Description
Book SynopsisAttempts to do for the sound-track what feminist film theory has done for the image-track - to locate the points at which it is productive of sexual difference. This work focuses on the female voice understood not merely as spoken dialogue, narration, and commentary, but as a fantasmatic projection, and as a metaphor for authorship.
Trade Review" ... a vitally new understanding that takes us from the terms of the representation of sexual difference to an anatomy of female subjectivity which will be widely influential."-- Stephen Heath "An original work likely to have significant impact on all those with an interest in the vibrant intersection of feminism, film theory, and psychoanalysis ..." -- Naomi Schor " ... powerfully argued study ... impressive ..." -- Choice " ... important because of its innovative work on Hollywood's ideologically-charged construction of subjectivity... what is exciting about The Acoustic Mirror is that it inspires one to re-evaluate a number of now classical theoretical texts, and to see films with an eye to how authorship is constructed and subjectivity is generated." -- Literature and Psychology "As evocative as it is shrewdly systematic, the pioneering theory of female subjectivity formulated in the final three chapters will have wide impact as a major contribution to feminist theory." -- SubStance
Table of ContentsAcknowledgements
Preface
[1] Lost Objects and Mistaken Subjects: A Prologue
[2] Body Talk
[3] The Fantasy of the Maternal Voice: Paranoia and Compensation
[4] The Fantasy of the Maternal Voice: Female Subjectivity and the Negative Oedipus Complex
[5] Disembodying the Female Voice: Irigaray, Experimental Feminist Cinema, and Femininity
[6] The Female Authorial Voice
Notes
Index
