Belle de jour -
Belle de jour, généreuse, annuelle…
Belle de jour est une belle plante annuelle, très florifère et peu rustique. Elle produit rapidement un petit buisson, de 40 cm de hauteur et autant de largeur, imposant ses fleurs isolées en haut de tiges érigées, idéal pour des bordures originales. Les fleurs en trompette de 4 cm de diamètre, aux pétales bien dessinés, apparaissent en juin et bénéficient d’une floraison assez longue jusque le mois d’octobre, elles s’ouvrent le jour et se ferment la nuit. Les graines de belle de jour sont plus rustiques que ses fleurs et permettent, dans les régions où une floraison précoce est sans risque de « coup de gel », d’être semées en septembre plutôt qu’en avril ou mai.
Nom botanique :
• Convolvulus Tricolor
Type de plante :
• Plante : Plante annuelle
• Feuillage : Caduc
• Type de plante : de – 7 à – 12 °C (Graines plus rustiques)
• Famille : Convolvulacées, convolvulaceae
• Port : Port en touffe, buissonnant
• Exposition : Soleil
• Semis en place : Avril-mai (septembre – régions douces)
• Plantation : Printemps
• Floraison : Juin à octobre
• Enracinement : Racines
• Zone de culture : Partout
• Origine : Sud de l’Europe
• Fleurs isolées.
• Croissance rapide.
• Fleurs en forme de trompettes ou calices peu profonds.
Quels avantages au jardin :
• Très facile à cultiver
• Produit un beau buisson très fleuri.
• Floraison longue et généreuse.
Quel sol ?
• Sol léger, frais et bien drainé.
Quand faire les semis de Belle de jour ?
Semis d’automne pour les régions douces :
• Semez les graines en septembre, ces semis sont réservés au régions douces, car la floraison en sera avancée et s’il gèle au printemps… La culture des belles de jour sera ruinée.
Semis pleine terre :
• Pratiquez le semis des belles de jour en mai.
Comment semer Belle de jour ?
Semis précoce en godet :
• En mars ou avril…
• Remplissez les godets d’un mélange de terreau pour semis et de sable.
• Humidifiez-le bien.
• Placez les graines en surface.
• Recouvrez d’une légère épaisseur de terreau.
• Maintenez le substrat humide.
• Repiquez au jardin en fonction des dernières gelées.
Semis en pleine terre :
• Attendez le mois mai que les risques de gel soient derrière.
• Travaillez le sol sans le retourner.
• Amendez-le de terreau, et de sable pour l’alléger si besoin.
• Semez clair.
• Éclaircissez les plants tous les 20 cm quand les plantules portent 4 feuilles.
Quand planter ?
• Mettez-en place le plant de Belle de jour en avril, ou mai en fonction de la douceur du climat de la région de plantation.
Quelle exposition pour les belles de jour ?
• La plante apprécie les expositions ensoleillées.
Comment planter ?
Dans les mêmes conditions de sol vues précédemment, c’est-à-dire léger, frais et profond.
• Travaillez le sol pour l’ameublir toujours sans le retourner.
• Ajoutez du terreau pour plante fleurie ou un compost bien mature.
• N’hésitez pas à ajouter du sable pour alléger le substrat pour le plus rendre drainant.
• Placez les plants de belle de jour tous les 25 cm.
• Comblez les manques de terre avec le mélange terre du jardin et terreau/ou compost.
• Tassez avec le pied sans abimer la plante.
• Laissez sécher la terre entre deux arrosages.
Maladies et parasites :
• La plante peut être visitée par les mollusques.
Entretien de Belle de jour :
• Retirez les fleurs fanées pour favoriser la nouvelle floraison.
Floraison des belles de Nuit :
La floraison s’étale du printemps à l’automne, de mai-juin jusqu’octobre.
Variétés de Belle de Nuit :
• Convolvulus Tricolor – Belle de jour – Light Blue Flash – fleur bleu ciel – fond blanc – cœur jaune.
• Conv. Tr. – BdJ – Royal Ensign – Bleu roi, fond blanc cœur jaune.
• Conv. – BdJ – Crimson Monarch – Rouge
Quelle plante s’accorde avec belle de Nuit ?
• Des coquelicots, des pavots de Californie…
Utilisez-les au jardin, ou en grand pot :
• Au jardin : En bordure, en jardin sauvage, en couvre-sol…
• En pot : En grand pot (50 cm) de terre sur la terrasse. Cultivez Belle de jour dans un mélange de terreau pour géranium et terre de bruyère (2/3 – 1/3) à arroser modérément, sur terre sèche. Un engrais pour plante fleurie peut être nécessaire toutes les 2 semaines.
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Nom de l'article
Cultiver la belle de jour
Belle de jour, généreuse, annuelle...Belle de jour est une belle plante annuelle, très florifère et peu rustique. Les fleurs en trompette de 4 cm de diamètre, aux pétales bien dessinés, apparaissent en juin et bénéficient d'une floraison assez longue jusque le mois d'octobre, elles s'ouvrent le jour et se ferment la nuit...
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Jaime-jardiner.com - Un partenaire de ouest-france.fr
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Brooke Magnanti (born 5 November 1975)  is an American-born naturalised British  former research scientist, blogger, and writer, who, until her identity was revealed in November 2009, was known by the pen name Belle de Jour.  While completing her doctoral studies, between 2003 and 2004, Magnanti supplemented her income by working as a London call girl known by the working name Taro. 
Her diary, published as the anonymous blog Belle de Jour: Diary of a London Call Girl, became increasingly popular as speculation surrounded the identity of Belle de Jour. Remaining anonymous, Magnanti went on to have her experiences published as The Intimate Adventures of a London Call Girl in 2005 and The Further Adventures of a London Call Girl in 2006. Her first two books were UK top 10 best-sellers in the nonfiction hardback and nonfiction paperback lists.
In 2007 Belle's blogs and books were adapted into a television programme, Secret Diary of a Call Girl starring Billie Piper as Belle, with the real name Hannah Baxter. In November 2009, fearing her real identity was about to come out, Magnanti revealed her real name and occupation as a child health scientist.
She is honoured in BBC's 100 Women in 2013 and 2014.  
Belle de jour: Tough Love
“I felt they showed more of me than they’d said they were going to,” Catherine Deneuve remarked to Pascal Bonitzer in 2004, about the making of Luis Buñuel’s 1967 Belle de jour. “There were moments when I felt totally used. I was very unhappy.” The story of Séverine, a deeply disenchanted haut bourgeois Paris housewife who finds erotic liberation through byzantine psychosexual fantasies and part-time work at an upscale brothel, Belle de jour certainly made extreme demands of Deneuve: her character is flogged, raped, and pelted with muck, among other assaults. But despite her objections to the way she was treated and her difficulties with Buñuel, Deneuve’s performance in Belle de jour turned out to be one of her most iconic.
Deneuve, who had become a star only three years earlier, as the melancholy jeune fille in Jacques Demy’s 1964 all-sung musical The Umbrellas of Cherbourg, was just twenty-three when Belle de jour came out notably, Buñuel’s film was released in France less than three months after Demy’s radiant, MGM-inspired musical The Young Girls of Rochefort, starring Deneuve and her real-life sister Françoise Dorléac. But Belle de jour, more than any other film from the first decade of her career, defined what would become one of the actress’s most notorious personae: the exquisite blank slate lost in her own masochistic fantasies and onto whom all sorts of perversions could be projected. (Deneuve as deviant tabula rasa was first seen in Roman Polanski’s 1965 Repulsion, in which she plays a damaged beauty plummeting into psychosis but Belle de jour doesn’t portray its heroine as mad, instead remaining deliberately ambiguous about the origins of her unconventional desires—and presaging the bizarre libertines she would later play in such films as Marco Ferreri’s Liza, 1972, and Tony Scott’s The Hunger, 1983.)
Buñuel was at a very different stage of his career from his young star, but Belle de jour represented a peak for him as well, the greatest—and most successful—film of his extremely rich late period. These works, bookended by 1964’s Diary of a Chambermaid and 1977’s That Obscure Object of Desire (his final film), were made mostly in France—where Buñuel had begun his filmmaking career with the incendiary, surrealist Un chien andalou (1929)—following the exiled Spanish director’s two decades in Mexico. Many of these late projects were cowritten with Jean-Claude Carrière and focus intensely on sexual perversion (a theme that recurs throughout Buñuel’s work). Belle de jour certainly falls into that category, and also, typically, skewers the entitled classes. Yet it stands out as the director’s most intricate character study—but of a protagonist who resists definition the heroine, frequently trussed up and mussed up, retains an odd, opaque dignity in her debauchery.
In that same interview with Bonitzer, Deneuve was judicious enough to distinguish her experience of making Belle de jour from the final product, calling it a “wonderful film.” But her first meetings with Buñuel hinted at the duress that was to follow. According to John Baxter’s 1994 biography, Buñuel, it took time for the director to “warm to” his star: “He felt, with some justice, that she had been foisted on him, first by the Hakims [Belle de jour’s producers], then by her lover of the time, François Truffaut.” After dining with Buñuel at his house, the book recounts, Deneuve “left with little more than an impression that he disliked actors in general and was reserving his decision about her. The only advice he offered was the advice he had always given actors: ‘Don’t do anything. And above all, don’t . . . perform.’”
Though Deneuve deferred to her director, she was no puppet Belle de jour is as much hers as Buñuel’s. The filmmaker, famously resistant to “psychological” interpretations of his work, stuffs Belle de jour with his trademarks, confounding any attempt to parse meaning: the surrealist blurring of fantasy and reality, fetishism, sexual perversion, blasphemy. But as Séverine, Deneuve, despite operating in the nebulous realm between dream and waking, imbues the film with irresistible and very real lust—and luster. Sporting the chicest Yves Saint Laurent finery, Deneuve revels in the peculiar desires of her character while always inviting our own. As Buñuel himself acknowledges in his 1984 autobiography, My Last Sigh (published a year after his death), Belle de jour “was my biggest commercial success, which I attribute more to the marvelous whores than to my direction.” (Per Baxter, after the filming of Belle de jour, he would finally admit of his star, “She’s really a very good actress.”) Deneuve’s gift was to update the world’s oldest profession for her still-expanding résumé.
The director had some modifying to do as well. Buñuel, who adapted Joseph Kessel’s 1928 novel with Carrière, assessed the source material dryly in My Last Sigh: “The novel is very melodramatic, but well constructed, and it offered me the chance to translate Séverine’s fantasies into pictorial images as well as to draw a serious portrait of a young female bourgeois masochist. I was also able to indulge myself in the faithful description of some interesting sexual perversions.”
He wastes no time in establishing those bizarre erotic proclivities. In Belle de jour’s opening scene, Séverine and her doting husband of one year, Pierre Serizy (Jean Sorel), a handsome, dutiful surgeon, are snuggled close in a horse-drawn carriage he interrupts the tender moment with the lament “If only you weren’t so cold.” She pulls away, defensive. The sound of horse bells, which has been increasing in volume from the film’s first shot—and will indicate Séverine’s dreams or fantasies throughout—stops. Pierre orders his wife out of the cab when she refuses, he and the two drivers remove her by force. She is gagged, bound to a tree, and whipped by the coachmen, who are then instructed by Pierre to rape her. When one begins to ravish her, Séverine appears to be in ecstasy.
This carnal reverie is soon interrupted by the Serizys at home, preparing for their usual chaste bedtime ritual. Pierre, in white pajamas, asks his pale-pink-nightie-clad wife, under the covers in a separate bed, what she’s thinking about: “I was thinking about you . . . and us. We were out for a ride in a carriage”—a scenario Pierre has heard before.
The fantasy clearly belongs to Séverine alone she finds erotic thrills in her secret thoughts of debasement and humiliation, her florid imagination compensating for her sterile, sexless existence. Her most private desires will soon be realized at 11, cité Jean de Saumur, the address of the boutique bordello run by Madame Anaïs (Geneviève Page), given to Séverine by Pierre’s louche friend Husson (Michel Piccoli).
At Madame Anaïs’s, Séverine—now going by the nom de pute Belle de jour, a reference to her two-to-five shift (she insists on being home when Pierre returns from his workday at the hospital)—is horrified at first but proves to be a quick study. A burly Asian client scares off her two seasoned colleagues with his mysterious, buzzing lacquered box, but she is absolutely transfixed after the john leaves, she, lying prone on the bed, lifts her head, her luxuriant mane of blonde hair disheveled, to reveal a woman still drunk on orgasmic pleasure.
The contents of the box are one of the film’s many mysteries (when asked what is inside, Buñuel would reply, “Whatever you want there to be”). Yet the greatest enigma is Séverine herself: why does she recoil from the slightest sexual advance from her husband yet lose herself, both in fantasy and in her new line of work, in elaborate masochistic tableaux? “Pierre, it’s your fault too. I can explain everything,” Séverine insists to her husband in the opening fantasy sequence, as she’s being forcibly removed from the landau. But of course, she can’t—and won’t. As in Repulsion, there are flashbacks to possible childhood trauma in Belle de jour. In one, a man appears to touch a young Séverine inappropriately in another, she stubbornly refuses the Blessed Sacrament. But unlike in Repulsion, whose final, prolonged shot of a menacing family photo is offered as the root of Carole’s pathology, these scenes in Buñuel’s film are almost non sequiturs, presented not as psychological explanation but as blips in a baroque sexual surrealism.
As Séverine’s reveries and job demands become stranger and more mysterious—in one daydream, she is pelted with thick black mud by Pierre and Husson, who call her “tramp” and “slut” a ducal client solicits her in the bois de Boulogne to perform in a necrophilic rite—Deneuve retains her porcelain, celestial inscrutability, while simultaneously transforming into an earthbound debauchee, delighting in her own defilement. Madame Anaïs (whose early, shameless flirtation with Séverine—who eventually reciprocates—is the first of the many moments in Deneuve’s filmography that would cement her status as a lesbian icon) touts her new employee’s regal bearing to prospective customers: “[She’s] a little shy, perhaps, but a real aristocrat.” Séverine’s coworkers, Charlotte (Françoise Fabian) and Mathilde (Maria Latour), are constantly remarking on the impeccable cut and style of her ensembles. Yet what this seemingly untouchable goddess craves most is the brutality of her latest john, the thug Marcel (Pierre Clémenti), a rough with metal teeth, a walking stick that doubles as a shiv, and fetishwear (shiny boots of leather with matching overcoat) that could have been dreamed up in an atelier overseen by Kenneth Anger and Pierre Cardin.
Séverine’s relationship with Marcel will lead to Pierre’s ruin—or does it? The ambiguous ending of Belle de jour suggests that everything that preceded it may have existed only in the heroine’s cracked dreamscape. Like the buzzing box, the film’s final scene is whatever you want it to be. Yet one thing is certain: Deneuve transcends kink. And despite her misery during the Belle de jour shoot, she would return for even more bizarre treatment three years later in Buñuel’s Tristana, losing both her virtue and a leg.
Buñuel, Luis, and Jean-Claude Carrière, Belle de jour, London, 1971 also published in Avant-Scène du Cinéma (Paris), April 1978.
Durgnat, Raymond, Luis Buñuel, Berkeley, 1968 revised edition, 1977.
Buache, Freddy, Luis Buñuel, Lyons, 1970 as The Cinema of Luis Buñuel, New York and London, 1973.
Aranda, José Francisco, Luis Buñuel: A Critical Biography, London and New York, 1975.
Cesarman, Fernando, El ojo de Buñuel, Barcelona, 1976.
Mellen, Joan, editor, The World of Luis Buñuel: Essays in Criticism, New York, 1978.
Bazin, Andre, The Cinema of Cruelty: From Buñuel to Hitchcock, New York, 1982.
Edwards, Gwynne, The Discreet Art of Luis Buñuel: A Reading of His Films, London, 1982.
Buñuel, Luis, My Last Breath, London and New York, 1983.
Rees, Margaret A., editor, Luis Buñuel: A Symposium, Leeds 1983.
Eberwein, Robert T., Film and the Dream Screen: A Sleep and a Forgetting, Princeton, New Jersey, 1984.
Lefèvre, Raymond, Luis Buñuel, Paris, 1984.
Vidal, Agustin Sanchez, Luis Buñuel: Obra Cinematografica, Madrid, 1984.
Aub, Max, Conversaciones con Buñuel: Seguidas de 45 entrevistas con familiares, amigos y colaboradores del cineasta aragones, Madrid 1985.
Bertelli, Pino, Buñuel: L'arma dello scandalo: L'anarchia nel cinema di Luis Buñuel, Turin 1985.
Oms, Marcel, Don Luis Buñuel, Paris 1985.
De la Colina, Jose, and Tomás Pérez Turrent, Luis Buñuel: Prohibido asomarse al interior, Mexico 1986.
Sandro, Paul, Diversions of Pleasure: Luis Buñuel and the Crises of Desire, Columbus, Ohio, 1987.
Williams, Linda, Figures of Desire: A Theory and Analysis of Surrealist Film, Berkeley, 1992.
Evans, Peter W., The Films of Luis Buñuel: Subjectivity and Desire, New York and Oxford, 1995.
Baxter, John, Buñuel, New York, 1999.
Variety (New York), 19 April 1967.
Film Français (Paris), 9 June 1967.
Fieschi, Jean-André, "La Fin ouverte," in Cahiers du Cinéma (Paris), June 1967.
Narboni, Jean, in Cahiers du cinéma (Paris), July 1967.
Seguin, Luis, in Positif (Paris), September 1967.
Stein, Elliot, "Buñuel's Golden Bowl," in Sight and Sound (London), December 1967.
J.A.D. in Monthly Film Bulletin (London), December 1967.
Durgnat, Raymond, and Robin Wood, in Movie (London), no. 15, 1968.
D'Lugo, Marvin, "Glances of Desire in Belle de jour," in Film Criticism (Meadville, Pennsylvania), Winter-Spring 1978.
Buñuel, Luis, "Dnevnaia Krasavitsa," in Iskusstvo Kino (Moscow), no. 6, 1992.
Jousse, T., "Buñuel face a ce qui se derobe," in Cahiers du Cinéma (Paris), February 1993.
Girard, Martin, "Belle de Jour," in Séquences (Quebec), no. 180, September-October 1995.
Morris, Gary, "Belle de Jour," in Bright Lights (San Francisco), no. 15, 1995.
"Belle de Jour," in Castoro Cinema (Firenze), no. 59, 1996.
In many ways Belle de jour is the perfect illustration of André Breton's famous dictum that "everything leads us to believe that there exists a certain point of the spirit at which life and death, the real and the imaginary . . . cease to be perceived as opposites. It is vain to see in the Surrealists' activity any motive other than the location of that point."
At first sight the film, based on a novel by Joseph Kessel, seems to be a relatively straightforward story about a young woman who indulges in masochistic day dreams and works, clandestinely, in a brothel. But, as the film progresses, the line between "fantasy" and "reality" becomes increasingly blurred. The young woman in question is Séverine, the beautiful but frigid wife of a young doctor Pierre. One of her regular fantasies involves Pierre punishing her by having her dragged from his carriage by his coachmen, who then bind, gag, whip, and rape her. Husson, one of their friends, mentions the name of a brothel run by Madame Anaïs, and Séverine, under the name Belle de Jour, goes to work there secretly every day. One of her clients, a young thug named Marcel, falls in love with her and tries to persuade her to leave the brothel. When she holds back he shoots her husband, and is himself killed by the police. Pierre is now paralysed and is looked after devotedly by Séverine. One day Husson tells him about his wife having worked in a brothel. The shock appears to kill him, then, all of a sudden, he rises from his chair, seemingly miraculously cured.
Thus at the very end of the film, just as the audience are congratulating themselves on having neatly sorted out "fantasy" from "reality" throughout the course of the narrative, Buñuel throws the whole distinction into sudden confusion by presenting what seems like a wish-fulfilment in the most straightforwardly naturalistic manner. The director's method here looks back to The Exterminating Angel (where extraordinary, absurd events are depicted as if they were the most normal things imaginable) and forward to The Milky Way, The Discreet Charm of the Bourgeoisie, The Phantom of Liberty, and That Obscure Object of Desire, whose less conventional, more episodic narrative structures enable Buñuel to explore his surrealist vision to the full. Indeed, Buñel's remark that these last films all evoke "the essential mystery in all things" and "the search for truth, as well as the necessity of abandoning it as soon as you've found it" serves as a suitable warning to all those who would seek to produce any kind of definitive reading of Belle de jour. Indeed, the whole film exists in the image of the little box that an Oriental client brings with him to the brothel. When opened, this emits a strange, high-pitched buzzing sound and greatly disturbs all of the girls— except Séverine, who is fascinated by it. The camera never reveals what "it" is, and, according to his autobiography, Buñuel was constantly asked by people what was in the box: his answer was always "whatever you want there to be." It's worth noting, incidentally, that the original novel, which Buñuel describes as "very melodramatic, but well constructed," does observe the usual literary distinctions between "outer" and "inner" events, and that the English subtitled version of the film (un)helpfully italicises the dialogue in the scenes which someone has decreed are to be read as dreams or fantasies!
Belle de jour was Buñuel's most sustained treatment of another favourite theme—that of fetishism. This had already raised its head in El and The Diary of a Chambermaid, but Séverine's clients represent a veritable cornucopia of fetishism, including a gynaecologist who plays at being a valet, and a Count who enjoys masturbating under a coffin in which Séverine (whom he calls his daughter) is lying. Apparently Buñuel wanted this scene to take place after a celebration of Mass, but censorship problems intervened—not for the first time in Buñuel's anarchic oeuvre.
- 1 Early life
- 2 Identity
- 2.1 Pseudonym
- 2.2 Revelation of identity
- 3 Career
- 3.1 Diary of a London Call Girl
- 3.2 Later writing
- 3.3 Scientist
- 3.4 Activism
- 3.5 Secret Diary of a Call Girl
- 4 Personal life
- 4.1 Libel case
- 5 Bibliography
- 5.1 Writing as Belle de Jour
- 5.2 Writing as Dr Brooke Magnanti
- 5.3 Selected scientific works
- 6 Notes
- 7 References
- 8 External links
Born in New Port Richey, United States to an Italian American father and Jewish American mother,  Magnanti grew up in Clearwater, Florida.  She graduated from the private Clearwater Central Catholic High School where she was named a National Merit Scholar in 1992. 
She entered university at the age of 16, going on to receive a B.S. in 1996 from Florida State University. Relocating to the United Kingdom, Magnanti studied for a master's degree in genetic epidemiology and PhD in forensic science from the University of Sheffield in England.  
Magnanti's pseudonym was derived from the 1928 novel Belle de jour by Joseph Kessel and the 1967 film of the same name starring Catherine Deneuve, directed by Luis Buñuel. In the film, "Belle de Jour" is an expression translating literally as "daytime beauty", as Deneuve's character frequented the brothel during the daytime, when her husband was absent from home. The expression is a pun on the French phrase "belle de nuit", which translates as "lady of the night", i.e. a prostitute.  
The weblog Belle de Jour: Diary of a London call girl first appeared in October 2003  and won the Guardian newspaper's Best British Weblog 2003, in the second year of the award's existence.  There was speculation in the media for several years as to the real identity of the author, whether Belle really was a call girl. Guesses as to who Belle was ranged from Rowan Pelling to Toby Young according to The Telegraph. In 2004 The Sunday Times featured a front-page headline incorrectly identifying Sarah Champion as the author of the blog based on erroneous textual analysis by Donald Foster. 
According to The Guardian a fellow British blogger guessed her identity in 2003 but kept it secret. He made a page on his blog containing the googlewhack of Belle de Jour and Brooke Magnanti that allowed him to see if anyone googled the two names. In 2009 he identified IP addresses originating from Associated Newspapers that had accessed the page at which point he contacted Magnanti to alert her.  Around the same time tabloid reporters had been escorted from the hospital where she worked for breaking into her office. 
Revelation of identity Edit
On 15 November 2009, The Sunday Times revealed in an interview that the author's real name is Brooke Magnanti,  who was 34 years of age at the time.  The Guardian ' s Paul Gallagher described it as the revelation of "one of the best kept literary secrets of the decade".  The Daily Telegraph ' s Stephen Adams said it had been "the new millennium's equivalent of the 1980s' search for the golden hare".  Such was the nature of the secret that Magnanti's colleagues did not know until one month before she went public, her publishers had been unaware of her true identity until the previous week and her parents found out on that weekend.   
After signing her first book deal and starting writing articles for newspapers, only two other people were aware of her identity, her agent Patrick Walsh and her accountant, who handled the financial transactions via a shell corporation.   Magnanti commented that she had thought a former boyfriend was on the verge of outing her,   and later reported him to the police for threats and harassment against her and her partner. 
Writing on her blog on the day of the revelation, Magnanti stated:
It feels so much better on this side. Not to have to tell lies, hide things from the people I care about. To be able to defend what my experience of sex work is like to all the sceptics and doubters. Anonymity had a purpose then – it will always have a reason to exist, for writers whose work is too damaging or too controversial to put their names on 
A spokesperson for the University of Bristol stated, "This aspect of Dr Magnanti's past is not relevant to her current role at the university", while her publisher said, "It's a courageous decision for Belle de Jour to come forward with her true identity and we support her decision to do so". 
Diary of a London Call Girl Edit
He: "So why do you do this?"
Me: "I'm not sure I have an answer to that."
"There must be something that you at least tell yourself."
"Well, perhaps I'm the sort of person apt to do something for no good reason other than I can't think of a reason not to."
The Intimate Adventures of a London Call Girl
Magnanti worked for 14 months as a £300-an-hour prostitute called Taro  for a London escort agency from 2003, after submitting her PhD thesis.   She did so due to lack of funds before her viva voce at the University of Sheffield in 2003  and is estimated to have earned more than £100,000 in that period. 
She had previously been a science blogger using her real name and started blogging about sex work under a pseudonym.  Diary of a London Call Girl was voted Blog of the Year by The Guardian newspaper in 2003. Awards judge Bruce Sterling called it "Archly transgressive, anonymous hooker is definitely manipulating the blog medium, word by word, sentence by sentence far more effectively than any of her competitors . She is in a league by herself as a blogger."  Shortly after receiving the award she signed with literary agency Conville and Walsh who negotiated a publishing deal with Weidenfeld & Nicolson. 
Reviews of the books compared her writing to the works of Martin Amis and Nick Hornby,  and she frequently quotes from the poems of Philip Larkin. Themes of the blog and books include isolation and personae. "Solitude as much as sex propels these books . Belle's prickly disbelief in any lasting togetherness picks up an almost existential heft."  She writes in Playing the Game "it's not all about the sex – never has been – it's about the heart of darkness." 
Later writing Edit
Magnanti's publisher, Orion Books, printed her first two books as part of its "Non Fiction/Memoir" line.  Her third book was classified as fiction and represents a fictional continuation from the first two. Her books have been published in the UK, US, Portugal, Spain, Slovenia, France, Netherlands, Sweden, Germany, Italy, Czech Republic, Romania, Russia, and China.
In 2016 her first thriller The Turning Tide was published in the UK. It attracted positive reviews, with The Guardian listing it among the best recent crime novels  and The Times noting "Magnanti's writing is lively and entertaining. When her victims are laid out on that slab, her unspeakably detailed descriptions are good enough to put the wind up Patricia Cornwell." 
From November 2005 until May 2006, Magnanti contributed a regular column in The Sunday Telegraph.  Since her identity had been revealed she has written about UK libel laws and their effect on science for The Guardian ' s website Comment Is Free.  
On 25 February 2010 Magnanti appeared on the BBC political affairs programme This Week to discuss the subject of sex education.  She is also an occasional guest on The Book Show broadcast on Sky Arts  and has spoken at a number of venues including The Sunday Times Oxford Literary Festival in conversation with India Knight.  She has also spoken on internet and forensic identity as part of the Bristol Festival of Ideas  and was a guest on the Stephen Fry 2011 series Fry's Planet Word.
In 2012 Magnanti was selected as ambassador for the Inverness Whisky Festival  and was ambassador for the festival's gin section in 2015.  Magnanti, along with Tobias Hill, acted as a judge for Fleeting Magazine's 2012 Six-Word Short Story Prize.  She was interviewed on Hardtalk on the BBC in October. 
Since 2012 she has been contributing blogger to The Daily Telegraph.
Magnanti's PhD thesis, awarded from the University of Sheffield Department of Forensic Pathology, was entitled Macrobioinformatics: the application of informatics methods to records of human remains. It was submitted in September 2003 and the degree was awarded in 2004.  After moving to London and while blogging as Belle de Jour she also worked as a computer programmer in cheminformatics at InforSense.  She blogged about this career at Cosmas. 
Magnanti went on to work as a biostatistician in the Newcastle University Paediatric and Lifecourse Epidemiology Research Group (PLERG),  researching a possible link between the occurrence of thyroid cancer in under-25s in NE England and radioiodine fallout exposure from Chernobyl in Ukraine. 
After her pseudonymous publishing career Magnanti was identified to be working as a research associate in developmental neurotoxicology and cancer epidemiology at the Bristol Initiative for Research of Child Health (BIRCH) at the University of Bristol.  Specifically she was part of the EU-funded Henvinet consortium,  researching the policies for assessing the risks of developmental neuropathology from exposure to organophosphates.  She collaborated on several EU project policy documents regarding human developmental risks of environmental exposure to chlorpyrifos,  phthalates,  and DecaBDE and HBCD. 
In early 2012, Magnanti published a non-fiction popular science book under her real name entitled The Sex Myth. It covered topics in sexuality studies and sociological research in the effects of adult entertainment and sex work.
Reviewing for The Observer Catherine Hakim wrote "Magnanti offers a pretty sharp analysis of sexual politics: who fabricates the myths and why, the role of both rightwing and leftwing media in building up moral panics, the vast sums obtained by the pressure groups that profit from them, and, more recently, too, by the pharmaceutical companies that plan to profit from newly invented sexual diseases."  It drew a less favourable review from Julie Bindel, who writes of Magnanti's book, "I disagree with just about everything she has to say". 
In 2011 Brooke Magnanti published a statistical re-analysis criticising the Lilith Report on Lap Dancing and Striptease in the Borough of Camden,  a study which had claimed that sexual crimes increased after the opening of lap dancing venues in the area the analysis showed this was not the case. The independent London newspaper the Camden New Journal highlighted Magnanti's criticism of the Lilith findings. 
In May 2016 Magnanti, alongside Paris Lees, was called to give evidence about sex work conditions in the UK to the Home Affairs Committee investigating prostitution laws in Britain.  The resulting recommendations by the committee headed by Keith Vaz, released in July 2016, implemented the pair's suggestions  to eliminate criminal records  of those arrested for prostitution-related crimes.  Sex worker nonprofits called the apparent U-turn decision "a stunning victory for sex workers and our demands for decriminalisation" and "a giant step forward for sex workers' rights in the UK." 
Secret Diary of a Call Girl Edit
A television series loosely based on the first book was in development with Channel 4 in the UK, but eventually aired on ITV2 as Secret Diary of a Call Girl. The first series aired from 27 September 2007 to 15 November 2007 starring Billie Piper as Hannah Baxter (Belle). Magnanti met Piper in the course of preparing for the role but maintained her anonymity.  A half-hour TV programme covering a meeting and conversation between the two was broadcast on ITV2 on 25 January 2010. The second series commenced broadcasting in the UK on ITV2 on 11 September 2008.
The third series began broadcasting in the UK in January 2010. The fourth and final series started broadcasting in the UK on ITV2 in February 2011.
Magnanti is married and used to live in Lochaber in the Scottish Highlands.   She became a British citizen in 2013,  and moved back to the United States in 2016. [ citation needed ] 
Libel case Edit
In June 2011, an ex-boyfriend issued a libel writ against The Sunday Times for a claim of defamation caused by his mention in the paper. The claim, filed by Flight Lieutenant Owen Morris  of RAF Lossiemouth, claimed that following her outing, he was identified as her former boyfriend and therefore mentions of his harassment in the articles had been damaging even though they did not mention him by name.  The Sunday Times printed an apology in February 2012,  followed by The Week who agreed to pay damages. 
Belle de Jour Inn is a lovely Healdsburg bed and breakfast located on a pristinely manicured, 6 acre hilltop setting overlooking the rolling valleys and vineyards of Sonoma County and beyond.
Bed & Breakfast in beautiful Healdsburg
The farmhouse, a single story Italianate built around 1873, is the residence of the inn-keepers, Tom & Brenda Hearn. You are invited to share the warmth of the Inn's state of the art country kitchen each morning at 9:00 a.m. for a bountiful ever changing breakfast.
Ammenities to make you feel at home
Fresh white cottages surrounded by exquisite country gardens provide a lovely retreat. Sun-dried sheets, robes for your use and fresh flowers enhance your country stay. For your comfort and convenience all the rooms in our Bed and Breakfast have WiFi, individual heat, air conditioning, ceiling fans, refrigerators, private bath, hair dryers, cd/tape players, and high-definition televisions.
Healdsburg, the jewel of wine country
The Belle de Jour Inn is minutes away from the lovely Healdsburg Town Square, the most gracious and charming of Sonoma County's quaint wine country towns. Stroll about the Healdsburg square and shop in a delightful variety of boutiques, bookstores, and art galleries, not to mention fabulous antique and home furnishing stores all within walking distance of the plaza. Healdsburg also boasts several of the Wine Spectator's top rated, world class restaurants, truly a culinary delight to all connoisseurs of fine wining and dining. Ideally nestled in the middle of the Alexander Valley, Dry Creek Valley and Russian River Valley, Healdsburg offers an unbelievable variety of wineries to discover, from the largest big name producers to the smallest, family owned and operated wineries . award winning wines abound in the rich and diverse landscape that is Healdsburg, the jewel of Sonoma County.
Sonoma County wine tasting & so much more.
Sonoma County also boasts a variety of activities and adventures to explore during your stay. Whether it be a hike through the redwoods or a trip to the coast, a day of golfing, horseback riding or kayaking, or maybe even a visit to the casinos, Belle de Jour Inn is centrally located to all the best Sonoma County has to offer.
Belle de Jour Stream and Watch Online
Looking to watch 'Belle de Jour' on your TV, phone, or tablet? Searching for a streaming service to buy, rent, download, or view the Luis Buñuel-directed movie via subscription can be difficult, so we here at Moviefone want to do the work for you.
Below, you’ll find a number of top-tier streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of 'Belle de Jour' on each platform. Now, before we get into the various whats and wheres of how you can watch 'Belle de Jour' right now, here are some particulars about the Paris Films Productions, Five Films, Robert et Raymond Hakim romance flick.
Released , 'Belle de Jour' stars Catherine Deneuve, Jean Sorel, Michel Piccoli, Geneviève Page The movie has a runtime of about 1 hr 41 min, and received a user score of 75 (out of 100) on TMDb, which assembled reviews from 500 knowledgeable users.
What, so now you want to know what the movie’s about? Here's the plot: "Beautiful young housewife Séverine Serizy cannot reconcile her masochistic fantasies with her everyday life alongside dutiful husband Pierre. When her lovestruck friend Henri mentions a secretive high-class brothel run by Madame Anais, Séverine begins to work there during the day under the name Belle de Jour. But when one of her clients grows possessive, she must try to go back to her normal life."
'Belle de Jour' is currently available to rent, purchase, or stream via subscription on Kanopy, Apple iTunes, Criterion Channel, HBO Max, and Amazon Video .