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Romantic poems in english biography

Catherine Breillat, born in Bressuire, France on July 13, 1948, is a Paris-based filmmaker and writer, and Professor of Auteur Cinema at the European Graduate School EGS. She became famous not only for her distinctively personal films on sexuality, gender trouble and sibling rivalry, but also for her best-selling novels. In her films, she takes sexuality as a subject, and not merely as an object, confronting the viewer with a female's understanding of her own sexuality. The topics range from the adolescent obsession with the loss of virginity (Une vraie jeune fille, 1975; 36 Fillette, 1988), female masochism (Romance, 1999), the seemingly unbridgeable gulf between an older woman and a younger man (Parfait amour!, 1996; Brève traversée, 2001), and female sexuality as a potent force that is being repressed and made obscene by its patriarchal bedmate. The sexual acts in Catherine Breillat's films are not only sexually explicit but very often unsimulated, earning her the unfortunate label of being the auteur of porn, obscuring the much more important reading of her work within the history of modernist filmmaking. Although much of her work focuses on women's relationship to desire, Catherine Breillat also believes that men must re-examine their own sexuality and the way it has been affected by women's social advancement.In addition to acting and directing, Catherine Breillat has written screenplays for directors such as Maurice Pialat (Police, 1985), Federico Fellini (And the Ship Sails On, 1983), Liliana Cavani (The Skin, 1981) and many others.Catherine Breillat has encountered controversy since her career began. When she was 17, she published her first novel, the erotic L'Homme facile, which was forbidden to be sold to anyone under 18 years of age in France. She was baptized into cinema as an actress in 1972 with her supporting role in Bernando Bertolucci's groundbreaking film Last Tango in Paris alongside her sister Marie-Helene. In 1975, Catherine Breillat transitioned to filmmaking with an adaptation of her fourth novel Le Soupirail, retitled Une vraie jeune fille. Nevertheless, due to a combination of bankruptcy of her producers and its shocking content that caused the film to be banned, it was first released in 2000, twenty-five years later. According to some authors, this film represents Catherine Breillat at her most Bataillesque in its transgressive look at the sexual awakening of an adolescent girl. Through combining abstract images of female genitalia, mud, and rodents with a realist account of a young girl's sexual awakening, this film does not offer the expected visual pleasure it anticipates, thereby escaping a commodity driven system of distribution.Catherine Breillat's refusal to make conventionally erotic images or films has led to a myriad of censorship problems during her whole career. Her second film, Tapage Nocturne (1979), again detailing the sexual longing of a young woman, was also met with censorship. The film was released, but it was forbidden to anyone under 18.With her third film, 36 Fillette (1988), Catherine Breillat gained a measure of international attention. Lili, a voluptuous 14-year-old French girl literally bursting out of her children's dress size 36 fillete, discovers her sexuality while on vacation with her family. She is self-aware and rebellious and gets involved in an emotionally charged and mutually manipulative relationship with an aging playboy.It was with the release of her sixth feature Romance in 1999 that Catherine Breillat faced censorship internationally when the film was either banned or given an X rating. Commenting on it by declaring ironically that the X certificate was linked to the X chromosome, her statement was echoed in the French poster featuring a naked woman with her hand between her legs. According to this, the source of trouble was in a woman in touch with her own sense of sexual pleasure.

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