By Anneke Smelik

ISBN-10: 0333920414

ISBN-13: 9780333920411

And The replicate Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the effective ways that feminist administrators create substitute movie varieties, Anneke Smelik highlights cinematic matters that are significant to feminist motion pictures: authorship, perspective, metaphor, montage, and the over the top photo. In a continuing reflect video game among idea and cinema, this learn explains how those cinematic recommendations are used to symbolize girl subjectivity definitely and affirmatively. one of the motion pictures thought of are A query of Silence, Bagdad Café, and Sweetie and the Virgin Machine.

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Extra resources for And the Mirror Cracked: Feminist Cinema and Film Theory

Example text

Second, the enunciator can be inscribed in film through 'secondary identification', that is, the identification with 'another who also happens in this case to be a fictional character' (214). The system of surrogation, where the character stands in for the director/ author, is Page 46 the usual paradigm for dominant cinema when that character is active and male. Silverman points out that a filmmaker can depart from this paradigm through identifications which challenge authorial subjectivity by undermining its authority.

In films such as All About Eve (USA, 1950) or Desperately Seeking Susan (USA, 1984) narrative desire is produced by the difference between two women; by women wanting to become the idealized other. An interplay of difference and otherness prevents the collapse of that desire into identification, prompting Stacey — as Silverman will a year later — to conclude that the rigid psychoanalytic distinction between desire and identification fails to address different constructions of desire. De Lauretis (1988) has also drawn attention to the difficulties of imagining lesbian desire within a psychoanalytic discourse that predicates sexual difference on sexual indifference.

According to Metz, the spectator identifies with the source of discourse, that is, with the invisible agency of the film, through his primary identification with the focus of the camera. The result of this view is an obliteration of authorship. In the analysis of film as discourse, the subject of enunciation is the cinematic apparatus as a whole — camera movement, montage, point of view, composition, soundtrack, etc. (Nowell-Smith 1981: 235; Silverman 1983b: 46). More especially, it has been identified with the camera, that is, the camera's look (Silverman 1988: 200–1).

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And the Mirror Cracked: Feminist Cinema and Film Theory by Anneke Smelik


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