By Caroline Bainbridge
This well timed ebook offers new insights into debates round the courting among ladies and picture via drawing at the paintings of thinker Luce Irigaray. Arguing that female-directed cinema presents new how you can discover principles of illustration and spectatorship, it additionally examines the significance of contexts of construction, path and reception.
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Additional resources for A Feminine Cinematics: Luce Irigaray, Women and Film
Spectator-fish, taking in everything with their eyes, nothing with their bodies: the institution of the cinema requires a silent motionless spectator, a vacant spectator, constantly in a sub-motor and hyper-perceptive state, a spectator at once alienated and happy, acrobatically hooked up to himself by the invisible thread of sight, a spectator who only catches up with himself at the last minute, by a paradoxical identification with his own self, a self filtered out into pure vision. We are not referring here to the spectator’s identification with the characters of the film (which is secondary), but to his preliminary identification with the (invisible) seeing agency of the film itself as discourse, as the agency which puts forward the story and shows it to us.
Is also haunted by a masculine standard, masculinity as measure is not internal to the concept itself (the masquerade designates the distance between the woman and the image of femininity; the fetish is the substitute maternal phallus). (Doane, 1991: 39) Masquerade designates a distance between woman and the image of femininity. Woman becomes a surface, image or screen in this respect. In other words, woman is cinema in traditional approaches to how femininity is inscribed in cinematic practice.
According to Metz, this gap represents the distance between the spectator’s desire and its object (1975: 61). Moreover, for Metz, this distance is doubly inscribed in the cinematic process by the sense of illusory sensory plenitude that characterizes the spectator’s experience of the cinema. The plethora of images and representations clearly marks the absence of the desired objects in the cinematic process. 3 Drawing on this material, Doane’s suggestion is that woman is so close to herself as image that she is prevented from assuming an active spectator position.