By Caroline Bainbridge
This well timed publication presents new insights into debates round the courting among girls and picture by means of drawing at the paintings of thinker Luce Irigaray. Arguing that female-directed cinema presents new how one can discover principles of illustration and spectatorship, it additionally examines the significance of contexts of construction, path and reception.
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Extra info for A Feminine Cinematics: Luce Irigaray, Women and Film
The subject may be masked, bogged down, buried, covered up, paralyzed, or may be engendered, generated, may become, and grow through speech [en parlant]. ), 1991: 147) In Irigaray’s early work, the emphasis on language and the question of enunciation centres on her notion of parler femme. Parler femme Parler femme is one of the most controversial aspects of Irigaray’s work. Her comment that what a feminine syntax might be is not simple or easy to state, because in that ‘syntax’ there would no longer be either subject or object, ‘oneness’ would no longer be privileged, there would be no proper meanings, proper names, ‘proper’ attributes ...
The female body becomes the locus of death and reproduction here. Paradoxically, the woman-mother is charged with the embodiment of nourishment and life-giving energies whilst simultaneously sustaining death for the masculine subject. Furthermore, her status as the castrated figure of psychoanalytic thought produces a horror of woman’s body that serves to reduplicate these functions once again: So ‘woman’ can function as place – evanescent beyond, point of discharge – as well as time – eternal return, temporal detour – for the sublimation and, if possible, mastery of the work of death.
In this respect, the cinema produces a distinctly ideological position through its mechanics of representation. This is perhaps most clearly and most problematically illustrated by the work of Laura Mulvey on visual pleasure and on the structuring of the cinematic gaze as male. Mulvey’s article on ‘Visual Pleasure and Narrative Cinema’ (1975) is a seminal work in film theory. It has helped to define the field over the past thirty years. Mulvey posits three looks in the cinema. Firstly, she highlights the look of the camera in the situation being filmed, claiming that this is an inherently voyeuristic look and one that is usually male.