Call for papers Conference Danielle Darrieux A Star Crossing the 20th Century

deadline for submissions: 
October 1, 2016
full name / name of organization: 
University Bordeaux Montaigne
contact email: 

Call for papers Conference Danielle Darrieux A Star Crossing the 20th Century Université Bordeaux Montaigne, the 4th and 5th May 2017 Daniel Darrieux was born May 1, 1917 in Bordeaux. Her career is exceptionally long (1931-2010) and covers several artistic fields: cinema, song, theatre, television, and music hall. However, no reference book has yet been devoted to her. The centenary of her birth is an opportunity to correct this oversight. As a movie actress since the early 1930s, she successively embodied: - young women’s aspiration of emancipation during the 1930s, - self-determining women during the Occupation - apprehension of intelligent women in the post-war period - muse of an alternative modern cinema in the 1970s and 1980s - a positive and unruly aging figure in the 1990s and 2000s Through these successive metamorphoses, she remained an important figure of modernity, including in her image in the medias. In the context of a popular cinema used to female stereotypes, she found success by building a contradictory persona, between tradition and modernity. In the 1930s, she personifies “the daddy's girls” whose emancipation is controlled by patriarchy. In the 1940s, her career was compromised by the German pressures during the Occupation, and destabilized by the settling of score after the Liberation. In the 1950s, she found success through misogynistic roles of women using their intelligence to dominate and/or destroy men. We will have to wait until the emergence of a new generation of filmmakers after the New Wave (Demy, Delouche, Vecchiali, Téchiné, Jacquot, Sautet, Treilhou) allowed Darrieux to bring out the figure of an unworthy old lady. Darrieux began her career in theatre in 1937 to meet the demands of her husband Henri Decoin. After a risky debut, theatre became another pillar of her career in the early 1950s, when the roles offered to her in the films were less interesting. She experimented all registers and genres, from Musset to Bernstein, from Noël Coward to Guitry, from Anouilh to Sagan, from Achard to Barrillet, from Feydeau to Eric-Emmanuel Schmitt, thanks to whom she received a Molière Award in 2003. After the success of the TV movie La Robe mauve de Valentine, adapted in 1969 from a play by Sagan, Darrieux became a successful TV star, thanks to TV shows including the serie Miss (1979), the saga Jalna (1994), for which she won a Golden Seven Award. Darrieux is also a singer who was able to sing jazzy during the time of successful realist singers such as Piaf. From a family of music amateurs, she marked her voiceprint of a light soprano on many films, from Le Bal (1931) all the way to Nouvelle Chance (2006). She made several singing tours at La Tête de l’Art and at l’Alhambra, even on Broadway, and many contemporary composers wrote songs for her, such as Philippe Chatel who invent for her the character of “the Clock” in his musical tale Emilie Jolie (1997) or like Patrick Bruel who included her in his 2002 album Entre deux devoted to 1930s French songs. Here are some non-exclusive suggestions. All approaches to this subject are welcome. 1- Cultural History: Darrieux, vehicle of French identity 2- Iconic studies: the Darrieux look ... 3- Star studies: - the Darrieux persona and its evolution - Darrieux, a star despite her: career management and public life 4- Genre studies - Darrieux and popular genres of French cinema: comedy, melodrama, costume drama, crime film... 5- French film history: - Darrieux, the Tradition of Quality and the New Wave - the place of Darrieux in French film history 6. Gender studies: Darrieux, a contradictory construction of female identity 7- Economic studies: Darrieux, a "bankable" actress? 8- Reception Studies - Critical reception, spectatorship, media and box office 9- Theatre studies: Darrieux and the boulevard 10- Musical studies: Darrieux singer from the 1930s until today 11- Television studies: - Darrieux, recurrent heroine of shows and serials: Miss, Marie-Marie, L’Age vermeil, Bonjour maître, Jalna… 11 Performance studies - Her modern way of acting in the classic French cinema 12 Comparative studies: Darrieux and other - Her repeated collaborations with directors and actors ((Henri Decoin, Max Ophüls, Claude Autant-Lara, Julien Duvivier, Jacques Demy; Albert Préjean, Jean Gabin, Catherine Deneuve, Gérard Philipe) - Her movie and TV remakes ((Mayerling 1936-1948-1968, Katia 1938-1959, Ruy Blas 1947-2002, Jean de la lune 1931-1949, Le Rouge et le Noir 1954-1961-1998, : Marie-Octobre 1959-2008, 24 heures dans la vie d’une femme 1968-2002, etc.), et les reprises au théâtre (Sérénade à trois, Faisons un rêve, Domino, Les Amants terribles, Coco, Potiche, Harold et Maude, Oscar et la Dame rose) - Crossing destinies of the three female stars: Darrieux, Morgan and Presle The proposals (500 words maximum), with a brief bio-bibliography, will be sent in English or in French, before October 1st 2016 to: gwenlegras@wanadoo.fr sellier.g@wanadoo.fr Gwénaëlle Le Gras, Université Bordeaux Montaigne Geneviève Sellier, Université Bordeaux Montaigne