Link between French female stars and Paris is so strong that they have become an integral and highly visible part of the urban screenscape. NICOLETA Bazgan examines how female protagonists embody iconic types of Parisian femininity. She argues that Parisian female stars and vedettes as both objects of consumption and subjective protagonists map the city of Paris according to their inner structure.
Link between French female stars and Paris is so strong that they have become an integral and highly visible part of the urban screenscape. NICOLETA Bazgan examines how female protagonists embody iconic types of Parisian femininity. She argues that Parisian female stars and vedettes as both objects of consumption and subjective protagonists map the city of Paris according to their inner structure.
Link between French female stars and Paris is so strong that they have become an integral and highly visible part of the urban screenscape. NICOLETA Bazgan examines how female protagonists embody iconic types of Parisian femininity. She argues that Parisian female stars and vedettes as both objects of consumption and subjective protagonists map the city of Paris according to their inner structure.
Studies in French Cinema Volume 10 Number 2 2010 Intellect Ltd Article. English language. doi: 10.1386/sfc.10.2.95_1 KEYWORDS Brigitte Bardot Jeanne Moreau Audrey Tautou Rachida Brakni Parisian female stars feminine journeys NICOLETA BAZGAN University of Maryland, Baltimore County Female bodies in Paris: iconic urban femininity and Parisian journeys ABSTRACT The link between French female stars and Paris is so strong that they have become an integral and highly visible part of the urban screenscape. I examine Une Parisienne (Boisrond, 1957), Ascenseur pour lchafaud (Malle, 1957), Le Fabuleux destin dAmlie Poulain (Jeunet, 2001) and Chaos (Serreau, 2001) to illustrate how female protagonists not only embody iconic types of Parisian femininity, but also trace inner journeys through the cityscape in both auteur and popular films. In my analysis, I shift the discussion from the figure of the flneuse, while looking at other spatial practices that enable projections of subjectivities in the city space, including feminine cartographies, haptic travels that position female spectators as voyageuses and spectatorial practices related to star images. I argue that Parisian female stars and vedettes as both objects of consumption and subjective protago- nists map the city of Paris according to their inner structure, in both objectified and personal terms, as the collusion of these two categories on-screen and in off-screen media texts enables them to circulate desire for the city as feminine urban icons. French female stars enjoy a privileged connection to the city of Paris. Shots of Jeanne Moreau on the Champs Elyses at night, Catherine Deneuve in the Place Vendme, Juliette Binoche on the Pont-Neuf and Audrey Tautou SFC_10.2_art_Bazgan_095110.indd 95 5/8/10 12:17:46 PM Nicoleta Bazgan 96 strolling in Montmartre illustrate how star images and Parisian screenscapes are constitutive of each other. Films and media texts conflate the city and its women, in particular the condensed version of iconic femininity incarnated by the movie star or the vedette. Due to the concentration of the contemporary cinematic industry in the Parisian metropolitan area, the capital city is the preferred setting for most French movies. Therefore, numerous actresses as both labour and commodities are, or necessarily become, Parisian. Their on- and off-screen stories are tightly woven into the scenery to the point that they become icons of the city, in a type of urban femininity intimately connected to the filmic metropolis. In this article, I investigate the interaction between the screened city of Paris and its actresses in four movies that inexorably link their protagonists to the Parisian cityscape. The stars Brigitte Bardot in Une Parisienne/La Parisienne (Michel Boisrond, 1957), Jeanne Moreau in Ascenseur pour lchafaud/Lift to the Scaffold (Louis Malle, 1957), Audrey Tautou in Le Fabuleux destin dAmlie Poulain/Amelie (Jean-Pierre Jeunet, 2001) and the vedette Rachida Brakni in Chaos (Coline Serreau, 2001) acquire an element of their persona that posi- tions them as memorable Parisian female icons. These four films equally exemplify on-screen types of Parisian femininity and their correspond- ing spatial practices. Brigitte Bardots amorous chases in the city showcase her sexualized Parisian persona, while Jeanne Moreaus femme fatale urban dynamism is conveyed in a nocturnal drift in the city of lights. Whereas the gamine Amlie plots the Parisian screenscape as her playground, the beurette incarnated by Brakni struggles to find a place in the city. Finally, the movies bring into the spotlight dichotomies that traverse critical discourses in French contemporary cinema from 1957 to 2001. In a historical context preoccupied with city and feminine modernity, Boisronds and Malles films exemplify the divide between popular and art cinema, and bring to the forefront questions of corresponding objectifying and subjective projections, a clichd Paris for the sexualized Bardot and an intimate city for the subjective Moreau. Reflecting on Frenchness in 2001, Jeunets and Serreaus works problematize and refuse the easy division between auteur and mainstream cinema through an integrative approach directed at a broad audience. Jeunet redefines Paris in its most iconic traits screening the famous French gamine, while Serreau films the contem- porary Parisian landscape, introducing into the city a new feminine traveller, the beurette. With the auteur/popular split running through them, both movies have attracted passionate critical discussion about stereotyped and authentic Parisian screenscapes and female bodies, both non-ethnic and ethnic. My aim is to read beyond these polarized separations and address the ways in which female stars and vedettes negotiate Parisian space in both objective and sub- jective terms, assert their place(s) in the city, and create on- and off-screen maps that reflect their own inner dual structure, thereby constructing Paris both as subjective space and cultural merchandise. The pure visual delight of Paris parallels the pleasure of star gazing. Close-ups of iconic Parisian monuments are attached to womens images, sometimes literally, with a tricolour ribbon as in Jean-Paul Goudes iconic advertisement for Galeries Lafayette in which his muse wears a miniature of the Eiffel Tower on her head. Through a dual metonymical relationship, the city and the female star can stand in one for one another. Circulating on this twofold path, iconic signifiers shift from women to the city and back. Alongside sophisticated modernity, cultural heritage and aesthetic beauty, urban mobility is one essential quality that Parisian women share with their SFC_10.2_art_Bazgan_095110.indd 96 5/10/10 8:18:09 AM Female bodies in Paris 97 city, which enables them to move actively through space and create their own itineraries. Nevertheless, the couple woman-city has traditionally been troublesome, and journeys from the street asphalt to the motion picture screen echo these dif- ficulties. The omnipresence of idealized feminine representations in the Parisian city space raises numerous suspicions of real exclusion and blatant objectifica- tion. Notably, Simone de Beauvoir remarks that despite the ubiquitous female sculptures in Paris, there are only ten statues of real women: Mme de Sgur, George Sand, Sarah Bernhardt, Mme Boucicaut, the Baroness Hirsh, Maria Deraismes, Rosa Bonheur and three of Jeanne dArc (de Beauvoir 1949: 221). In a similar line of thought, Susan Hayward reads the imagined cinematographic metropolis, formulating a compelling argument that Paris is misrecognized as a woman, seeing that the fetishization of the female city body enables the reassertion of masculine identity and control, as well as the exclusion of other unwanted bodies from the urban space. Likewise, Parisian women are mainly typified in roles of excessive and deviant femininity, Hayward argues, with the exception of a few female flneur films that reinscribe feminine subjectivity in the Parisian cityscape (Hayward 2000: 2627). The flneuse is certainly a cru- cial character in reading the interaction between women and Parisian scenery; however, other spatial practices, including subjective vision, are enabled by the mobility obtained through the citywoman metonymy. This urban dynamism allows female protagonists to find diverse ways of projecting their subjectivities on filmic landscapes, through mapping identity and emotional journeys in the city, as well as through diverse walking practices, such as amorous chases, sen- timental wanderings, love cartographies and identity quests. In order to perform a complex reading of these often contradictory sig- nifying levels, I turn to several theoretical frameworks that offer alternative critical roadmaps to look at the different ways in which the relation between women and Parisian space can be read other than through the voyeuristic and fetishization looking glass. To analyse mapping practices, I use Tom Conleys lens of cartography in cinema. Since both cartography and cinema share the same projective spatial mechanisms, Conley suggests that a map in a movie exposes the strategies at work in constructing cinematic space, and opens up a site of productive critical inquiry, raising questions about identity, subjectivity, location and viewer position. Therefore, filmic maps represent points of depar- ture for transverse readings that can be used to illuminate how feminine protagonists act in relation to maps and plan their journeys in the Parisian screenscape (Conley 2007: 208). To analyse particular feminine spatial prac- tices, I turn to Giuliana Brunos Atlas of Emotions and its theoretical shift from the optic to the haptic, from objectifying gaze to travelling emotion. Central to Brunos atlas is Madeleine de Scudrys Carte du pays de Tendre, a map con- ceived for her novel Cllie (1654), which illustrates the essential link between motion and emotion. This feminine cartography includes intimacy and affects and situates cinema on the map of the emotional road atlas (Bruno 2002: 224). By integrating the haptic coordinate, the cinematic experience becomes a trav- elling practice that makes room for an active spectatrix-voyageuse position to replace the filmic voyeur (Bruno 2002: 157). Finally, I look at how vari- ous media texts discussing female performers and the city of Paris interact with their on-screen itineraries. Within these analytical frames of reference, I start with two filmic journeys in which the star images of Brigitte Bardot and Jeanne Moreau are instrumental in illustrating both the objectification of the Parisian star and cityscape, and the diverse subjective strategies at work. SFC_10.2_art_Bazgan_095110.indd 97 5/8/10 12:17:46 PM Nicoleta Bazgan 98 Figure 1: The poster for Une Parisienne ( Swim Ink 2, LLC/CORBIS). SFC_10.2_art_Bazgan_095110.indd 98 5/10/10 8:24:43 AM Female bodies in Paris 99 A STARS GUIDE TO PARIS: BARDOT BY DAY, MOREAU BY NIGHT Following Et Dieu cra la femme/ And God Created Woman (Roger Vadim, 1956), which established her as a full-fledged star, Brigitte Bardot was cast in Une Parisienne. The film poster depicts Bardot wearing a revealing nightgown while literally sitting on a Parisian map. In this sexually charged image, she copies a familiar pin-up posture; however, unlike her American counterpart who smiles invitingly, Bardot is pouting, an irreverent trait that has become one of her trade- marks. The see-through negligee is an open invitation to the spectator to look at Bardots body, and, through juxtaposition, at the Parisian map that surrounds it. The proximity of flesh and stone points to the identical imaginary mechanisms that project both the female star body and the Parisian landscape. The movie poster marks a significant departure from Turgots famous 1739 Parisian map and its attempts at urban control or the 1903 New Monumental Paris: Practical Itinerary for the Foreigner in Paris with its iconic monuments plotted on the map. Quite to the contrary, the architectural lines reproduce the curves of Bardots body in a protective embrace, as cartographic accuracy is sacrificed at the expense of iconicity. In an imagined geography, the map, dotted with numerous French flags, brings together lively cobblestone streets, the tumultuous Moulin Rouge, the Seine with its gracious bridges and the Sacr-Coeur rising against the hori- zon. The landmarks are represented from multiple and incongruous perspectives, showing each monument on the map from the best angle. The message is clearly one of photogenic quality that both star and city possess, as the adulation of Bardots Parisian body seems to leak into the cityscape and move its faades. In stark contrast to the film poster, the opening sequence of Une Parisienne screens Bardot driving in a red convertible on the Champs Elyses, thus illustrat- ing the contradictory ways in which the female star body inhabits and relates to urban space. Instead of an iconic establishing shot, the perspective of a moving car shows the experience of the cityscape as continuous movement and vibrant traffic. Following the vehicle without interruption, this fluid long take celebrates the freedom of unrestricted mobility, while the camera dollies playfully in and out on Bardot. To mark precisely the direction change, the first cut occurs when the convertible turns on Avenue Winston Churchill. Shifting the attention from car to scenery, a pan immediately shows Les Invalides, another imposing Parisian landmark. A subsequent dissolve marks the elliptical temporality in strict con- cordance with an accurate geography as Bardot is shown driving on the rue de Varenne and entering at high speed the inner courtyard of the Htel Matignon. The scat-jazz tune accompanying the opening sequence feeds into the moder- nity of the cityscape, and is heard again twice in the love-making scenes in the movie, drawing a parallel between fulfilled female sexuality and independence of movement in urban space. From the beginning, mobility and modernity are thus established coordinates that the stars image shares with the city of Paris. Bardot stars as Brigitte Laurier, the daughter of the French Prime Minister, terribly spoiled and single-minded in her amorous chase of Michel Legrand (Henri Vidal), a Don Juan working for the Premier. A suite of quid pro quos serve as the narrative engine of the movie, one of them leading to the couples marriage imposed by the Prime Minister himself to save his daughters repu- tation. Freshly arrived from her honeymoon, Brigitte is busy, yet again, this time in devising strategies to ruin her husbands prolific adulterous life and to keep him faithful to her. At the level of the narrative, Bardots mobility is dif- fused through her active desire. Simone de Beauvoir has already remarked on SFC_10.2_art_Bazgan_095110.indd 99 6/2/10 9:42:34 PM Nicoleta Bazgan 100 Bardots modern dynamic and non-apologetic sexuality: Bardot does not cast spells, she is on the go [] In the game of love, she is as much a hunter as she is a prey. The male is an object to her, just as she is to him (de Beauvoir 1960: 20). Accordingly, scenes displaying Bardots body in motion accumulate, as her character dances uninhibitedly, hides in bathtubs, rolls in bed sheets, runs after and from Michel, draped in towels and dressed in provocative clothes. The preoccupation with Frances heritage and modernization is made equally explicit by the fictive historical background of the story, the state visit of a royal couple to a France in the midst of European integration. A child of her time, Bardots star persona is attuned to this duality between the old and the new, reconciling traditional values with a modern feminine type in the 1950s, as Ginette Vincendeau convincingly argues (Vincendeau 2000: 8284). The Parisian screenscape resonates with the main coordinates of Bardots star image, bringing together not only modern urban traffic on the Champs Elyses and technologically advanced airports and train stations, but also the timeless picturesque banks of the Seine, viewed from the Pont de la Concorde, and panoramic Parisian vistas dominated by the silhouette of the Eiffel Tower. As the name equivalence between actress and character reveals, the movie is equally about Bardot as a film star, and it ends specifically on this point. To keep her husband busy with jealousy, Brigitte elopes to Nice with the royal guest Prince Charles, only to rediscover her love for her husband. However, when confronted by Michel, the heroine has to lie about her whereabouts, since he does not want to believe the truth. In this episode, a close-up of her fingers crossed makes the viewer an accomplice to Brigittes parallel narrative. In addition, the movie ends with the protagonists direct look at the camera. In this final scene, Brigittes wink to the spectator is likewise to be read in relation to Bardots extra-cinematic image, as she was at the time the object of a press scandal due to her extra-mar- ital affair with Jean-Louis Trintignant. Brigittes faithfulness and monogamy in the films plot are therefore complicated by the frantic media coverage of Bardots scandalous affair. On-screen, her newly married character moves into the highly modern apartment of her husband, while off-screen Bardot had just left Roger Vadim to move in with her new lover on Avenue Paul Doumer. In Les Annes Bardot, one of the numerous books celebrating the star, Henry-Jean Servat maps Bardots residences in Paris situated exclusively in the sixteenth arrondissement, and plots them in reference to two close iconic landmarks, the Arc de Triomphe and the Eiffel Tower, equally present in the movie (Servat 1996: 83). As even on- and off-screen maps coincide, this transparency between the real-life cartog- raphy of Bardot-as-star and the film scenery of Brigitte-as-character alludes, yet again, to the complex tensions in Bardots ambiguous figure at the crossroads of dynamic modernity and static tradition. Released in the same year as Une Parisienne, Louis Malles feature debut Ascenseur pour lchafaud screens a different facet of the Champs Elyses neigh- bourhood, drawing on the urban imaginary of film noir. The movie opens with a conversation between two lovers, Florence Carala (Jeanne Moreau) and Julien Tavernier (Maurice Ronet). The first map appears in Juliens office, lurking behind him in two identical shots that flank a close-up of Florence in which she verbally plots a path to freedom. Once the conversation ends, a pan in Juliens office reveals a map of Europe and one of Africa, separated by a graphic chart. After briefly talking to the secretary, Julien steps back into his office and shares the frame with another map from which the camera, drawing a spatial parallel, tilts to a drawer, where the protagonist finds a pair of gloves, a file and a gun. Climbing up to the balcony, Julien pays a visit to Simon Carala, the corrupt SFC_10.2_art_Bazgan_095110.indd 100 5/8/10 12:17:47 PM Female bodies in Paris 101 chairman of the company and Florences tyrannical husband. The protagonist gives a report to Carala, and while he is flipping through it, we see a similar juxta- position of maps and charts to that in Juliens office. At this point in the narrative, we also find out that Julien is a veteran of the Indochinese and Algerian wars. These male cartographies thus tell a story of global unidirectional exploitation of Africa by Caralas European consortium. Indicators of territorial segregation and control, they are not mappings of paths to freedom, but essentially treacher- ous itineraries, leading to nothing but perdition, symbolically linked to weapons and violence, as witnessed in the opening sequence. According to the dark and implacable fate that these cartographies forecast, Julien kills Carala, staging a suicide, and is himself trapped after hours in the buildings descending elevator. Left without a navigation map, Florence wanders aimlessly in the streets of Paris at night, looking for her lost lover, while the Parisian screenscape directly echoes her desperate inner journey. Both justice and fatality intersect the next morning. Julien is delivered from a double murder of which he is falsely accused, but at the same time he is unwillingly exposed by Florence: Juliens camera ironically proves his innocence, but also furnishes a motive for Caralas murder, exposing his affair with Florence. Malles declared objective was to capture the modern side of Paris in a fic- tive cartography, screening newly constructed modern buildings and a motel; the only motel in France was in Normandy, not close to Paris as the movie implies (Malle and French 1993: 144). A side effect of this urban modernization was that the city, illuminated at night, became a new potential screenscape. In addition, the cinematographer of the movie, Henri Deca, was able to use an ultrasensitive film newly introduced on the market to capture the nocturnal images in on-location shooting. The movie screens Jeanne Moreau without make-up or artificial lighting, and, likewise, the glamorous side of Paris is not portrayed. Recalling his work with Deca to film this scene, Malle describes the full shock and rebellion of his technicians, who were horrified at seeing Jeanne Moreau without make-up on film, and accused the director and cam- eraman of ruining her star image (Malle and French 1993: 12). Illuminated only by the city lights, Moreaus tough and statuesque close-ups correspond to unromantic black-and-white shots of the urban space in undiffused light, with its palpitating stream of everyday lived experiences (Figure 2). Although she practises flnerie as well, Florences roaming becomes her main activity as urban walker. After leaving the Royal Came caf, where she waited in vain for Julien, her aimless strolls are screened in extended tracking shots and slow-paced scenes. On the one hand, lateral tracking shots show her looking and being looked at during her walks in the streets. In this visual dimension, Florence is both subject and object of the multiple gazes emanat- ing from the Parisian nightlife, a space pulsating with light and noise, in which store windows and cafs illuminated by neon lights offer themselves to the passer- bys gaze and where habitual drunks, urban walkers and prostitutes intersect. On the other hand, shots of Florence show her approaching the camera as it backtracks and accompanies her inner journey marked by an emotional car- tography. Along this route, false eyeline matches emphasize the confusing and disorganized spatial movement. For instance, after leaving Luigis bar, Florence advances toward the camera, and in a close-up she looks off-screen. The next image shows a bar window in which men are playing pinball. The shot seems to be an eyeline match, but we soon revise our assumption when Florence walks into the frame from the right. In her visual quest, the protagonist is soon overwhelmed by the citys motion while roving in the streets around the SFC_10.2_art_Bazgan_095110.indd 101 5/10/10 8:26:00 AM Nicoleta Bazgan 102 Champs Elyses. Florences wanderings will also lead her straight to prison, since at night, women walking in the streets and women of the streets are easily confused. Therefore, she ends up at the police station under suspicion of prostitution, this Red woman sexuality (as Austin calls her) becoming a constant trait of Moreaus star persona (Austin 2003: 35). Florences voice-over narration is another way of inscribing subjectivity on the screenscape, and adds to the sense that she is lost and adrift, contributing to a visual space literally impregnated with her inner thoughts. In sinuous track- ing shots, an improvised jazz score by Miles Davis serves the same purpose, resonating with the protagonists subjective voyage in the maze of urban seclu- sion. Florences palpitating spatial experience thus resembles an inner drift due to a perfect transparence between intimate affects and exterior movements. When Florence mistakenly thinks she sees her lover in the street, it is her pure passion that makes the camera pan hastily in a veritable emotion (Bruno 2002: 7; Brunos emphasis). Florences subjectivity thus dictates the movements of the camera and the editing rhythm of the shots, creating visual effects that appeal to the touch as well, marking a transition from the visual to the haptic, from the separation imposed by the gaze to the intimacy of contact, as can be seen when the incriminating photos framing the couple together appear in the developer tray, and Florence dips her fingers into the solution to touch them. In this way, the fluidity of cinematic techniques and the haptic dimension that mark Florences inner journey are visually represented. The movie ends with the protagonists direct gaze into the camera, addressing the spectator and evaluating the temporal weight of her separa- tion from Julien. This frame freezes Moreau in a femme fatale image or, as Figure 2: Jeanne Moreau in Ascenseur pour lchafaud (Courtesy of laternamagika.wordpress.com). SFC_10.2_art_Bazgan_095110.indd 102 5/10/10 8:26:59 AM Female bodies in Paris 103 Genevive Sellier puts it, she is an object of the look fascinating in passivity, whose subjectivity is denied at the level of the plot (Sellier 2008:186). If, however, we shift the discussion from narrative or visual agency to spatial practice, Florence is a feminine Parisian traveller through both movement and emotion, which establish her as an iconic urban star. Consequently, when the city of Paris organized an exhibit titled Paris au cinma in 2006, Moreau on the Champs Elyses at night was featured on the cover of the accompanying publication (Binh and Garbarz 2005), and on the publicity posters temporar- ily inhabiting the city, illustrating how her sensual star image and the dark Parisian screenscape are intimately fused. Moreau thus embodies the fasci- nation with a threatening and unknowable metropolis, cautioning that since Paris is a woman, its feminine cityscape will be alluringly dangerous. TAUTOUS AMOROUS LABYRINTH AND BRAKNIS JOURNEY INTO CHAOS The iconic objectification of Paris became a vocal debate in the French press in 2001, with the release of Le Fabuleux destin dAmlie Poulain. Straddling art and popular cinema, Jeunets movie has remained controversial, the attitudes of the critics being highly divided, either accusing Jeunet of screening a tour- istic Paris composed of worn-out clichs or eulogizing his attempts at reviving French cinema through the rich intertext of the movie and its references to the photographs of Robert Doisneau, and the films of Jacques Prvert and Marcel Carn. In the politically charged atmosphere of the French presidential elec- tion campaign, the Inrockuptibles editor Serge Kaganski focused critical discus- sion on the authenticity and artificiality of the Parisian screenscape, harshly condemning the movies effacement of ethnic and social diversity in a series of articles (see Kaganski 2001, with its evocative title, Amlie pas jolie). The gamine Amlie (Audrey Tautou) is perfectly synchronized with the on-screen representation of Paris. Her retro image corresponds to the nos- talgic evocation of Paris in the 1950s. The ethnic non-representation of Montmartre on-screen is equally reflected in Amlies luminous white skin, digitally enhanced by the director in post-production. The Paris created by the movie is purely fictitious, and Amlie correspondingly daydreams silently and works creatively with fictional texts such as film clips, photographs and forged letters, exposing through a mise en abyme the very process that Jeunet used to create his cinematic image of Paris. We discover with Amlie that, as Conley puts it, figures in a topographic field are as they are because geogra- phy is destiny or else inversely [] their destiny, even if atopical, is limited to the cartography of the film (Conley 2007: 3). In this view, it makes sense that with the initial appearance of a map in the movie, Amlie meets Nino Quincampoix (Mathieu Kassovitz), her predestined lover. Ninos last name is also that of a Parisian street, suggesting that the movie is a love story about Paris as well. In the mtro stop of Abbesses, Amlie is screened walking on the mtro platform, sharing the frame with a Parisian map as a track back- ward and a racking focus uncover and draw attention to a blind mans gramo- phone playing Frhels nostalgic song Si tu ntais pas l (If You Werent Here). Thus, the shift from Amlie and the map to the blind man a trans- parent figure of fate links cartography to destiny right before Amlie sees Nino. In the subsequent shot, while Amlie is walking, her cartoon-like image is visually superimposed on a Parisian map ubiquitous in all mtro stations. In this moment, the iconic images both of Paris and of Amlie, as well as the SFC_10.2_art_Bazgan_095110.indd 103 6/2/10 9:43:13 PM Nicoleta Bazgan 104 touristic and existential journeys they tell, are held simultaneously in tension (Figure 3). Following this love-at-first-sight episode, Amlie initiates a game to direct her soulmate Nino to find her. Through Amlies manipulations, the city of Paris becomes a huge labyrinth with complex enigmas. According to Wendy B. Faris, the labyrinth represents a puzzle and a solution, a journey and an arrival, seeing the cityscape as both maps and routes and encapsulating the experience of the city as diachronic wandering and synchronic mapping (Faris 1991: 38); as a result, a visual paradox emerges in the figure of the laby- rinth since it is not only represented by a formalized visual pattern, but also symbolizes confusion. When Amlie discovers Ninos lost photo album, the crane camera movement is very complex, illustrating this duality of the laby- rinth as a sign: its contingency through the representation of the street and its ordering impulse through a high-angle shot. The scene starts from a very low mode shot close to the ground and dollies in on Amlie, sitting on the stairs and flipping through the pages of the album. Simultaneously, the camera, through a tilt, gains height, turns in a 180-degree movement, and ends with a birds-eye shot of Amlie, with Paris off-screen as a labyrinth in front of her. Consequently, in the Sacr-Coeur episode in which Amlie guides Nino to his scrapbook, she uses chalk markers drawn on the ground, a statue imper- sonator and a telescope to punctuate the proper order of discovery. Again, the camera tracks Ninos movements from a low mode close to the ground to high-angle shots reinforcing a strong sensation of maze turns and move- ments. Amlie, therefore, is no mere female city walker: she is a mapmaker on a love quest. Through the dual image of the labyrinth, she articulates space and disseminates clues in the Parisian landscape, transforming chaos into fate and contingency into destiny. Figure 3: Amlie in front of the mtro map (courtesy of Miramax). SFC_10.2_art_Bazgan_095110.indd 104 6/2/10 9:43:29 PM Female bodies in Paris 105 If Amlies Paris is examined through Brunos atlas of emotions frame- work, the city reveals itself as concrete texture. Amlie herself is depicted as having a strong preference for tactile experiences (such as sticking her hand in a barrel of grain, or tossing stones on the canal Saint-Martin). In the scene in which she guides a blind man to the mtro stop Lamarck-Caulaincourt, Amlie becomes a haptic mediator. She lists affectionate details (the drum majors widow who still wears her husbands coat), enumerates accidental elements (the missing ear of a horse bust that marks the horse butchers sign), the laughs of the passers-by, melon smells, the visual delights of the street shops, as well as the flow of desire between a child, a dog and a roast chicken. The fast Steadicam shots follow her inventory in a dynamically edited scene, repeatedly intercutting point-of-view shots with shots showing Amlie on her guiding walk, illustrating the pulsating stream of sensations in the vibrant street life. Unsurprisingly, at the end of the journey the blind man experiences an ecstatic delight, visually represented by a warm yellow halo surrounding him. The movie is thus to be read in terms of both interiority and exteriority as Amlies journeys alternate the glorious objectification of iconic Parisian spaces such as the Sacr-Coeur, le Pont des Arts, the cafs, and cobblestone streets with imagined inner landscapes and amorous labyrinths. In contrast to the careful mapping of the city in Le Fabuleux destin dAmlie Poulain, Chaos focuses on male-created disorder in the Parisian screenscape, and exoticise(s) the ethnic other (Tarr 2005: 112). In a hurry to a dinner, a bourgeois couple, Paul (Vincent Lindon) and Hlne (Catherine Frot), acci- dentally hit a prostitute fleeing from three men. Instead of helping her, Paul locks the car doors and calmly watches the young woman beaten into uncon- sciousness, hurrying to a carwash to cynically efface the bloody traces of the unfortunate encounter. His wife Hlne, however, cannot clean her memory and visits the seriously injured victim in the hospital. The first part of the movie depicts Nomie (Rachida Brakni) immobilized, while Hlne, reminded of her own social and familial entrapment, gradually becomes an invigorating female action figure in the city of Paris. Possessing better detective skills than the police, knocking out a pimp, fighting leaders of a prostitution ring in the open street, travelling with Nomie to her mother-in-laws to escape the police, she is profoundly moved by this female friendship. In the second part of the movie, Nomies story is told through an extended flashback. Running away from an arranged marriage in Algeria, the beurette Malikas identity is split trapped into prostitution with the name Nomie. After moving from Marseille to Paris, she does not have a place in the city, existing only on the sidewalks of the Parisian outer belt, where cars and trains pass by and highway direction signs seem to ironically indicate no escape. Her desolate landscape is one dominated by forced immobility and violent physi- cal abuse, as she herself is trapped in the ultimate commodification of the body. Intra muros, Nomie is confined to clubs and streets at night, an alter- nate spatial universe in which the traffic of female bodies is silently invisible. Portrayed in the banlieue twice while visiting her sister, she is framed hiding behind asphalt walls, since she is an intruder here as well. Fighting for mobil- ity in such a constrictive milieu becomes a perilous and violent enterprise, as is shown by reiterated shots of her running body pursued by pimps. Including a characters direct address to the camera, the stretched flash- back narrated through voice-over covers numerous dramatic events. Serreau increases the artificial quality of the images and achieves a distanciation effect by the use of a DVCAM. In a sense, the very quality of the shots reflects SFC_10.2_art_Bazgan_095110.indd 105 6/2/10 9:43:46 PM Nicoleta Bazgan 106 Nomies subjectivity, reproducing her affective incapacities and emotional numbness. Further, this flatness of the image and the chaotic wealth of infor- mation it covers recall a mode of spectatorship that occurs daily when skim- ming the news about urban dramas and (ethnic) violence done to women in the city, recalling viewers superficial sliding on the surface of the screened images. Throughout Nomies story, the reification of her body and subjective agency feed into each other, never completely separated on-screen. While her body is on constant display being in the midst of the action, subjective point- of-view shots from Nomies perspective illustrate her desperate search for Figure 4: The poster for Chaos Bac distribution (Courtesy of www.cinemovies.fr). SFC_10.2_art_Bazgan_095110.indd 106 5/10/10 8:29:21 AM Female bodies in Paris 107 freedom in the city. The long flashback, for example, ends on a subjective shot in which Nomie desperately runs in the ninth arrondissement at night and stops in front of Hlne and Pauls car, meeting their gaze. A parallel point- of-view shot, this time marking a successful escape, occurs when the female protagonist drives to purchase a house and we hear, in voice-off, partir (to leave), as she intimately asserts her acquired mobility. In between these two corresponding scenes, Nomies freedom becomes possible through a care- fully plotted trap organized to escape her criminal pursuers. At the mtro stop Svres-Babylone, she incriminates her pimp Touki by offering him a bribe, and at the same time alerts the leader of the Parisian prostitution ring while Hlne informs the police. To get a closer look at the scene through binocu- lars, the women rent a room at the nearby Hotel Lutlia. Again, subjective high-angle shots from their perspective show all the participants involved in the setup. Arriving at the meeting place, Touki looks around in front of an arrondissement map, which is usually placed at the mtro exits, indicat- ing historical landmarks in the surroundings. From the point-of-view shot of Hlne and Nomie, the map behind Touki becomes a white spot used to identify him and to frame him to pin him on the map in a spot whose name (Babylon) indicates his dehumanization and perversion. In this high- angle position, the feminine partners watch their scheme unfold successfully as Touki is shot and all other criminal players arrested. Despite the success of her revenge, Nomie/Malika leaves the labyrinthine and dangerous city to find her freedom outside Paris. This spatial choice problematizes the place of the beurette in the Parisian metropolis and questions the ways in which her freedom can be achieved within city limits. In this sense, the movie ends ambiguously on the images of the four women Hlne and her mother- in-law as well as Malika and her younger sister reunited at Malikas new home, far away from urban chaos. The female camaraderie crosses ethnicity and age as the camera pans from one to the other in a close-up on each of their faces looking off-screen toward the sea, projecting their subjectivities onto journeys that are about to begin. The beurette Nomie/Malika and the gamine Amlie thus move through two different Parisian cityscapes in 2001, and their on-screen paths do not cross. Nevertheless, both Brakni and Tautou intersect off-screen the Parisian trajectory of their reel counterparts. Confessing to Madame Figaro how she became a Parisienne, Brakni emphasizes that her career was defined by a move from the Parisian banlieue to the city centre (Brakni 2008). Unaffected by international stardom, Tautou is depicted in media texts as still living in the Montmartre neighbourhood, paralleling her on-screen heroine (Strauss 2006). These various media texts superimpose reel travels with real-life journeys to the point that Parisian actresses wear the text of their urban iconicity on their image, and, in turn, representations of Paris are impregnated with their star close-ups, even literally in Parisian advertising spaces, from mtro walls to street-side billboards. The presence of these female icons in urban space and their cartographic affinity raise questions about how their images not only productively guide consumption, but also interact with the Parisian scenery. In this sense, tracing journeys from the celluloid screen to the cobblestone roads, Le Fabuleux destin dAmlie Poulain has already marked Parisian space, through special tourist routes, illustrating the spatial impulse of its heroine. In various pub- licity texts, female stars also become guides in Paris. On an interactive map, the official Chanel website takes the viewer on a journey into Mlle Chanels SFC_10.2_art_Bazgan_095110.indd 107 6/2/10 9:43:59 PM Nicoleta Bazgan 108 Parisian secret places (Chanel Website). At 31, rue Cambon, an illustrious guide awaits, Jeanne Moreau, who takes the audience on a trip down mem- ory lane, reminiscing about Coco Chanel. In this way, media texts targeting Parisian consumption allow for a space where female subjectivities emerge as French female stars map city places, and tell their own urban stories. On-screen and in media discourses, the myth of the Parisienne thus rein- vents itself on the glamorous surface of female celebrities, through nego- tiations between objective image and subjective vision, between iconic and intimate Paris. On the one hand, star gazing parallels sightseeing. Parisian sites and female performers in their roles of sexualized Parisian women, femmes fatales, gamines or beurettes become cinematic icons. On the other hand, through the metonymical mobility they share with the city, French actresses, in both art and popular films, are dynamic travellers in the Parisian space, each in her own right: Bardot through the pursuit of love, Moreau through passionate roaming, Tautou through amorous labyrinths and, finally, Brakni, plotting her path to liberty. Initiating travels on- and off-screen, including haptic journeys, these feminine cartographies are conducive to experiences that illustrate a complex mode of creating desire through oppo- site movements where objectivity and subjectivity, the visual and tactile, iconic images and emotional movements, clich and inner screenscapes are enmeshed, constructing the moving cinematic experience of Paris and of its eternally faithful vedettes and female stars. REFERENCES Austin, G. (2003), Stars in Modern French Film, London: Arnold. Binh, N. T. and Garbarz, F. (2005), Paris au cinma: la vie rv e de la capitale de M li s Am lie Poulain, Paris: Parigramme. Brakni, R. (2008), Interview. Parisiennes!, Madame Figaro, 29 October, http:// madame.lefigaro.fr /celebrites/en-kiosque/1658-parisiennes/2. Accessed December 2009. Bruno, G. (2002), Atlas of Emotion: Journeys in Art, Architecture, and Film, New York: Verso. Chanel Website (2009), Chanel Secret Places, http://www.chanel.com/les- lieux/flash/us/ index _plug.php. Accessed 20 December 2009. Conley, T. (2007), Cartographic Cinema, Minneapolis: University of Minnesota Press. de Beauvoir, S. (1949), Le Deuxi me Sexe, Paris: Gallimard. de Beauvoir, S. (1960), Brigitte Bardot and the Lolita Syndrome, New York: Reynal. Faris, W. B. (1991), The Labyrinth as a Sign, in M. A. Caws (ed.), City Images: Perspectives from Literature, Philosophy, and Film, New York: Gordon and Breach, pp. 3341. Hayward, S. (2000), The City as Narrative: Corporeal Paris in Contemporary French Cinema (1950s1990s), in M. Konstantarakos (ed.), Spaces in European Cinema, Exeter, England: Intellect, pp. 2334. Kaganski, S. (2001), Amlie pas jolie, Libration, 31 May, p. 7. Malle, L. and French, P. (1993), Malle on Malle, London: Faber and Faber. Sellier, G. (2008), Masculine Singular: French New Wave Cinema, Durham: Duke University Press. Servat, H.-J. (1996), Les Ann es Bardot, Paris: Editions no. 1. SFC_10.2_art_Bazgan_095110.indd 108 5/8/10 12:17:49 PM Female bodies in Paris 109 Strauss, F. (2006), Audrey Tautou, bientt dans Da Vinci Code. Lair de rien, Tlrama, 6 May, http://www.telerama.fr/cinema/8575-audrey_tautou_ bientot_dans_da_vinci_code _air_de_rien.php. Accessed December 2009. Tarr, C. (2005), Reframing Difference: Beur and Banlieue Filmmaking in France, Manchester: Manchester University Press. Vincendeau, G. (2000), Stars and Stardom in French Cinema, London: Continuum. SUGGESTED CITATION Bazgan, N. (2010), Female bodies in Paris: iconic urban femininity and Parisian journeys, Studies in French Cinema 10: 2, pp. 95109, doi: 10.1386/ sfc.10.2.95_1 CONTRIBUTOR DETAILS Nicoleta Bazgan is Assistant Professor of French Cinema at the University of Maryland, Baltimore County. Her research interests include French contem- porary cinema, cinema and the city, French female stardom, and national cin- emas. She is currently working on a book manuscript focusing on the female star system in France titled Irresistibly French: Female Stardom and Frenchness. Contact: Department of Modern Languages, Linguistics and Intercultural Communication, University of Maryland, Baltimore County, 1000 Hilltop Circle, Baltimore, MD 21250, USA. 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