A gaze of one's own : feminist film theory, with application to Klute

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dc.contributor.advisorHiggins, Johnen_ZA
dc.contributor.authorHicks, Pamela Janeen_ZA
dc.date.accessioned2016-03-28T14:29:33Z
dc.date.available2016-03-28T14:29:33Z
dc.date.issued1994en_ZA
dc.description.abstractThis study is concerned with the development of a field of film theory around the place of the female spectator. Chapter 1 presents an historical overview of some trends in the development of film theory, with emphasis on the emergence of a paradigm in which theories of semiotics, ideology and psychoanalysis intersect. It critically assesses the establishment of a dominant theory founded in the notion of film as art, proposing certain parallels between this and contemporary Leavisite literary theory, and notes auteurism as the point of departure from this into the consideration of film as popular culture. It then traces the impact of the critiques by Barthes and Foucault of authorial intentionality, Althusser's theory of ideology and Lacanian psychoanalytic theory in the shift to a body of film theory centrally concerned with the notion of film as text. The feminist intervention is located at the meeting point of this theory with the concerns of the emergent women's movement, and is traced in its development from the "image of" criticism of Rosen and Haskell to Claire Johnston's and Laura Mulvey's seminal work on women and representation. Chapter 2 focuses on some of the theoretical considerations of the image and the gaze, extends these into the theory of cinema as an apparatus, and outlines feminist critiques of apparatus theory. Accounts of representation and the image are drawn from Bill Nichols, John Berger, and Peter Wollen's summary of C.S. Peirce. In the shift of theoretical interest to the process of viewing film, Munsterberg's account of the psychology of vision is noted. The psychoanalytic construction of visual meaning is traced through Lacan's elaboration of the mirror phase to its significance for cinema in the centrality of desire and the gaze. The consequent development of a model of cinema as an apparatus by Baudry and Metz is followed. The feminist criticism of the androcentricity of this model is traced, both through its outright rejection, and through specific critiques by Teresa de Lauretis, Jacqueline Rose, Kaja Silverman, Mary Ann Doane and Constance Penley. Chapter 3 follows three theorists in their attempts to account for female spectatorship: Laura Mulvey's theory of oscillation, Teresa de Lauretis's double identification and Mary Ann Doane's accounts both of textual strategies of specularization in the "woman's film" and the masquerade are considered. Chapter 4 presents an analysis of the text Klute in order to apply some of the theoretical implications, particularly around questions of female subjectivity and spectatorship. It situates Klute within its historical context, in relation to the cinema industry and the emergent women's movement, and within the terms suggested by its generic structuration. The Conclusion provides a summary of my intention to provide an overview of this difficult and fertile field of debate. An Appendix provides a script of Klute.en_ZA
dc.identifier.apacitationHicks, P. J. (1994). <i>A gaze of one's own : feminist film theory, with application to Klute</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Department of English Language and Literature. Retrieved from http://hdl.handle.net/11427/18260en_ZA
dc.identifier.chicagocitationHicks, Pamela Jane. <i>"A gaze of one's own : feminist film theory, with application to Klute."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Department of English Language and Literature, 1994. http://hdl.handle.net/11427/18260en_ZA
dc.identifier.citationHicks, P. 1994. A gaze of one's own : feminist film theory, with application to Klute. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Hicks, Pamela Jane AB - This study is concerned with the development of a field of film theory around the place of the female spectator. Chapter 1 presents an historical overview of some trends in the development of film theory, with emphasis on the emergence of a paradigm in which theories of semiotics, ideology and psychoanalysis intersect. It critically assesses the establishment of a dominant theory founded in the notion of film as art, proposing certain parallels between this and contemporary Leavisite literary theory, and notes auteurism as the point of departure from this into the consideration of film as popular culture. It then traces the impact of the critiques by Barthes and Foucault of authorial intentionality, Althusser's theory of ideology and Lacanian psychoanalytic theory in the shift to a body of film theory centrally concerned with the notion of film as text. The feminist intervention is located at the meeting point of this theory with the concerns of the emergent women's movement, and is traced in its development from the "image of" criticism of Rosen and Haskell to Claire Johnston's and Laura Mulvey's seminal work on women and representation. Chapter 2 focuses on some of the theoretical considerations of the image and the gaze, extends these into the theory of cinema as an apparatus, and outlines feminist critiques of apparatus theory. Accounts of representation and the image are drawn from Bill Nichols, John Berger, and Peter Wollen's summary of C.S. Peirce. In the shift of theoretical interest to the process of viewing film, Munsterberg's account of the psychology of vision is noted. The psychoanalytic construction of visual meaning is traced through Lacan's elaboration of the mirror phase to its significance for cinema in the centrality of desire and the gaze. The consequent development of a model of cinema as an apparatus by Baudry and Metz is followed. The feminist criticism of the androcentricity of this model is traced, both through its outright rejection, and through specific critiques by Teresa de Lauretis, Jacqueline Rose, Kaja Silverman, Mary Ann Doane and Constance Penley. Chapter 3 follows three theorists in their attempts to account for female spectatorship: Laura Mulvey's theory of oscillation, Teresa de Lauretis's double identification and Mary Ann Doane's accounts both of textual strategies of specularization in the "woman's film" and the masquerade are considered. Chapter 4 presents an analysis of the text Klute in order to apply some of the theoretical implications, particularly around questions of female subjectivity and spectatorship. It situates Klute within its historical context, in relation to the cinema industry and the emergent women's movement, and within the terms suggested by its generic structuration. The Conclusion provides a summary of my intention to provide an overview of this difficult and fertile field of debate. An Appendix provides a script of Klute. DA - 1994 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 1994 T1 - A gaze of one's own : feminist film theory, with application to Klute TI - A gaze of one's own : feminist film theory, with application to Klute UR - http://hdl.handle.net/11427/18260 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/18260
dc.identifier.vancouvercitationHicks PJ. A gaze of one's own : feminist film theory, with application to Klute. [Thesis]. University of Cape Town ,Faculty of Humanities ,Department of English Language and Literature, 1994 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/18260en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentDepartment of English Language and Literatureen_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherLiterary Studiesen_ZA
dc.titleA gaze of one's own : feminist film theory, with application to Kluteen_ZA
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationnameMAen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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