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

By Teresa de de Lauretis

"There is not often a web page during this number 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 info for Alice Doesn’t: Feminism, Semiotics, Cinema

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If and when either of those models is immediately transferred to the cinema, certain problems are voided and avoided, excluded from the theoretical discourse or disposed of within it. For example, the problem of materiality: while the material heterogeneity of the cinema in relation to language is readily asserted, the possibility that diverse forms of semiotic productivity, or different modes of sign production, may entail other subject processes has not been seriously considered. 31 Then there is the problem of the historicity of language, of cinema, and of the other ap- Through the Looking-Glass I 31 parati of representation; their uneven ratios of development, their specific modes of address, their particular relations to practice, and their combined, perhaps even contradictory effects on social subjects.

19 The double status of the Metzian signifier-as matter/form of expression and as subject-effect--covers but does not bridge a gap in which sits, temporarily eluded but not exorcised, the referent, the object, reality itself (the chair in the theatre "in the end" is a chair; Sarah Bernhardt "at any rate" is Sarah Bernhardt-not her photograph; the child sees in the mirror "its own body," a real object, thus, henceforth, known to be its own image as opposed to the "imaginary" images on the screen, and so on, pp.

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.

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