of female actualization, celebrates and eroticizes male dominance.” The issue should not bewhether The Piano is a feminist film, but how it simultaneously reinforces and transgressesgender itself as well as in relation to other axes of identity. Criticism that attempts to fit filmsinto “correct” side of the ideological spectrum, as feminist or anti-feminist, inevitably reproduces problematic binary philosophical dogmas of Western thought. Although feminist theory attemptsto escape and challenge binaries such as male/female, nature/culture, psychoanalytic feministtheory instead of challenging them, reinscribes them. If everything in film can fit intomale/female power relations, if a spectator can only identify with one or the other, it implies thatany transgression and pleasure is based on either dominant subject position or falseconsciousness. Mulvey hints that although transgression/alteration happens, simultaneously it isimpossible and inherently conservative – “the cinema has structures of fascination strong enoughto allow temporary loss of ego while simultaneously reinforcing it” (38).
“We can ask ‘what is it you have sex with?’ The answer ‘male’ or ‘female’ is imagined as a stable enoughterm to explain sexuality. But if we answer ‘cinema,’ questions proliferate beyond, rather than refer back to, a pre-established system of desire.”
Tell me about my real father. How did you speak to him?
(subtitled) I didn't need to speak, I could lay thoughts out in his mind like they were a sheet.
In contrast with Mulvey’s interpretation of cinema, Patricia McCormack (2008) uses theterm “cinesexuality” – the intense and intimate act of viewing and becoming through pleasureand desire – “that knows no gender, no sexuality, no form, and no function” (1). Suchformulation is radically different from Mulvey, whose analytical weaknesses were widelycriticized and revised in her later work. Some obvious issues with the psychoanalytical modelthat based itself on the idea of sexual difference and formulas of gendered psyche are that it doesnot take into account the diversity of spectators and their experiences. If analysis is based only