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Agnieszka Holland's Total Eclipse, a Contemporary "Film Maudit"

Edward Baron Turk
The French Review
Vol. 72, No. 2 (Dec., 1998), pp. 260-272
Stable URL: http://www.jstor.org/stable/399033
Page Count: 13
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Agnieszka Holland's Total Eclipse, a Contemporary "Film Maudit"
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Abstract

The largely negative reception given Total Eclipse in the United States can perhaps best be understood by situating the film's representation of the Rimbaud-Verlaine relationship within current debates on the assimilation of gays into the social mainstream. Affiliated with the tradition of transgressive, unapologetic queer cinema that has its roots in Genet's Un Chant d'amour (1950), Total Eclipse deviates markedly from prevailing norms of American gay cultural politics and prevailing public taste in cinema.

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