By Anneke Smelik
And The replicate Cracked explores the politics and pleasures of up to date feminist cinema. Tracing the efficient ways that feminist administrators create replacement movie types, Anneke Smelik highlights cinematic matters that are significant to feminist motion pictures: authorship, standpoint, metaphor, montage, and the over the top picture. In a continuing replicate online game among conception and cinema, this learn explains how those cinematic ideas are used to symbolize woman subjectivity absolutely 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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Additional info for And the Mirror Cracked: Feminist Cinema and Film Theory
As is often the case for feminists, my position is made of a series of balancing acts: on the one hand, I agree with the emphasis that auteurism places on the director as filmmaker, because this allows me to hold her/him Page 32 accountable for the representation of sexual difference s/he enacts. However, I find it more useful to redefine the notion of authorship with poststructuralism, thus linking it to subjectivity. I do hold, however, to my objection with the premature dismissal of female subjectivity in poststructuralist theory.
At a time in the mid 1970s when women filmmakers started making movies and female subjectivity became an issue for feminists, poststructuralist film theory declared it passé to theorize the author/subject. Both the glorification of the auteur and the death of the author/subject leave little leeway for female authors as subjects. In this sense, these dramatic shifts in paradigm make little difference to the continuing exclusion of women. It makes one wonder whether the 'artist as genius' and the 'death of the subject' are not two sides of the same coin; Andreas Huyssen seems to suggest as much (in Miller 1986: 106–7).
Discussing the same problem in a later essay, de Lauretis (1991) observes that the institution of heterosexuality defines all sexuality to such an extent that 'the effort to represent a homosexual-lesbian desire is a subtle and difficult one' (252). She criticizes both Stacey and Silverman for conceiving of desire between women as 'woman-identified female bonding' and failing to see it as sexual. Here, and more extensively in her later book The Practice of Love (1994), de Lauretis returns to Freudian theory to account for the specificity of lesbian desire in terms of fetishism.