@article{henneton_2020, title={Des «Pietà» au mausolée, les forms du desire de régression à l’état foetal chez Jean Genet}, volume={73}, journal={Il Confronto Letterario}, author={Henneton, Diane}, year={2020}, pages={89–105} }
 @article{les eaux troubles, figures de noyées dans l’œuvre de jean genet_2017, year={2017} }
 @article{henneton_2017, title={Les eaux troubles, figures de noyées dans l’œuvre de Jean Genet}, ISSN={0039-2944 2421-5856}, url={http://dx.doi.org/10.4000/studifrancesi.9768}, DOI={10.4000/studifrancesi.9768}, abstractNote={This article analyses the drowning scenes in Jean Genet’s work, focusing more specifically on the film script Mademoiselle and the play Les Paravents (The Screens). It argues that Leila’s mysterious disappearance in The Screens is indeed a drowning scene and shows that the Mademoiselle-Bruno couple in the film script (with the autobiographical content explained at the beginning of the article) and the Leila-Said pairing in the play are in fact a self-portrait of Jean Genet and his two mothers: one his biological mother, the other, Eugenie Regnier, his foster mother. As drowned figures are always feminine in Genet’s work, all elements related to them are examined, including skirt, water, and darkness. These scenes reveal the writer’s sadistic impulse toward the maternal figure, whom he dismisses in his texts, and show that this rejection of the mother figure creates space for his fantasy about being brought into the world through self-generation.}, number={182 (LXI | II)}, journal={Studi Francesi}, publisher={OpenEdition}, author={Henneton, Diane}, year={2017}, month={Aug}, pages={270–287} }
 @article{du miracle de la rose au langage de la muraille, mettray et jean genet_2015, year={2015} }
 @article{henneton_2015, title={Du «Miracle de la Rose» au «Langage de la Muraille», Mettray et Jean Genet}, volume={64}, journal={Il Confronto Letterario}, author={Henneton, Diane}, year={2015}, pages={307–324} }
 @article{'la terre' (1921) d'andré antoine, un film dans le sillage de la mise en scène de 1902_2014, year={2014} }
 @inbook{henneton_2014, place={Paris}, series={Dictionnaires & références}, title={10 entries}, ISBN={9782745326362}, booktitle={Dictionnaire Jean Genet}, publisher={Éditions Honoré Champion}, author={Henneton, Diane}, editor={Hubert, Marie-ClaudeEditor}, year={2014}, collection={Dictionnaires & références} }
 @article{henneton_2014, title={La Terre d’André Antoine: Du théâtre au cinéma: Une longue germination}, volume={97}, journal={Revue de la Société Coréenne de Langue et Littérature Françaises}, author={Henneton, Diane}, year={2014}, pages={555–580} }
 @article{henneton_2014, title={“La Terre” (1921) d’André Antoine, un film dans le sillage de la mise en scène de 1902}, ISSN={0039-2944 2421-5856}, url={http://dx.doi.org/10.4000/studifrancesi.1035}, DOI={10.4000/studifrancesi.1035}, abstractNote={In 1921, nineteen years after his staging of La Terre, Andre Antoine shot a film based on Zola’s famous novel. It may be tempting to see in this second adaptation of La Terre a sign of exhaustion on the part of a director already in his sixties. On the contrary, the film represents the culmination of his previous research. Without denying the specifically cinematographic dimension of the film, this paper aims to stress the continuity with the 1902 stage adaptation. A number of choices made almost two decades earlier concerning both the script and the staging reappear in the film, while the weak points in the earlier adaptation, of which Antoine was well aware, are remedied in his cinematographic version. Thus, La Terre benefited from both Antoine’s theatrical experience and the medium of the cinema.}, number={174 (LVIII | III)}, journal={Studi Francesi}, publisher={OpenEdition}, author={Henneton, Diane}, year={2014}, month={Nov}, pages={494–508} }
 @book{saint-arroman_hugot_2012, place={Paris}, series={Textes de littérature moderne et contemporaine}, title={"La terre", du roman au Théâtre Antoine}, ISBN={9782745323217}, publisher={Editions Honoré Champion}, author={Saint-Arroman, Raoul de and Hugot, Charles}, editor={Henneton, DianeEditor}, year={2012}, collection={Textes de littérature moderne et contemporaine} }
 @article{henneton_2012, title={Jacques Demy's Musical Comedies An Homage to the American Show Musical}, volume={37}, ISSN={1534-1836}, url={http://dx.doi.org/10.1353/frf.2012.0041}, DOI={10.1353/frf.2012.0041}, abstractNote={Jacques Demy dreamed of America long before he discovered it in 1965, when Les Parapluies de Cherbourg (1964) was selected for the Oscars. For a long time, America fed his dreams of travel, intrinsically mixed with those of cinema. His reverie goes back to childhood during which he often went to the theater alone and saw "lots of American movies," as he reported in a 1969 interview. (1) His precocious "cinephilia" led him to Hollywood, whose studios he avoided, preferring to shoot outdoors in real-life settings around Los Angeles. Nevertheless, America and in particular the musical, a genre linked to the Hollywood studios, nourished his imagination. His first full-length feature, Lola (1961), opens with a shot of the seashore and a white Cadillac being driven by Michel (Jacques Harden), the lover, who is back from America. This film, originally conceived as a musical, launched the 29-year-old director's career in musical films, a genre that had by then almost completely disappeared in the United States. Strictly speaking, only three of Demy's films can be called musicals: Les Demoiselles de Rochefort (1967), Trois Places pour le 26 (1988), and Pea it d'Ane (1971). The third film which belongs to a different sub-genre, the fairy tale musical, is much closer, as Jean-Pierre Berthome (243) and Michel Marie (11) note, to the world of Jean Cocteau's La Belle et la Bete than to the American musical. Thus it is not discussed in this paper. The two films I propose to analyze, Les Demoiselles and Trois Places, belong to what Rick Altman describes as the "show musical" sub-genre, in which Gene Kelly in particular distinguished himself in the postwar years and that was key to the development of the French director's approach. Although the two films came out 21 years apart, Jacques Demy states in an interview that the initial idea for Trois Places emerged during a meeting with Yves Montand in Los Angeles in 1968, only a year after Les Demoiselles. Four years later, a first draft of the script had been completed. Besides belonging to the same sub-genre, the two films where conceived during roughly the same period, that of Les Demoiselles and Demy's sojourn in the United States. In this paper, I outline the shape Demy's interest in the American film musical takes in his work as an homage through a network of intertextualities to the Hollywood masters and especially to the "show musical" sub-genre as well as both an insertion into this codified genre and as a distancing from it. The last two points will be examined according to three major features elaborated by Altman in his comprehensive work, The American Film Musical: the hierarchical relation between image and sound, the fluctuation between reality and fantasy that is characteristic of the American film musical, and the duality inherent in the sexes that finds a resolution in the film. Before presenting the form this homage takes in Demy's Les Demoiselles and Trois Places, it is not unnecessary to summarize these two films. Les Demoiselles opens with the arrival of itinerant performers in Rochefort, where twin sisters Solange (Francoise Dorleac) and Delphine (Catherine Deneuve) live, one a musician, the other a dancer. They lead dull lives, content with giving tuition to children. The arrival of the fair awakens their ambition as well as the life of the town. After two of the female itinerant artists walk out of a show planned for the fair, Delphine and Solange get a chance to perform successfully in public. Meanwhile, Simon (the owner of a music store played by Michel Piccoli) and Yvonne (the owner of a coffee shop and mother of the twin sisters, played by Danielle Darrieux), who were lovers a long time ago, both happen to have returned to Rochefort. However, as they lost contact, they are unaware of this fact. At the end of the movie, they meet by chance and get back together again. The film interlaces the stories of three couples: aside from Simon and Yvonne, there is also the Solange and Andy (Gene Kelly) pair. …}, number={3}, journal={French Forum}, publisher={Project MUSE}, author={Henneton, Diane}, year={2012}, pages={221–239} }
 @article{jacques demy's musical comedies: an homage to the american show musical_2012, year={2012} }
 @article{la terre, du roman à la scène, histoire d'une adaptation_2012, year={2012} }
 @article{henneton_2012, title={La Terre, du roman à la scène: Histoire d’une adaptation}, volume={58}, number={86}, journal={Les Cahiers naturalistes}, author={Henneton, Diane}, year={2012}, pages={219–249} }
 @book{saint-arroman_hugot_henneton_2012, title={˜Laœ terre: du roman au Théâtre Antoine}, volume={145}, url={https://id.culturegraph.org/lobid:HT017223169}, author={Saint-Arroman, Raoul Blaise de and Hugot, Charles and Henneton, Diane}, year={2012}, pages={326 S.} }
 @article{une 'illumination qui montre le vide': les glaces du grand balcon_2011, year={2011} }
 @article{henneton_2011, title={Une «Illumination Qui Montre Le Vide» Les Glaces Du Grand Balcon}, volume={60}, journal={Francofonia}, author={Henneton, Diane}, year={2011}, pages={45–58} }
 @article{henneton_2010, title={Search for Identity in Taiwanese Cinema}, volume={4}, journal={Asian Journal of Literature, Culture, and Society}, author={Henneton, Diane}, year={2010}, pages={34–54} }
 @inbook{henneton_2008, place={Ottawa}, title={La Terre de Zola et La Jeune Fille Violaine de Claudel}, booktitle={Paul Claudel 2005: Perspectives critiques}, publisher={Legas Press}, author={Henneton, Diane}, editor={Villani, SergioEditor}, year={2008}, pages={181–190} }
 @article{henneton_2006, title={Du mot à l'image, l'écriture scénaristique}, volume={18}, ISSN={0843-4182}, url={http://dx.doi.org/10.25071/0843-4182.29090}, DOI={10.25071/0843-4182.29090}, number={2}, journal={LittéRéalité}, publisher={York University Libraries}, author={Henneton, Diane}, year={2006}, month={Sep} }
 @article{du mot à l'image, l'écriture scénaristique_2006, year={2006} }
 @article{henneton_2004, title={La fragile armada}, url={https://www.pointligneplan.com/document/la-fragile-armada/}, journal={Pointligneplan}, publisher={Centre National du Cinéma/La Femis}, author={Henneton, Diane}, year={2004} }
 @inbook{tabucchi_henneton_comment_2003, place={Paris}, title={Il controllo del tempo}, booktitle={Un autre monde}, publisher={L'Herne}, author={Tabucchi, Antonio and Henneton, Diane and Comment, Bernard}, year={2003}, pages={620–637} }
 @article{henneton_1999, title={Entretien avec Denis Melca}, volume={10}, journal={Théâtres au Cinéma}, author={Henneton, Diane}, year={1999}, pages={80} }
 @article{henneton_1999, title={Entretien avec Ghislain Uhry}, volume={10}, journal={Théâtres au Cinéma}, author={Henneton, Diane}, year={1999}, pages={80} }
 @article{henneton_1999, title={Le cinéma virtuel de Jean Genet}, volume={10}, journal={Théâtres au Cinéma}, author={Henneton, Diane}, year={1999}, pages={72–78} }
 @article{henneton_1999, title={Pour un cinéma sonore: Le Bagne}, volume={10}, journal={Théâtres au Cinéma}, author={Henneton, Diane}, year={1999}, pages={82–83} }
 @inbook{henneton_1998, place={Paris}, title={50 entries}, booktitle={Dictionnaire des Lettres Françaises du XXème siècle}, publisher={Livre de Poche}, author={Henneton, Diane}, year={1998} }
 @book{dubillard_henneton_1998, place={[Paris]}, title={Carnets en marge}, url={https://id.culturegraph.org/K10Plus:267363303}, publisher={Gallimard}, author={Dubillard, Roland and Henneton, Diane}, year={1998}, pages={XI, 977 S} }
 @article{henneton_1998, title={Chronology, selection, and introduction to Roland Dubillard's unpublished writings}, volume={24}, journal={Revue d'Esthétique}, author={Henneton, Diane}, year={1998}, pages={145, 149, 239, 287, 315, 345, 369, 441, 465, 483, 497–500} }
 @inbook{henneton_1998, place={Paris}, title={Introduction}, ISBN={9782070752997}, booktitle={Carnets en marge}, publisher={Gallimard}, author={Henneton, Diane}, year={1998} }
 @article{henneton_1998, title={Le regard des passants}, volume={24}, journal={Revue d'Esthétique}, author={Henneton, Diane}, year={1998}, pages={137–139} }
 @article{henneton_1996, title={Un cinéma selon Jean Genet}, volume={74}, number={808}, journal={Europe}, author={Henneton, Diane}, year={1996}, month={Aug}, pages={149} }