Download e-book for kindle: Alice Doesn’t: Feminism, Semiotics, Cinema by Teresa de de Lauretis

By Teresa de de Lauretis

ISBN-10: 0333382889

ISBN-13: 9780333382882

ISBN-10: 1349174955

ISBN-13: 9781349174959

"There is rarely a web page during this selection of hard-thought and brilliantly written essays that doesn't yield a few new insight." ―Hayden White

"... de Lauretis’s writing is brisk and refreshingly lucid." ―International movie Guide

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Additional resources for Alice Doesn’t: Feminism, Semiotics, Cinema

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51). The filmic material as "really perceived imaginary," as already imaginary, and as object, becomes significant (becomes an imaginary signifier) to a perceiving subject in language. Metz thus abandons the signified as too naive a notion of meaning (with which Saussure himself was never concerned) only to include, to subsume meaning in the signifier. The problem with this notion of Through the Looking-Glass I 25 meaning is that, being coextensive with the signifier as a subjecteffect, meaning can only be envisaged as always already given in that fixed order which is the symbolic.

46), to the signifier in cinema "as a signifier effect" (p. 42). " The term "signifier" has a double status in this text-which corresponds to the two sides of the inconsistency mentioned earlier-and thus covers up a gap, a solution of continuity in Metzian discourse from linguistics to psychoanalysis. In the first part of the essay, his use of the term is consonant with the Saussurian notion of signifier; he speaks in fact of signifiers as "coupled" to signifieds, of the script as "manifest signified," and of the "manifest filmic material as a whole," including signifieds and signifiers (pp.

The notion circulates widely and has acquired currency in private conversations as well as institutional discourses from film criticism to media shop talk, from academic courses in women's studies to scholarly conferences and special journal issues. 2 Such discussions of images of women rely on an often crude opposition of positive and negative, which is not only uncomfortably close to popular stereotypes such as the good guys versus the bad guys, or the nice girl versus the bad woman, but also contains a less obvious and more risky implication.

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Alice Doesn’t: Feminism, Semiotics, Cinema by Teresa de de Lauretis

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