New Clothes for Temporary Transvestites? Sexuality, Cross-dressing and Passing in the Contemporary French Film Comedy

Waldron, Darren

doi:10.1080/09639480600818508

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Enjoyment and Culture Values1

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2014

2020

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Cited by 4 publications

(2 citation statements)

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“…Viewers want to see the good rewarded and the evil punished (Zillmann 2000;Ravi 2008). Some researchers claim that consumers of all genres of media consciously or subconsciously choose media texts which reflect their values and strengthen their belonging to certain social groups (Hay 2001;Hall 2007;Waldron 2006;Pop 2012). Comedy is the most popular entertainment genre amongst media consumers (Zillmann 2000).…”

Section: Enjoyment and Culture Valuesmentioning

confidence: 99%

Humour and enjoyment reducers in cinema and theatre comedy

Sover

2014

EJHR

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Section: Enjoyment and Culture Valuesmentioning

confidence: 99%

Humour and enjoyment reducers in cinema and theatre comedy

Sover

2014

EJHR

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“… 1. See, for example, Crick (2001) and Waldren (2006). …”

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Parody of political correctness or allegory of ‘immaterial labour’? A second look at Francis Veber’s Le Placard (2001)

Lane

2015

French Cultural Studies

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This article questions whether readings of Francis Veber's Le Placard (2001) as simply a parody of political correctness have tended to overlook the allegorical significance of its depiction of a middle-aged executive forced to pretend to be gay, simulating libidinal investments he does not in fact possess, in order to protect his job. It argues that the film merits re-interpretation as being not only a parody of political correctness but also a powerful allegory for the increasing demands placed on employees to invest their most personal affects and aptitudes in their work. Drawing on the work of Yann Moulier Boutang, the article interprets such demands as symptomatic of a regime of 'cognitive capitalism', in which 'immaterial' forms of labour represent the primary source of surplus value. The article thus offers an alternative reading of the film's treatment of questions of work, gender, sexuality, family, and nation, before situating Le Placard in the context of a broader range of recent French filmic representations of the contemporary workplace.

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