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A Feminine CinematicsFantasy and the Feminine: Female Perversions and Under the Skin

A Feminine Cinematics: Fantasy and the Feminine: Female Perversions and Under the Skin [Fantasy is central to psychoanalytic accounts of subjectivity and has become important also in the context of film theory, particularly in relation to efforts to theorize the cinematic treatment of gender. Some considerations of fantasy in relation to film focus on the fantasy genre and suggest that fantasy can be used to make sense of the cinematic experience as a means of escape from everyday life. However, for the concerns of this book, the most pertinent ideas about fantasy and cinema stem from the monolithic claims of apparatus theory discussed in Chapter 2. As we saw there, the main tenet of the argument was that classical cinema is structured according to male desire and fantasy. Subsequent feminist interventions have resulted in attempts to reformulate the importance of fantasy for cinema as this chapter will discuss. In order to make links to an Irigarayan perspective on fantasy and film, this chapter will then examine Susan Streitfeld’s Female Perversions and Carine Adler’s Under the Skin.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A Feminine CinematicsFantasy and the Feminine: Female Perversions and Under the Skin

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Publisher
Palgrave Macmillan UK
Copyright
© Palgrave Macmillan, a division of Macmillan Publishers Limited 2008
ISBN
978-1-349-36321-6
Pages
77 –98
DOI
10.1057/9780230583689_5
Publisher site
See Chapter on Publisher Site

Abstract

[Fantasy is central to psychoanalytic accounts of subjectivity and has become important also in the context of film theory, particularly in relation to efforts to theorize the cinematic treatment of gender. Some considerations of fantasy in relation to film focus on the fantasy genre and suggest that fantasy can be used to make sense of the cinematic experience as a means of escape from everyday life. However, for the concerns of this book, the most pertinent ideas about fantasy and cinema stem from the monolithic claims of apparatus theory discussed in Chapter 2. As we saw there, the main tenet of the argument was that classical cinema is structured according to male desire and fantasy. Subsequent feminist interventions have resulted in attempts to reformulate the importance of fantasy for cinema as this chapter will discuss. In order to make links to an Irigarayan perspective on fantasy and film, this chapter will then examine Susan Streitfeld’s Female Perversions and Carine Adler’s Under the Skin.]

Published: Oct 23, 2015

Keywords: Symbolic Order; Film Theory; Flat Mirror; Maternal Relation; Apparatus Theory

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