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The Desire to Desire: The Womans Film of the 1940s
Author: Mary Ann Doane
File Type: pdf
Brilliantly argued and lucidly written... the definitive psychoanalytic account of the repression of woman in Hollywood cinema. Tania Modleski... complex and challenging... The Womens Review of Books... magnificently ambitious... some of the most original and intelligent essays in film theory today. Journal of Modern Literature... deeply commited to the psychoanalytic approach... Contemporary SociologyThe Desire to Desire traces the way in which female spectatorship is specified primarily by its lapses or failures, arguing that the womens film simultaneously asserts and denies female desire, attributing to the woman only an impossible gaze.Amazon.com ReviewWhat is female spectatorship? When Hollywood films are geared for an audience of women, what ideals do they tend to promote? How should feminist theory contend with the image of women that the cinema passes on? In The Desire to Desire Mary Ann Doane responds to these questions, focusing specifically on womans pictures of the 1940s. She argues that while most of the films she discusses are conceived through lenses that are masculine in nature, feminists attempting to critique these films should not dismiss them as sexist or attempt to develop a way of seeing that is simply the opposite of the one handed down. Instead, Doane offers a critique of vision itself, contrasting the way the camera views the women in these films, the way the films female characters look out onto their worlds, and the way the Hollywood movie industry manufactures images that it expects female audiences to consume. From Publishers WeeklyA professor of film and semiotic theory at Brown University and co-editor of Re-vision Essays in Feminist Film Criticism, Doane offers a study of four genre subgroups of the womans film of the 1940s medical discourse films, in which male doctors treat female patients (Possessed maternal melodramas (To Each His Own love stories (Humoresque and paranoid womens films (Rebecca. Using elements of feminism, psychoanalysis and film theory, she argues that these films simultaneously assert and deny female desire, attributing to the woman only a gaze that is impossible for her to expand on or realize. She also asserts that the processes of imaging women and of specifying the gaze in relation to sexual difference, like most forms of sexism, are far more deeply ingrained than one might suspect. While suggesting avenues for future study, this work is mainly for those committed to the authors viewpoint. 1987 Reed Business Information, Inc.
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