation 33 1 ReflectedReflexivity:AgnèsVarda’sAgingFemaleBody 35 2 EnactedReflexivity:ChantalAkermanparChantalAkerman 75 3 HybridReflexivity:DominiqueCabrera’sHalf-Body,Half- Camera 107 II:Self-ConstructionthroughFauxNarratives 143 4 OrchestratedReflexivity:SophieCalle’sNarrativeBodyasArtist 145 5 FauxReflexivity:Maïwenn’sCameraandtheFemaleBody 187 Conclusion:ReflectionsonGenderedFrames,EmbodiedCameras 213 Bibliography 221 Index 229 AbouttheAuthor 233 vii