By Caroline Bainbridge
This well timed e-book offers new insights into debates round the courting among ladies and picture by means of 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, course and reception.
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Additional resources for A Feminine Cinematics: Luce Irigaray, Women and Film
More recently, Judith Mayne has written extensively on the implications of rethinking spectatorship in contemporary theory (1993). Summarizing the historical development of theories of spectatorship, Mayne suggests that the gap between address and reception has structured many approaches to how the spectator is constructed. For Mayne, it is important to differentiate between the spectator as the addressee of cinema and the spectator as someone who responds to images. This helps to distinguish the ‘ideal’ viewer from the ‘real’ one.
Imaginary? In order to begin to do this, it is necessary to seek out accounts of the formative roles played by space and time in the creation of representational systems. By adopting the Irigarayan strategy of interrogating texts that work with notions of space and time, it may be possible to insinuate into them the structures of sexual difference. This is explored in more detail in Chapter 6 in relation to Sally Potter’s Orlando. 26 A Feminine Cinematics: Luce Irigaray, Women & Film Irigaray’s thoughts on gendered space-time are closely related to her highly theoretical forays into the realm of the divine which are made accessible by reference to figures of mediation.
Her analysis of how language and syntax are used by men and women demonstrates the extent of her interest in language and discourse as foundational elements of symbolic practice (Irigaray, 1985/2002). For Irigaray, the symbolic division of the subject is made in language, but she is critical of the fact that subjectivity is consequently relegated to the realm of masculinity in this context. By drawing on psychoanalytic ideas about the constitution of the subject at the moment of recognition of the Lawof-the-Father, which comes with the revelation of castration in the psychoanalytic account, Irigaray shows how the specificity of the female body is consistently disavowed in theories of subjectivity.