Contemporary French Civilization

Lupine and zig-zag lines: queer affects in Alain Guiraudie’s L’inconnu du lac and Rester vertical

Contemporary French Civilization (2019), 44, (4), 387–415.

Abstract

In this article I investigate how a theory of becomings-animal operates in a number of contemporary queer French films by director Alain Guiraudie (L’inconnu du lac [2013] and Rester vertical [2016]). In particular I explore how a becomings-animal’s association with a Deleuzian theory of affect enhances our understanding of queer intimacy. The aim of this article is to reposition queer intimacy as an ontology outside – outside synthetic and vertical lines of filiation and kinship and inside the disjunctive lines of the outside (what is irregular, random, rural, cosmic). Drawing at first on intimacy as an ontological non-relationality (Bersani and Phillips, Intimacies) and on the idea of separation as an ontological necessity of queer intimacy (Ricco, “Intimacy”), I want to rethink queer intimacy as exposure outwards – an intimacy to and towards. Within this exteriorization of intimacy, my methodology will rely on the affective power of a Deleuzian theory of lines.

Dans cet article, j’explore comment une théorie du devenir-animal est à l’œuvre dans certains films français queer du réalisateur Alain Guiraudie (L’inconnu du lac [2013] et Rester vertical [2016]). Mon étude se concentre en particulier sur la façon dont l’association du devenir-animal à une théorie deleuzienne de l’affect améliore notre compréhension de l’intimité/des relations intimes queer. Le but de cet article est de repositionner l’intimité queer comme une ontologie du dehors – en dehors des lignes verticales de filiation et de parenté et à l’intérieur des lignes disjonctives du dehors (ce qui est irrégulier, contingent, rural, cosmique). En m’appuyant tout d’abord sur la notion d’intimité comme non-relationnalité ontologique (Bersani and Phillips, Intimacies) et sur l’idée de séparation comme nécessité ontologique de l’intimité queer (Ricco “Intimacy”), je souhaite réexaminer l’intimité comme exposition vers l’extérieur – une intimité vers. Au sein de cette extériorisation de l’intimité, ma méthodologie reposera sur le pouvoir affectif d’une théorie deleuzienne de lignes.

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Works cited

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Borel, Vincent. Un ruban noir. Actes Sud Littérature, 1995. Google Scholar

Brady, Mary Pat. “The Waiting Arm of Gold Street.” Queering the Countryside: New Frontiers in Rural Queer Studies, edited by Mary L. Gray, Colin R. Johnson, and Brian J. Gilley, New York UP, 2016: pp. 75–83. Google Scholar

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Colman, Felicity. Deleuze and Cinema: The Film Concepts. Bloomsbury, 2011. Google Scholar

De Certeau, Michel. L’Écriture de l’histoire. Gallimard, 1975. Google Scholar

Dean, Tim. Unlimited Intimacy: Reflections on the Subculture of Barebacking. U of Chicago P, 2008. Google Scholar

Deleuze, Gilles. Logique du sens. Éditions de Minuit, 1969. Google Scholar

Deleuze, Gilles. Francis Bacon: logique de la sensation. Éditions de la différence, 1981. Google Scholar

Deleuze, Gilles, and Félix Guattari. Kafka. Pour une littérature mineure. Éditions de minuit. 1975. Google Scholar

Deleuze, Gilles. Mille plateaux. Éditions du Seuil, 1980. Google Scholar

Foucault, Michel. Surveiller et punir. Gallimard, 1975. Google Scholar

Grandena, Florian. “The Constant Tourist: Passing Intimacy and Touristic Nomadism in Drôle de Félix.” Open Roads, Closed Borders: the Contemporary French Language Road Movie, edited by Michael Gott and Thibaut Schilt, Intellect, 2013, pp. 39–54. Google Scholar

Guiraudie, Alain. “Rester vertical est mon film le plus queer.” Têtu. 18 Nov. 2019. Google Scholar

Gray, Mary, Colin R. Johnson, and Brian J. Gilley, Queering the Countryside: New Frontiers in Rural Queer Studies. New York: New York University Press, 2016. Google Scholar

Halberstam, Judith. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York UP, 2005. Google Scholar

Hayward, Susan. “Filming the Post-Colonial Landscape: Claire Denis’s Chocolat and Beau Travail.” Cinema and Landscape: Film, Nation and Cultural Geography, edited by Graeme Harper and Jonathan Raynor, Intellect, 2010, pp. 161–177. Google Scholar

Hocquenghem, Guy. Le désir homosexuel. Fayard, 2000. Google Scholar

Koza, Roger. “Cinema of the Outside: On Alain Guiraudie’s Films.” Con los ojos abiertos. 18 Nov. 2019. Google Scholar

Martel, Frédéric. Le rose et le noir. Les homosexuels en France depuis 1968. Éditions du Seuil, 2008. Google Scholar

McCaffrey, Enda. “Impersonal Relationality in Alain Guiaudie’s Ici commence la nuit.” Revue critique de fixxion française contemporaine, no. 12, 2016, pp. 60–71. Google Scholar

Nicot, Boris. “Anomal Cinéma (sur Rester vertical de Alain Guiraudie) Dérives autour du cinema.” Dérives.tv. 27 Sep. 2017. Web. Google Scholar

Palmer, Tim, and Charlie Michael. Directory of World Cinema: France. U of Chicago P, 2013. Google Scholar

Reeser, Todd. “Transsexuality and the Disruption of Time in Sébastien Liftshitz’s Wild Side.” Studies in French Cinema, vol. 7, no. 2, 2007, pp. 157–168. Google Scholar

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Reeser, Todd. “The Anti-Orpheus: Queering Myth in Ducastel et Martineau’s Théo et Hugo dans le même bateau (Paris 05:59).” Studies in Twenty-First Century Literature, vol. 92, no. 2, 2018, pp. 1–19. Google Scholar

Ricco, John Paul. “Intimacy: Inseparable from Separation.” Open Set. 5 May 2017. Web. Google Scholar

Filmography

Brokeback Mountain, Ang Lee, River Road Entertainment, 2013, USA. Google Scholar

Ce vieux rêve qui bouge, Alain Guiraudie, K. Productions, 2001, France. Google Scholar

La chatte à deux têtes, Jacques Nolot, Elia Films, 2002, France. Google Scholar

Drôle de Felix, Olivier Ducastel and Jacques Martineau, Pyramide Distribution, 2000, France. Google Scholar

Du soleil pour le gueux, Alain Guiraudie, K. Productions, 2001, France. Google Scholar

God’s Own Country, Francis Lee, British Film Institute, 2017, UK. Google Scholar

L’inconnu du lac, Alain Guiraudie, Les films du losagne, 2013, France. Google Scholar

Pas de repos pour les braves, Alain Guiraudie, Les Films à Paulo, 2003, France. Google Scholar

Rester vertical, Alain Guiraudie, Les Films du Worso, 2016, France. Google Scholar

Le Roi de l’évasion, Alain Guiraudie, Les Films du Worso, 2009, France. Google Scholar

Théo et Hugo dans le même bâteau, Olivier Ducastel and Jacques Martineau, Ecce Films, 2016, France. Google Scholar

Voici venu le temps, Alain Guiraudie, Les Films Pelléas, 2005, France. Google Scholar

Wild Side, Sébastien Lifshitz, Maïa Films, 2004, Belgian/France/UK. Google Scholar

Brokeback Mountain, Ang Lee, River Road Entertainment, 2013, USA. Google Scholar

Ce vieux rêve qui bouge, Alain Guiraudie, K. Productions, 2001, France. Google Scholar

La chatte à deux têtes, Jacques Nolot, Elia Films, 2002, France. Google Scholar

Drôle de Felix, Olivier Ducastel and Jacques Martineau, Pyramide Distribution, 2000, France. Google Scholar

Du soleil pour le gueux, Alain Guiraudie, K. Productions, 2001, France. Google Scholar

God’s Own Country, Francis Lee, British Film Institute, 2017, UK. Google Scholar

L’inconnu du lac, Alain Guiraudie, Les films du losagne, 2013, France. Google Scholar

Pas de repos pour les braves, Alain Guiraudie, Les Films à Paulo, 2003, France. Google Scholar

Rester vertical, Alain Guiraudie, Les Films du Worso, 2016, France. Google Scholar

Le Roi de l’évasion, Alain Guiraudie, Les Films du Worso, 2009, France. Google Scholar

Théo et Hugo dans le même bâteau, Olivier Ducastel and Jacques Martineau, Ecce Films, 2016, France. Google Scholar

Voici venu le temps, Alain Guiraudie, Les Films Pelléas, 2005, France. Google Scholar

Wild Side, Sébastien Lifshitz, Maïa Films, 2004, Belgian/France/UK. Google Scholar

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Details

Author details

McCaffrey, Enda