By Teresa de de Lauretis
"There is infrequently 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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Extra info for Alice Doesn’t: Feminism, Semiotics, Cinema
The stakes for women -in cinema, therefore, are very high, and our intervention most important at the theoretical level, if we are to obtain a conceptually rigorous and politically useful grasp of the processes of imaging. In the context of the discussion of iconic signification, the feminist critique of representation has raised many questions that require critical attention and further elaboration. In very general terms, what are the conditions of presence of the image in cinema and film? And vice versa, what are the conditions of presence of cinema and film in imaging, in the production of a social imaginary?
They saw a woman running at night through an unknown city; she was naked, with long hair, and she was seen from behind ... " (for the female sex is invisible in psychoanalysis, and in semiology it does not exist at all). What this theory of the cinema cannot countenance, given its phallic premise, is the possibility of a different relation of the spectator-subject to the filmic image, of different meaning-effects being produced for and producing the subject in identification and representation-in short, the possibility of other subject processes obtaining in that relation.
Only in this sense, according to Eco, can one speak of transformation of the codes, of the modes of production, of the semantic fields, or of the social. Eco's emphasis is a productivist one: his view of sign production, and especially of the mode he calls invention, associating it with art and creativity, is from the perspective of the maker, the speaker, the artist, the producer of signs. But what about the woman? She has no access to the codes of the invisible city which represents her and absents her; she is not in the place of Eco's "subject of semiosis"-homo faber, the city builder, the producer of signs.
Alice Doesn’t: Feminism, Semiotics, Cinema by Teresa de de Lauretis