By Caroline Bainbridge
This well timed ebook presents new insights into debates round the dating among ladies and picture through drawing at the paintings of thinker Luce Irigaray. Arguing that female-directed cinema offers new how one 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
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.
Space-time Irigaray has also focused on the problematic aspects of space-time in relation to sexual difference (1984/1993a). For Irigaray, woman is little more than a space by reference to and in which man is able to locate himself as a subject. Woman is trapped in the realm of the maternal in this respect. She embodies the place of origin for the masculine subject and, consequently, has no access to her own space of origin, nor indeed to any space of her own outside the maternal realm. In order to have access to a space of her own, woman would have to re-envelop herself with herself, and do so at least twice: as a woman and as a mother.
Metz’s notion of cinematic pleasure as the ultimate goal of all classical Hollywood cinema allows for masculine pleasure alone, because the consuming symbolic subject is necessarily masculine and it is only from the masculine subject position that pleasure can be enjoyed. Pleasure is a necessary product to ensure the continuing process of exchange which dominates the cinematic institution, as Metz has pointed out. In the midst of all of this, there is, nevertheless, an important focus on the place of the screen and its mirroring function, and, in the work of Mulvey in particular, this is linked to gendered pleasure.
A Feminine Cinematics: Luce Irigaray, Women and Film by Caroline Bainbridge