Abstract
Alain Guiraudie chose an idle steel mill as the setting for a fictional chronicle of the unemployed in the grips of liquid modernity, as defined by Zygmunt Bauman. In his joyous naturalism, which sidesteps the stock images of unemployment from the cinema of the past century, Guiraudie refuses to associate deindustrialization and misery, poetically mixing the dignity of the dispossessed and an affirmation of homosexual and working class desires. In so doing, Ce vieux rêve qui bouge questions the love/work relationship and extends the “artistic critique” of capitalism.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
