‘C’était moi mais ce n’était pas moi’: portrayal of the disabled body in Catherine Breillat’s Abus de faiblesse (2013)

K. Dooley
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Abstract

Abstract Writer/director Catherine Breillat’s most recent film, Abus de faiblesse (2013), explores an important moment of bodily transition: the change from able to disabled body. This semi-autobiographic film follows the story of film director Maud (Breillat’s alter ego), who forms a destructive relationship with a conman, Vilko, after she suffers a disabling stroke. This film shows consistency with Breillat’s previous work in its exploration of the constructed nature of the female body onscreen. In the past the filmmaker has portrayed moments of trauma and transition (such as childbirth, loss of virginity or rape) to subvert processes of objectification. The article argues that Abus de faiblesse challenges and subverts representation of the post-menopausal and disabled body onscreen. The film interrogates binary oppositions such as able/disabled and independence/dependency to challenge representations of the disabled body as ‘other’. With reference to scholarly work on disability and the ageing female body, the article suggests that Maud’s sadomasochistic relationship with Vilko is driven by a quest to retain her subjectivity after her stroke. The article demonstrates that the film dissects the feared and the unknown territory of the ageing female body.
“是我,但不是我”:凯瑟琳·布雷拉特(Catherine Breillat)的《滥用弱点》(2013)中残疾人身体的肖像
作家/导演凯瑟琳·布雷亚(Catherine Breillat)的最新电影《Abus de fablesse》(2013)探讨了身体转变的一个重要时刻:从健全的身体转变为残疾的身体。这部半自传体电影讲述了电影导演莫德(布雷亚的另一个自我)的故事,莫德在中风致残后与骗子维尔科建立了破坏性的关系。这部电影与布雷亚之前的作品在探索女性身体在银幕上的建构本质上是一致的。过去,电影制作人描绘了创伤和转变的时刻(如分娩、失去童贞或强奸),以颠覆物化的过程。文章认为,Abus de fablesse挑战和颠覆了绝经后和残疾的身体在屏幕上的表现。这部电影质疑二元对立,如有能力/残疾和独立/依赖,以挑战残疾身体作为“他者”的表征。参考有关残疾和女性身体衰老的学术研究,文章认为莫德与维尔科的施虐受虐关系是在她中风后为了保持她的主体性而追求的。文章论证了这部电影剖析了女性身体衰老的恐惧和未知领域。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Studies in French Cinema
Studies in French Cinema FILM, RADIO, TELEVISION-
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