Abstract
Two films made in 1970, Peau d'âne/Donkey Skin (Demy, 1970) and Tristana (Buñuel, 1970), illustrate the double star persona of Catherine Deneuve, both ‘soft’ and ‘hard’, and capable of adapting both to genre cinema and auteur cinema. They mark the end of Deneuve's rapid rise to stardom in the 1960s, and raise the issue of how her persona might develop at a time when sophisticated stars were less in favour. The article considers these issues in the context of her double persona, ‘soft’ in Demy's film, and ‘hard’ in Buñuel's.
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 callSimilar Papers
Disclaimer: 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.
