简介
Summary:
Publisher Summary 1
Film and Female Consciousnesslooks at a group of films which offer new and original representations of women's interiority and individuality: In the Cut(2003), Lost in Translation(2003), and Morvern Callar(2002). Lucy Bolton compares these films with those which offer more standard 鈥?albeit provocative and interesting 鈥?treatments of female subjectivity: Klute(1971), The Seven Year Itch(1955), and Marnie(1964). Considering each of the older, well-known films alongside the recent, experimental films illustrates how contemporary filmmaking techniques and critical practices can work together to create complex and provocative depictions of on-screen female consciousness. Drawing on the philosophy of Luce Irigaray in relation to women's cultivation of self-knowledge, this book examines each female character as she goes through a process of transition or transformation. This approach demonstrates how participating in the encounter between Luce Irigaray and cinema can yield greater understanding of both fields.
目录
List of Illustrations p. viii
Acknowledgements p. ix
Introduction p. 1
'Frozen in Showcases': Feminist Film Theory and the Abstraction of Woman p. 8
The Camera as an Irigarayan Speculum p. 29
In the Cut: Self-Endangerment or Subjective Strength? p. 60
Lost in Translation: The Potential of Becoming p. 95
Morvern Callar: In a Sensory Wonderland p. 128
Architects of Beauty and the Crypts of Our Bodies: Implications for Filmmaking and Spectatorship p. 167
Concluding Remarks: The Object Is Speaking p. 202
Notes p. 206
Bibliography p. 209
Filmography p. 222
Discography p. 225
Index p. 227
Acknowledgements p. ix
Introduction p. 1
'Frozen in Showcases': Feminist Film Theory and the Abstraction of Woman p. 8
The Camera as an Irigarayan Speculum p. 29
In the Cut: Self-Endangerment or Subjective Strength? p. 60
Lost in Translation: The Potential of Becoming p. 95
Morvern Callar: In a Sensory Wonderland p. 128
Architects of Beauty and the Crypts of Our Bodies: Implications for Filmmaking and Spectatorship p. 167
Concluding Remarks: The Object Is Speaking p. 202
Notes p. 206
Bibliography p. 209
Filmography p. 222
Discography p. 225
Index p. 227
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