Early cinema, late cinema: permutations of the public sphere
نویسنده
چکیده
There tends to be a moment in the development of cultural practices when discourses of the recent past become history; they are no longer just outdated but, like bell-bottom jeans, mini-skirts and platform shoes, acquire historicity. This is what seems to have happened with film theory of the 1970s and early 1980s, particularly as it revolved around the notion of 'the spectator'. I am thinking here of psychoanalytic-semiotic approaches, often inflected with Marxist and feminist politics, associated with the names of JeanLouis Baudry, the later Christian Metz, Raymond Bellour, Stephen Heath, Laura Mulvey, to mention only a few. As has widely been pointed out, the paradigmatic distinction of 1970s film theory, its break with earlier film theory, consisted of a shift in focus from textual structures or ontologies of the medium to processes of reception and spectatorship Whether concerned with the cinematic apparatus or with textual operations of enunciation and address, these approaches converged in the question of how the cinema works to construct, interpellate and reproduce its viewer as subject, how it solicits actual moviegoers to identify with and through ideologically marked positions of subjectivity. In either case, the inquiry hinged upon the hypothetical term of an ideal spectator, a unified and unifying position offered by the text or apparatus, even if, as feminist and, more recently, subaltern critics have pointed out, this position for some viewers turns out to be a 'locus of n Doane Miscognmofi impossibility' , of self-denial or masochism and identity One Tracts roi 3 j w j | | n o t r e j t e r a t e the by now ritual cri t ique of this type of film no 3 [19801 p 29 . . I I J I _ J I I theory, whether concerning its epistemological and methodological
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