A Feminine Cinematics: Luce Irigaray, Women and Film by Caroline Bainbridge

By Caroline Bainbridge

This well timed publication presents new insights into debates round the dating among ladies and movie by way of drawing at the paintings of thinker Luce Irigaray. Arguing that female-directed cinema offers new how one can discover rules of illustration and spectatorship, it additionally examines the significance of contexts of construction, course and reception.

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Additional info for A Feminine Cinematics: Luce Irigaray, Women and Film

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Mediation The trope of mediation has become extremely important in Irigaray’s recent work. Since the publication of An Ethics of Sexual Difference, Irigaray has consistently alluded to the importance of mediation for the construction of an interval or between space in which it may be possible to situate the other as subject in its own right. For Irigaray, mediation, in the form of angels, or thresholds, or love, or the placenta, is the necessary foundation upon which to build an ethical relation between the sexes.

1982: 305) 34 A Feminine Cinematics: Luce Irigaray, Women & Film For Metz, the cinematic institution is a technique of the imaginary that is peculiar to capitalism and to industrial civilization. 1 However, he goes on to suggest that the cinematic institution is not merely the cinema industry but also the ‘mental machinery’ which conditions spectators to become accustomed to cinema and to internalize it historically – a process which in turn leads to an increasing desire to consume films. Any identification made with a character from the film or with an actor in the film is purely secondary because the spectator primarily identifies with himself [sic], as if reflected in a mirror, as an act of perception.

For Irigaray, mediation, in the form of angels, or thresholds, or love, or the placenta, is the necessary foundation upon which to build an ethical relation between the sexes. Schwab has commented that ‘mediation, a certain type of nonoedipal, nontriangular mediation, becomes the possibility of the symbolic order’ (Burke, Schor and Whitford (eds), 1994: 367). The mediating angel, or love, as it has come to be defined in i love to you as the recognition of the other (1992/1996), constitutes an attempt by Irigaray to reconceptualize symbolic modes of exchange.

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