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Articles 1 - 3 of 3
Full-Text Articles in Film and Media Studies
Imagining Woman Otherwise, Or Nothing: Sexuation As Discourse In Lacanian Thought, Rahna Carusi
Imagining Woman Otherwise, Or Nothing: Sexuation As Discourse In Lacanian Thought, Rahna Carusi
Rahna M Carusi
My dissertation looks at the connections between Lacan’s four discourses and the sexuation graph in order to claim that sexuation is discursive and that, as Lacan presents it with the phallus as its quilting point, the sexuation graph is a narrative based on patriarchal hegemony, which is one of many possible narratives. I argue that through the hysteric’s discourse and a removal of the phallus as the Symbolic-Imaginary quilting point, we can begin to formulate new narratives of sexuated subjectivities. The textual objects I use for this project are literary and filmic works where women are the central topic or …
Silent Subversions, Derek Dubois
Silent Subversions, Derek Dubois
Derek M Dubois
Explores the concept of spectatorship in relation to gender in the earliest period of film history in the United States known as the silent era. Argues that a new mode of spectatorship emerges for women during the 1920s, which employs to advantage the extra-diegetic components of spectacle in theater design, new customized genres for female filmgoers, fandom, and exotic male film stars, such as Rudolph Valentino. Focuses primarily on feminist film theory and on cultural studies as methodological models.
Civil Rights, Labor, And Sexual Politics On Screen In Nothing But A Man (1964), Judith Smith
Civil Rights, Labor, And Sexual Politics On Screen In Nothing But A Man (1964), Judith Smith
Judith E. Smith
The independently made 1964 film Nothing But a Man is one of a handful of films whose production coincided with new civil rights insurgency and benefited from activists' input. Commonly listed in 1970s surveys of black film, the film lacks sustained critical attention in film studies or in-depth historical analysis given its significance as a landmark text of the 1960s. Documentary-like, but not a documentary, it offers a complex representation of black life, but it was scripted, directed, and filmed by two white men, Michael Roemer and Robert Young. This essay argues that the film's unusual attention to labor and …