By Caroline Bainbridge
This well timed booklet presents new insights into debates round the dating among girls and picture by means of drawing at the paintings of thinker Luce Irigaray. Arguing that female-directed cinema offers new how you can discover rules of illustration and spectatorship, it additionally examines the significance of contexts of creation, path and reception.
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Extra info for A Feminine Cinematics: Luce Irigaray, Women and Film
The camera technique and framing throughout the film underscore this. It is difficult to suggest that her use of costume and her body is parodic or mimetic rather than masquerading, as she does not appear to be resistant to the objectives of such constructions of femininity – sexual success. Her safety is guaranteed for the spectator by her maternal role – she will always be made safe and less potently phallic by her responsibility to the child. This is a pattern of representation that contains and restrains the potency of discourses of multiplicity, Reading the Feminine with Irigaray 31 and the endless pursuit of such guises of femininity in a Hollywood context points to the inevitability of the recuperative gesture at play with patriarchal systems.
The spectator-subject is theorized in terms which mark out a clear distinction between the spectator-as-subject in the sense elaborated here, and the actual viewing spectator. Teresa de Lauretis pursues feminist thought on the contradiction between woman as a category that is framed by patriarchal investments in desire and processes of exchange, and real women who exist as historical subjects in the systems shaped by patriarchy (1984). She chooses to theorize the female viewer as a spectator-subject rather than in terms of a construct.
For Kaplan, the important question is whether, when women occupy a position of dominance in the cinematic process, they necessarily occupy a masculine position (1983: 24–5). Kaplan asks many germane questions about the availability of a female position of dominance in symbolic systems of exchange, and, in so doing, she posits a new theoretical position which is premised on the hypothesis that it is possible for both genders to occupy the positions outlined in the work of Mulvey and Doane as ‘masculine’ and ‘feminine’.
A Feminine Cinematics: Luce Irigaray, Women and Film by Caroline Bainbridge