@Read Book ì The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema õ eBook or Kindle ePUB free

@Read Book Î The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema ô a vitally new understanding that takes us from the terms of the representation of sexual difference to an anatomy of female subjectivity which will be widely influential Stephen Heath An original work likely to have significant impact on all those with an interest in the vibrant intersection of feminism, film theory, and psychoanalysis Naomi Schor powerfully argued study impressive Choice important because of its innovative work on Hollywood s ideologically charged construction of subjectivity what is exciting about The Acoustic Mirror is that it inspires one to reevaluate a number of now classical theoretical texts, and to see films with an eye to how authorship is constructed and subjectivity is generated Literature and Psychology As evocative as it is shrewdly systematic, the pioneering theory of female subjectivity formulated in the final three chapters will have wide impact as a major contribution to feminist theory SubStanceThe Acoustic Mirror attempts to do for the sound track what feminist film theory of the past decade has done for the image track to locate the points at which it is productive of sexual difference The specific focus is the female voice understood not merely as spoken dialogue, narration, and commentary, but as a fantasmatic projection, and as a metaphor for authorship Having myself an academic background in Film Studies, I am naturallythan passingly familiar w the strain of psychoanalytic discourse that functionally hijacked the discipline in the 1970s and 1980s Laura Mulvey, Christian Metz, etc I have studied and made whatever use of them when I could I was always especially fond of Kaja Silverman, who I always held to be the greatest writer of that school on the subject of castration Silverman, like many of her contemporaries all of whom she tan Having myself an academic background in Film Studies, I am naturallythan passingly familiar w the strain of psychoanalytic discourse that functionally hijacked the discipline in the 1970s and 1980s Laura Mulvey, Christian Metz, etc I have studied and made whatever use of them when I could I was always especially fond of Kaja Silverman, who I always held to be the greatest writer of that school on the subject of castration Silverman, like many of her contemporaries all of whom she tangles w , always in good faith is a full on Lacanian When we are talking about castration in the Lacanian sense rather than the purely penile Freudian sense we are talking about symbolic castration, which is to say the castration experienced by the child when it becomes constituted as a subject or even proto subject within the symbolic realm This is the part of Lacan that matters to me Lacan framing psychic life as conditioned by lack If Lacanian symbolic castration is at the heart of THE ACOUSTIC MIRROR as it is at the heart of the bulk of Silverman s writing so too, alas, are the Oedipus complex and the negative Oedipus complex At this point I come into some fundamental difficulty I am very much a convert to the model s propounded by Deleuze and Guattari in their ANTI OEDIPUS books What that looks like at the level of psychoerotic life and film spectatorship I see psychic, erotic, and fantasmic identity as a radically heterogeneous and polyphonic field, and those who create and consume texts as radically multiple beings or becomings Deleuze and Guattari are all about destratification and the explosion of the binary apparatus That is where I find myself at home Silverman, retaining Oedipus and much else, works within a rigorously stratified striated discursive regime fundamentally informed by the clean split of sexual difference which she does, however, compellingly problematize, especially in the final chapter on Liliana Cavani and film authorship That being said, I continue to find her textual analyses subservient though they are to the aforementioned discursive regime breathtaking in their critical virtuosity Her dissections ofmainstream films are the real highlights here what she does w PEEPING TOM, THE CONVERSATION, and THREE WOMEN is dazzling The final chapter on female authorship and authorshipgenerally, as grounded in the fantasmic and its expression in the play of desire is in some obvious ways a major break w the rest of the book, but is also in some ways its most theoretically valuable section So while symbolic castration and lack are fundamental to the way I myself conceptualize desire, much of where Silverman goes from there differs substantially from where I take things That being said, I find taking her journey w her to be insightful and fascinating I picked up THE ACOUSTIC MIRROR, which I have had sitting around for quite some time, simply because I am intending to write something on one particular female voice in one particular film, and thought reading this might be useful in that regard It both was and wasn t But in a broader sense it wasthan worth the effort Doktorat in progress. I first read Silverman in a graduate class on feminist film theory, but returned to it post grad school because of a taste for intellectual calisthenics and because I was thinking about gendered subjectivity in authorship What does it mean to write feminine from a nonbiological standpoint particularly in film, and how does the mastering vision the auteur role factor in Andbasically, what use do we get in labelling authorship in gendered terms Here s a taste of Silverman, where she I first read Silverman in a graduate class on feminist film theory, but returned to it post grad school because of a taste for intellectual calisthenics and because I was thinking about gendered subjectivity in authorship What does it mean to write feminine from a nonbiological standpoint particularly in film, and how does the mastering vision the auteur role factor in Andbasically, what use do we get in labelling authorship in gendered terms Here s a taste of Silverman, where she delineates what a feminine author might look like through Cavani Authorial desire, as I have already indicated, is always closely bound up with authorial subjectivity, but in Cavani s films the two are almost impossible to separate There is no object as such, to be yarned for or possessed there are only models to imitate, replicate, or incorporate, or intersubjective spaces to be shared This is a cinema of being, not of having In attempting to summarize Cavani s authorial desire, I am thus obliged to repeat what I have already said about her authorial subjectivity That desire finds expression through the repeated narrative figuration of phallic devestiture through the repeated scene of male castration