The Woman at the Keyhole
The title of this book takes as its point of reference those early, primitive films in which mostly men, but occasionally women, peek through keyholes, offering bold demonstrations of the voyeuristic pleasure that has been central to virtually every contemporary theory of cinema. When we imagine a "...
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| Format: | Online |
| Sprog: | engelsk |
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Indiana University Press
2022
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| Online adgang: | ONIX_20220715_9780253055767_140 |
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| _version_ | 1869528051328483328 |
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| author | Mayne, Judith |
| author_browse | Mayne, Judith |
| author_facet | Mayne, Judith |
| author_sort | Mayne, Judith |
| collection | Directory of Open Access Books |
| description | The title of this book takes as its point of reference those early, primitive films in which mostly men, but occasionally women, peek through keyholes, offering bold demonstrations of the voyeuristic pleasure that has been central to virtually every contemporary theory of cinema. When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. The question is not only who or what is on either side of the keyhole, but also what lies between them, what constitutes the threshold that makes representation possible. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative. Films discussed include Helke Sander's Redupers, Julie Dash's Illusions, Patricia Rozema's I've Heard the Mermaids Singing, Yvonne Rainer's The Man Who Envied Women, Chantal Akerman's Je tu il elle, Ulrike Ottinger's Ticket of No Return, Anne Severson's Near the Big Chakra, Suzan Pitt's Asparagus, Germaine Dulac's The Smiling Madame Beudet, Agnes Varda's Cleo from 5 to 7, Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Trin T. Minh-ha's Reassem-blage, Laleen Jayamanne's A Song of Ceylon, and the films of Dorothy Arzner. |
| format | Online |
| id | doab-20.500.12854ir-88391 |
| institution | Directory of Open Access Books |
| language | eng |
| publishDate | 2022 |
| publishDateRange | 2022 |
| publishDateSort | 2022 |
| publisher | Indiana University Press |
| publisherStr | Indiana University Press |
| record_format | ojs |
| spelling | doab-20.500.12854ir-883912024-03-23T21:37:14Z The Woman at the Keyhole Mayne, Judith Film history, theory & criticism thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticism The title of this book takes as its point of reference those early, primitive films in which mostly men, but occasionally women, peek through keyholes, offering bold demonstrations of the voyeuristic pleasure that has been central to virtually every contemporary theory of cinema. When we imagine a "woman" and a "keyhole," it is usually a woman on the other side of the keyhole, as the proverbial object of the look, that comes to mind. In this work the author is not necessarily reversing the conventional image, but rather asking what happens when women are situated on both sides of the keyhole. The question is not only who or what is on either side of the keyhole, but also what lies between them, what constitutes the threshold that makes representation possible. In all of the films discussed, the threshold between subject and object, between inside and outside, between virtually all opposing pairs, is a central figure for the reinvention of cinematic narrative. Films discussed include Helke Sander's Redupers, Julie Dash's Illusions, Patricia Rozema's I've Heard the Mermaids Singing, Yvonne Rainer's The Man Who Envied Women, Chantal Akerman's Je tu il elle, Ulrike Ottinger's Ticket of No Return, Anne Severson's Near the Big Chakra, Suzan Pitt's Asparagus, Germaine Dulac's The Smiling Madame Beudet, Agnes Varda's Cleo from 5 to 7, Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, Trin T. Minh-ha's Reassem-blage, Laleen Jayamanne's A Song of Ceylon, and the films of Dorothy Arzner. 2022-07-15T14:57:39Z 2022-07-15T14:57:39Z 1990 book ONIX_20220715_9780253055767_140 9780253055767 https://directory.doabooks.org/handle/20.500.12854/88391 eng image/jpeg Attribution-NonCommercial-NoDerivatives 4.0 International https://muse.jhu.edu/book/84693 Indiana University Press c10cc7de-85d3-42a6-b7d9-e6d544abd0d9 9780253055767 open access |
| spellingShingle | Film history, theory & criticism thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticism Mayne, Judith The Woman at the Keyhole |
| title | The Woman at the Keyhole |
| title_full | The Woman at the Keyhole |
| title_fullStr | The Woman at the Keyhole |
| title_full_unstemmed | The Woman at the Keyhole |
| title_short | The Woman at the Keyhole |
| title_sort | woman at the keyhole |
| topic | Film history, theory & criticism thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticism |
| topic_facet | Film history, theory & criticism thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticism |
| url | ONIX_20220715_9780253055767_140 |
| work_keys_str_mv | AT maynejudith thewomanatthekeyhole AT maynejudith womanatthekeyhole |