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    4 views7 pages

    Mulvey Visualpleasure PDF

    Uploaded by

    Jingulemastan

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    © All Rights Reserved
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    of 7
    | presented as an “image” articulated in response tothe demands of mle ‘eology. "The Scene which pethape mos clealyemphasies a preoeupation wih the function oftheimagein sholdingrepresentacion ata distance” isthesee inwhich Gerry and Claiteenacra mock love scene in roof imaginay fi ‘amerasasJoanlooks on Gerry and Clete areframedinthe dooray they kiss, her endusiuic audience of fends applauding, We se the “scene” {rst fom behind Joan, and watch with he the mack-ks becomes “rel” and the mock-directors ae forced to shout “Cut!” As Gerry and Cle become aware of Joan's presence they look towards hes andin a everse shot we now sce Joan (from behind Gerry) framed inthe doorway in her ur, teansformed into she “image” of an embittered, frostated woman. Ths reversal, by implicating us in the plasurelpain aspect of our voyeuristic ‘elaonihip tothe film, nevertheless hol off identeaton by reminding = thar we are engaged in a process of fabricating images. This iterverton prevents fom accepting he film onan levels Realty, Mery We Go To Hel by operating proces of montage of interventions asserts the text a3 process of dialectical play beeen image andnavatve, andy mplcatingts Inchat processas spectators cals into question the forms of nematograpic representation trough which ideology atemprsto fix or place for us From ‘th concer in Arzners fils withthe potential displacement effect ofthe Friction of image and digrsis® and the montage of interventions of ionic reverand navatveinerruptions, we cn lear much abou the posbaiy ‘of cr cwn intervention as feminist entics and film makes in patriarchal econ Notes 1. Paealolear fens parca la whore scan lh rode onset Mice, Poona on Peon lc at 9 2. Hathbavs hs moe ofan he dean Ge Freon cle tae pom ndenioned weave SSprchsannet ieee om ashen ypc ‘ciently eGo Toles hacia tat teas dope of wenn he our ha bed ae He ‘cal Wal” by Par Conk and Clare Johnson) = su vere eect coma x prethaneal h “4. "Dance, Gil Dame Karyn Ka a Gr aya Vt igh Tp 1 ration 2 4 Visual Pleasure and Narrative Cinema Laura Mulvey troduction AL A Political Use of Poychoouslss This paper inends to use psychoanalysis to discover where and how the fascination of film ig reinlorced by pre-existing pacers of fascination already at work within the individual sbjece and the socal formations that hve moulded him. cakes asstarting point the way fil rele, evels and ven plays on the seraight, socially ertablished interpretation of seal differ ‘nce which controls images, roe ways looking and spectacle. ris ep {oundertand what the ema hasbeen, how ts magic has worked nthe ast, while atempying a theory and a practice which will challenge his ‘Sina of che past Pyehoanalyic theory i thus appropriated here a 2 poliical weapon, demonstrating the way the unconscious of pasarchal Soci has structured fl form “The paradox of phllocentris in alts manifestation isthavit depends ‘nthe image ofthe castrated woman to give order and meaning ts Worl, An ies of woman stands as lynch pin co the systems ics er Lack that [produces the phallus ass symbolic presence, iis hr deseo make good the Tack hat he pale sie, Recent writing in Screen about paychoanaly ad the cinema has not slficenly brought oat the inmportance of the ‘representation ofthe female frm ina symbolic order in which inthe last ‘eso, it speaks castration and nothing else. To summarie brie: the function of woman informing the paviarchal unconscious is two-fold, she ‘istsymbiizes the castration cheat by her realabsence aa pens and second ‘hereby raises her child into the symbolic. Once thi hs been achieve, her ‘meaning inthe process is tan end; i doesnot Ist in the wood of law and language except asa memory which scilats between memory of maternal plenitude and memory oflack. Both ae posted on nature (or on anatomy in Freud’ famous phrase, Woman's dese ssubjectedeoeimageas eater of the bleeding wound, she can exist only in relation to castration an cannot transcend it She ras er child ino the signifier of her own desc to possess 4 penis the condition, she imagines, of entry into the sybolc. ther she ‘must gracefully give way othe word, the Name ofthe Father and he Lae tse strugglew keep her child down withherinthehalfdightof the imaginary. ‘Woman then stand in ptriachal culture a sgnfer for the male other, bound by a symbolic order in which man can live out his fantasies and ‘obsessions through ingustic command by imposing them onthe age ‘of woman sled ther place at bearer of meaning, nor maker of meaning, ‘Thetis an obvious interest inthis analy for feminists, 4 beay int exact rendering ofthe frastation experienced under the phallocentric order gets us nearer to thereat of our oppression, brings an articulation ofthe problem closer, it faces us with the wkimate challenge: how to fight the linconsions sutured likes language (formed rally atthe moment of arrival of language) while sil aught within the lngusge ofthe pasar Theres no way in which we ean produce an alternative out ofthe Bey but sve cam begin to make a break By examining patriarchy withthe tools it Provides, of which psychoanalysis isnot the ony but an important one, We are sill separated by 2 great gap from important issues for the female "unconscious which ate scacaly relevant to phallocenti theory: the sexing ‘the female infant and her elationshp tothe symbolic he sexually mate ‘womans noremother, maternity ouside the ignition ofthe phallus the ‘agin, But, at thi point, psfchoanalyie theory a it now stand cn a least advance or understanding ofthe status quo, ofthe patriarchal orerin Which we are caught. B._ Destruction of Pleasure ata Radical Weapon [As an advanced representation system, the cineina poses questions ofthe ‘nays the amuinscious (formed By the dominant order stctares ways of and pleasure in looking. Cinema has changed over thelas few decades tis no longer the monolithic system based on large capital investment ‘exemplified ats best by Hollywood inthe 1930s, 19408 and 1980s. Tech nological advances (16mm, etc) have changed the economic conditions of «inematicproduction, which can now bearsanalas well acapiaist. Tus hasbeen posible for an alternative cinema 10 develop. However sell conscious and ironic Hollywood managed tbe, always restricted itself toa formal mise-en-sine telling the dominant ideological concept of the sinema, The alternative cinema provides a space for a cinema to be born hich is radical in both a politial and an aesthetic vense and challenges the Basic assumprions of the mainstream film. Ths i not co reject the latter oralistically, but highlight dhe ways in which it formal preoccupations rele the pychial obsessions ofthe society which produced and, further, tostresstha the alternative cinema mut tre specifically by reacting against these obsessions and assumptions. A poltelly and aethetally avantgarde sinema is now posible, ba ican still oly exit 38a counterpoint “Themagicof the Hollywood tle at its best (and afl he nema which fa within ies sphere of influence arose, not exclsivey bun one portant aspect, frm its killed and saisying manipulation of visual please. Un

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