This paper focuses on five films, produced from 1961 to 2011 and related to the 1678 La Princesse de Clèves. It seeks to uncover in four of these films a patrimonial discourse, which can be understood as a production of a culturally hegemonic social class. The fifth film offers a more complex set of discourses, where this cultural hegemony is challenged. It raises the issue of the survival of a classical text in a modern multicultural community.
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