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Ironic Images of Motherhood in Contemporary French

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Ironic Images of Motherhood in Contemporary French IRONIC IMAGES OF MOTHERHOOD IN CONTEMPORARY FRENCH CINEMA by ANN MARIE MOORE METKA ZUPANČIČ, COMMITTEE CHAIR JEAN LUC ROBIN CARMEN MAYER CLAUDIA ROMANELLI JEREMY BUTLER DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Modern Languages and Classics in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2016 Copyright Ann Marie Moore 2016 ALL RIGHTS RESERVED ABSTRACT There is an increasing trend for contemporary French cinema to feature the family unit. As such, it now serves as the ideal locus for criticism and commentary on individual family members. One of the key members, who functions as the basis for many analytical conversations in the real world, is the mother figure. Through presenting her and her various roles in an ironic manner, contemporary French directors François Ozon, Valeria Bruni Tedeschi, and Noémie Lvovsky are each able to provide insight into what society expects of mothers and how mothers and non- mothers react and exist inside the demands of a patriarchal society. In films from the early 2000's to present, Ozon, Lvovsky and Bruni Tedeschi have showcased a myriad of mothers, from the non- mothers who seek motherhood, to the young single mothers struggling to survive, and from the well established mothers seeking empowerment through that role to the grandmother depending on her daughter for survival. By presenting the spectator with such a large variety of maternal imagery, Ozon, Lvovsky and Bruni Tedeschi are each able to criticize what society demands of mothers. Mothers are expected to bear sole responsibility for raising their children, with each fault in behavior a failing on their part. They are also expected to be wholly devoted to their children, sacrificing their own dreams, ambitions, and identities to become the ideal of maternal love. By presenting these mothers, who strive to meet their society's expectations, with a hint of irony, Ozon, Lvovsky and Bruni Tedeschi point to the absurdity of such high expectations for any individual. Through the often optimistic, if not traditionally happy ending, Ozon, Lvovsky, and Bruni Tedeschi are also able to point to a changing climate in the expectations of motherhood within western society, and indicate a hope of the reality of that apparent change. ii DEDICATION This work is dedicated to my children, first and foremost, Hannah, Charlie, and any future little ones. You inspire me daily. To my husband, for your never-ending support and love. To my parents, for giving me the confidence to strive for a better future. iii LIST OF ABBREVIATIONS AND SYMBOLS Directors: FO -François Ozon NL -Noémie Lvovsky VBT -Valeria Bruni Tedeschi iv ACKNOWLEDGEMENTS Dr. Metka Zupančič, there are no words to express the gratitude I feel for you walking by my side throughout this process. Thank you. v CONTENTS ABSTRACT....................................................................................................................................ii DEDICATION................................................................................................................................iii LIST OF ABBREVIATIONS AND SYMBOLS...........................................................................iv ACKNOWLEDGEMENTS.............................................................................................................v LIST OF CHARACTERS.............................................................................................................vii LIST OF IMAGES.........................................................................................................................ix INTRODUCTION: Ever changing interpretations of motherhood ................................................1 CHAPTER ONE: Conflictual irony: on-screen portrayal of the competition between non-mothers and mothers ..................................................................................................23 CHAPTER TWO: Irony of childhood: on-screen portrayal of young mothers' struggle to cope....................................................................................................................................72 CHAPTER THREE: Generational ironies: on-screen portrayal of mothers with adult children passing on the burden ......................................................................................................122 CONCLUSION: Present and future states of maternity .............................................................169 WORK CITED.............................................................................................................................181 APPENDIX A..............................................................................................................................187 vi LIST OF CHARACTERS François Ozon: 8 femmes (2002) Le Temps qui reste (2005) Mamy (grandmother) Romain Gaby (mother) Laura (grandmother) Augustine (sister) Jany (waitress) Louise (maid) Father Pierrette (Marcel's sister) Mother Suzon (older sister) Sasha (boyfriend) Catherine (younger sister) Sophie (sister) Madame Chanel Potiche (2010) Ricky (2009) Suzanne Pujol Katie (mother) Maurice Babin Paco (Katie's partner, Ricky's father) Robert Pujol Lisa (Katie's daughter) Nadège (secretary) Ricky (Katie's child) Joëlle (daughter of Suzanne and Robert) Laurent (son of Suzanne and Robert) Valeria Bruni Tedeschi Il est plus facile pour un chameau (2003) Actrices (2007) Frederica (VBT) Marcelline (VBT) Bianca (sister) Nathalie (NL) (assistant director) Pierre (boyfriend) Eric (young love in play) Philippe (former lover) Denis (director) Mother Mother Father Nathalia (character in Turgenev's play) Aurelio (brother) Father Un château en Italie (2013) Louise Rossi Levi (VBT) Ludovic (the brother) Nathan (the lover) Mother Serge (family friend) Jeanne (brother's fiancée) vii Noémie Lvovsky Les Sentiments (2003) Faut que ça danse (2007) Carole and Jacques Salomon (father) Édith and François Sarah (VBT) (daughter) Young mother (VBT) Violette (father's girlfriend) François (boyfriend) Camille redouble (2012) M. Mootoosamy (mother's caretaker) Camille Vaillant Geneviève (mother) Éric (Camille's husband) Josepha (Camille's childhood friend) Alice (Camille's childhood friend) Louise (Camille's childhood friend) Mother Father vii LIST OF IMAGES CHAPTER ONE: p. 26 Marcelline descending the stairs (Actrices) p. 30 Marcelline and Nathalie at the cast party (Actrices) p. 33 Nathalie on the train (Actrices) p. 34 Nathalie and Marcelline in the theatre (Actrices) p. 38 Marcelline and the priest (Actrices) p. 40 Frederica's daydream about the man from the park (Il est plus facile pour un chameau) p. 41 The waitress asking for Romain's assistance (Le temps qui reste) & Marcelline in the Catholic church (Actrices) p. 46 Marcelline attempting to nurse (Actrices) p. 47 Marcelline swimming in the river (Actrices) p. 53 Mlle Nadège and Mme Pujol on the phone (Potiche) p. 56 Mlle Nadège on the couch with Laurent and Joëlle (Potiche) p. 60 Frederica's daydream about her lover (Il est plus facile pour un chameau) p. 61 Frederica's mother cleaning the love seat (Il est plus facile pour un chameau) p. 62 Joëlle getting into the ambulance with her father (Potiche) p. 65 Mlle Nadège and Mme Pujol at the factory (Potiche) p. 66 Mlle Nadège at Mme Pujol's election (Potiche) CHAPTER TWO p. 79 Lisa preparing her mother for the day (Ricky) p. 81 Lisa feeding Ricky (Ricky) p. 83 Katie pleading for assistance (Ricky) p. 88 Katie on the couch pregnant (Ricky) ix p. 90 Camille and her daughter preparing to go out (Camille redouble) p. 92 Camille's mother waking her up (Camille redouble) p. 96 Geneviève at the parade (Faut que ça danse) p. 97 Geneviève taking a bath (Faut que ça danse) p. 98 Geneviève being carried (Faut que ça danse) p. 103 Ricky and Paco at home together (Ricky) p. 108 Gaby, Catherine and Suzon singing (8 femmes) p. 110 Salomon ignoring his daughter (Faut que ça danse) p. 113 Katie (Ricky) & Nathalie (Actrices) protecting their children p. 115 Marcelline finding a baby & Nathalie proclaiming love to the director (Actrices) p. 116 Katie releasing Ricky (Ricky) p. 118 Mme Pujol greeting the crowd at her election (Potiche) CHAPTER THREE p. 126 Sarah, as a child, and her mother (Faut que ça danse) p. 128 Sarah telling her mother about her pregnancy (Faut que ça danse) p. 130 Sarah waiting for her mother's response (Faut que ça danse) p. 132 Suzon announcing her pregnancy (8 femmes) p. 133 Suzon seeking comfort in her mother (8 femmes) p. 134 Suzon seeking reconciliation with her mother (8 femmes) p. 139 Camille waiting for her mother (Camille redouble) p. 142 Camille talking to her mother (Camille redouble) p. 146 Joëlle defending her actions to her mother (Potiche) p. 150 Frederica's mother and boyfriend (Il est plus facile pour un chameau) p. 152 Marcelline at the pool (Actrices) p. 155 Joëlle and her mother (Potiche) p. 157 Marcelline in bed with her mother (Actrices) p. 159 Suzon eating breakfast with her family (8 femmes) p. 165 Sarah going into labor (Faut que ça danse) p. 166 Geneviève refusing to leave her seat (Faut que ça danse) x INTRODUCTION: Ever-changing interpretations of motherhood While the use of irony as a literary technique may be simply defined as saying, or doing, one thing while meaning the opposite, its use, on the contrary, is often complex, sophisticated and hard to recognize. Irony is difficult to identify and decode for many reasons,
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