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Visual and Other Pleasures (Language, Discourse, Society)

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Arnold van Gennep, The Rites of Passage (London: Routledge & Kegan Paul, 1960). Van Gennep’s concept of liminality is very usefully developed by Victor Turner, Dramas, Fields and Metaphors. Maybe I took a few too many photography courses in college, or maybe it was the course entitled, "Psychoanalysis and Literature (yes, I did have impractical majors), but I've always felt an affinity with the views expressed in this one article. So I decided to have a look at more of Mulvey's work. Access-restricted-item true Addeddate 2022-03-17 07:08:20 Bookplateleaf 0002 Boxid IA40403910 Camera USB PTP Class Camera Collection_set printdisabled External-identifier

Such is not the case for the examples in equally interesting closer to this compilation "Thoughts on the Young Modern Woman of the 1920s and Feminist Film Theory". In this article, Mulvey doesn't recant her earlier hypothesis of the male gaze so much as she finds the alternative to it she has been seeking. In this text she examines the movies of the "flapper era", early films of modernity and modernism in which women are given the agency most Hollywood talkies later robbed them of. Lccn 88009627 Ocr tesseract 5.0.0-1-g862e Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9954 Ocr_module_version 0.0.15 Ocr_parameters -l eng Old_pallet IA-WL-1300142 Openlibrary_edition Victor Turner, Dramas, Fields, and Metaphors, Symbolic Action in Human Society (Ithaca: Cornell University Press, 1974). Mulvey is best known for her essay, "Visual Pleasure and Narrative Cinema", written in 1973 and published in 1975 in the influential British film theory journal Screen. It later appeared in a collection of her essays entitled Visual and Other Pleasures, as well as in numerous other anthologies. Her article, which was influenced by the theories of Sigmund Freud and Jacques Lacan, is one of the first major essays that helped shift the orientation of film theory towards a psychoanalytic framework. Prior to Mulvey, film theorists such as Jean-Louis Baudry and Christian Metz used psychoanalytic ideas in their theoretical accounts of the cinema. Mulvey's contribution, however, inaugurated the intersection of film theory, psychoanalysis and feminism. In 'Magnificent Obsession': An Introduction to the Work of Five Photographers Mulvey writes that “the exhibition has an art-historical perspective, quite apart from the intrinsic interest of the individual work, in that it records the way a specific movement can grow, change and develop, avoiding the dangers of fossilised repetition and purism” [p138]. This is true, mutatis mutandis, of this collection as a whole. It is in this respect, as a diachronic look at Mulvey's involvement with and thoughts on the Women's Movement, that Visual and Other Pleasures is most interesting. She writes, in the volume's introduction, that “the articles and essays published here were not originally intended to last. I often sacrificed well-balanced argument, research and refinements of style to the immediate interests of the formative context of the moment, the demands of polemic, or the economy of an idea or the shape and pattern of a line of thought” [pvii]. Thus, while many of these essays, taken individually, are products of their time, the narrative that this book forms provides a timeline of some of the key issues for Mulvey, and for the Women's Movement in general, and how this has changed over time.The continuing importance of Mulvey's work is confirmed in this edition of Visual and Other Pleasures with its new introduction and final chapter. They provide an account of a personal and political history of feminism and feminist theory of film and visual culture for which her contribution has been determining.' - Stephen Heath, Professor of English and French Literature and Culture, Jesus College, University of Cambridge, UK Sigmund Freud, ‘Instincts and Their Vicissitudes’, The Standard Edition (London: The Hogarth Press, 1962), vol. 14; ‘Three Essays on Sexuality’, The Standard Edition, vol. 7. Juliet Mitchell, ‘Psychoanalysis, Narrative and Femininity’, in Woman, the Longest Revolution (London: Virago, 1984).

Jacqueline Rose, Feminine Sexuality, Jacques Lacan and the Ecole Freudienne, co-edited with Juliet Mitchell (London: Macmillan — now Palgrave Macmillan, 1982). Like many students my age, my first introduction (and for a long time my only introduction) to Laura Mulvey was through her essay "Visual Pleasure and Narrative Cinema." In this work, Mulvey outlines the dynamics of cinema as voyeurism, both for the audience and for the characters on screen. She coins the term "the male gaze" in this article, a descriptor of images made to appeal to men, with women as object rather than subject of the film. Laura Mulvey's Visual and Other Pleasures set a new agenda for all the humanities. Mulvey's new edition is a crucial and fascinating revision and will be read avidly by scholars and students alike.' - Maggie Humm, author of The Dictionary of Feminist Theory, Feminism and Film and Modernist Women and Visual Cultures These essays have remained remarkably fresh, not least because they betray a deep love of cinema, even at their most critical. At the same time, they document an important juncture in our history with cinema, as that cinema itself - the cinema of the twentieth century - is being reborn as history.' – Miriam Hansen, Ferdinand Schevill Distinguished Service Professor in the Humanities, University of Chicago, USA Fernand Braudel, Civilisation and Capitalism. Volume 2, The Wheels of Commerce (London: Fontana, 1985). I chose this particular passage because it uses the word parabola, rather than the word cycle. For Braudel’s discussion of secular and Kondratieff cycles see Civilisation and Capitalism. Volume 3, The Perspective on the World (London: Fontana, 1984).Visual and Other Pleasures is a series of linked meditations on the politics of representation. Written from the early 1970s to the mid-1980s, the pieces reflect commitments and changes within the Women’s Movement during that period: Mulvey’s self-reflexive account shows the broadening out of the Women’s Movement from a political organisation into a more general framework of feminism, a development that as regards consideration of representation runs from the interruptions of the spectacle of the 1970 Miss World contest to the later elaboration of a fully fledged cultural feminism, responsive to and newly inflecting theoretical trends. The critical appropriation of psychoanalysis, to which Mulvey contributed, was one such crucial inflection and is mapped out by the various pieces as they examine matters of spectacle and melodrama and avant-garde practice, ending with two major reconsiderations — one of which appears below — of the terms and politics and feminist theory. The celebrated essay on ‘Visual pleasure and narrative cinema’, conceived as radical intervention, used psychoanalytic theory to suggest a complex interaction of different ‘looks’ particular to cinema, arguing that conventional film establishes, irrespective of the sex of the viewer, a masculine voyeurism that must be refused, ‘destroyed’. That idea of the hold of the male gaze fixed to the female passivity it represents was then complicated by subsequent reflections on women’s enjoyment as spectators in the cinema, on the possibilities of visual pleasure. Yet how, other than as sexualised images, are women to be represented? Keywords urn:lcp:visualotherpleas0000mulv:epub:6f920de0-bbc7-4cf2-a2eb-b10f2b7dbc50 Foldoutcount 0 Identifier visualotherpleas0000mulv Identifier-ark ark:/13960/s2t2ddmq6t9 Invoice 1652 Isbn 0253362261

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