(P/B) FEMMES FATALES
FEMINISM, FILM THEORY, PSYCHOANALYSIS - MARY-ANN DOANE
MARY-ANN DOANE
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Παρουσίαση
In this major new work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in cinematic, theoretical, and psychoanalytic discources. Femmes Fatales engages Freud, the female body, the theory of the female spectator, the meaning of the close-up, and the nature of stardom. Doane's analyses of such figures as Pabst's Lulu and Rita Hayworth's Gilda trace the thematics and mechanics of masks, masquerade, and veiling with special attention to the form and technology of the cinema. working through and against the intellectual frameworks of poststructuralist and psychoanalytic theory, Doane interrogates cinematic and theoretical claims to truth about women which rely to a striking extent on judgments about vision and its stability or instability. Reflecting the shift in conceptual priorities within feminist film theory over the last decade, Femmes Fatales addresses debates over female spectatorship, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relations between racial and sexual difference. doane's nuanced and original readings on the femme fatale in cinema demonstrate that confrontations between feminism, film theory, and psychoanalysis can be productively destabilizing for each discipline. (From the publisher)
Περιεχόμενα
Acknowledgments
Introduction: Deadly Women, Epistemology, and Film Theory
I. THEORETICAL EXCURSIONS
1 Film and the Masquerade: Theorizing the Female Spectator
2 Masquerade Reconsidered: Further Thoughts on the Female Spectator
3 Veiling Over Desire: Close-ups of the Woman
4 Remembering Women: Psychical and Historical Constructions in Film Theory
II. FEMMES FATALES
5 Gilda: Epistemology as Striptease
6 The Abstraction of a Lady: La Signora di tutti
7 The Erotic Barter: "Pandora's Box"
III. THE BODY OF THE AVANT-GARDE
8 Woman's Stake: Filming the Female Body
9 The Retreat of Signs and the Failure of Words: Leslie Thornton's "Adynata"
10 "When the direction of the force acting on the body is changed": The Moving Image
IV. AT THE EDGES OF PSYCHOANALYSIS
11 Dark Continents: Epistemologies of Racial and Sexual Difference in Psychoanalysis and the Cinema
12 Sublimation and the Psychoanalysis of the Aesthetic
Notes
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(P/B) IL CONFORMISTA (THE CONFORMIST)
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