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- W2466242574 abstract "In this final chapter, I want to consider how the ways in which I have used Irigaray in close film analysis also have implications for the areas of authorship and spectatorship. The older films that I have analysed in this book were all directed by men, and the recent films by women: each director is spoken of by critics and scholars in terms of their status as auteurs, to greater or lesser extents. It is important therefore to assess the field of authorship in two particular respects: the nature of ownership, or the ‘signing off’ of a work (can we speak of In the Cut as a ‘Jane Campion film’, and what does it mean to do so?), and the impact of gender on the question of authorship (does gender matter, and how can one assess the impact of gender on the collaborative filmmaking process?). With regard to spectatorship, I have already raised the ‘different kind of looking’ and ‘engaged reading’ which Irigaray calls for. In this chapter I will consider how these relate to theoretical perspectives on spectatorship, and suggest the possibilities an Irigarayan approach offers for this field." @default.
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- W2466242574 date "2011-01-01" @default.
- W2466242574 modified "2023-09-27" @default.
- W2466242574 title "Architects of Beauty and the Crypts of Our Bodies: Implications for Filmmaking and Spectatorship" @default.
- W2466242574 doi "https://doi.org/10.1057/9780230308695_7" @default.
- W2466242574 hasPublicationYear "2011" @default.
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