By Teresa de de Lauretis
"There is rarely a web page during this number of hard-thought and brilliantly written essays that doesn't yield a few new insight." ―Hayden White
"... de Lauretis’s writing is brisk and refreshingly lucid." ―International movie Guide
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Additional resources for Alice Doesn’t: Feminism, Semiotics, Cinema
Eco's line of reasoning is correct enough, but then a further distinction must be made. The breakdown of movement into photograms is still mechanically imposed, no less than it was in, say, futurist paintings. The "units of movement" are established by the speed of the camera, they are not discrete units in the gesture itself, whereas phonemes are distinguishable and in finite number in language. Then, since cinema depends on the objects whose imprint the light rays inscribe on the film stock, one would also need to distinguish between the articulation of real movement (the movement of the objects, studied by kinesics), cinematic movement (the movement of the frames effected by the pull-down mechanism in the camera or the blades of the projector shutter), and apparent movement or motion (perceived by the viewer).
But no such thing could be claimed for cinema; for the images it puts together, there is no paradigm, no storehouse. ' Pasolini, on the other hand, maintained that cinema was a language with a double articulation, though different from verbal language and in fact more like written language, whose minimal units were the various objects in the frame or shot (inquadratura); these he called cinemi, "cinemes," by analogy with fonemi, phonemes. The cinemes combine into larger units, the shots, which are the basic significant units of cinema, corresponding to the morphemes of verbal language.
It is in such films that the difficulties in current theorization appear most evident and a radical reformulation of the questions of enunciation, address, and 28 I ALICE DOESN'T subject processes most urgent. For example, in contrast with the classic narrative film and its production of a fixed subject-vision, Heath asks us to look at Oshima's film as the film of the uncertainty of vision. It is, he writes, "a film working on a problem ... " 24 By shifting t~and forcing on-the spectator the question of "the relations of the sexual and the political in cinema," by marking out the difficulties-perhaps the impossibility-posed by their articulation in representation, the film includes the spectator's view as divided, disturbs the coherence of identification, addressing a subject in division.
Alice Doesn’t: Feminism, Semiotics, Cinema by Teresa de de Lauretis