Paris is herself the great granddaughter of Camille's brother, Paul Claudel.
Paul, French diplomat and famed poet, with his mother, committed Camille to an insane asylum in 1913 at age forty-nine, where she remained until her death in 1943.
He omits the fact that Camille lived and worked alone for fifteen years before he put her in an insane asylum.
Reine Marie Paris sustains the family myth by ignoring the role Camille's family played in incarcerating and abandoning her.
By casting the lover as the villain of the piece, the biography set the stage for a bio pic that would be constructed as a melodrama.
In this article, the story will be recast by offering another version, beginning with an overview of Camille Claudel's life set in the sociocultural milieu in which she lived.
This reading interrogates the evidence of the published biography and produced film by imagining what a feminist film dealing with the same life might have looked like. the particular genre the filmmakers chose in which to construct her story, will be defined.
These concepts will be illustrated by the thematic and formal analysis of five scenes between her and her brother Paul which imply an incestuous relationship and serve as good examples of the formal properties of the melodrama.
Finally the position of women artists in the late nineteenth-century will be explored because it is this larger historical construct that meaningfully resituates the life of Camille Claudel and reveals the ideological implications of these other versions of her life.
Virginia Woolf in A Room of One's Own asks her readers to imagine what life would have been like for Shakespeare's hypothetical sister had she had comparable talents (49-52).
Confined by her family to an asylum in the South of France - where she will never sculpt again - the chronicle of Camille Claudel's reclusive life, as she waits for a visit from her brother, Paul Claudel.
Bruno Nuytten's 1988 film Camille Claudel presents itself as biography.
At a historical moment when we are increasingly sensitive to the effects on history of the demands of art and to the relationship between genre and ideology, this film offers itself as a case study, an exemplary instance of layered representation.