By Mary Ann Doane
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Additional resources for Re-Vision Essays in Feminist Film Criticism (American Film Institute Monograph Series)
Example text
Many women have read into her parody of the star system and her verbal aggression an attempt at the subversion of male domination in the cinema. If we look more closely there are many traces of phallic replacement in her persona which suggest quite the opposite. The voice itself is strongly masculine, suggesting the absence of the male, and establishes the male/ non-male dichotomy. The characteristic phallic dress possesses elements of the fetish. The female element which is introduced, the mother image, expresses male oedipal fantasy.
Once we reject the notion of a necessary, ever pregiven patriarchal structure for the organization of desire (and it is here that a feminist critique of Lacan, as of Freud, must centre), the dominance of the phallus, in its equation with the penis, can only be explained historically and materially, by an analysis of the structural relations between the sexes, which are manifest in material practices. 53 The hiatus between the feminine position as constructed in language and women as produced by historical, social and economic forces is more marked if we question further the relation of patriarchy to capitalism and bourgeois ideology.
I have not "updated" the piece in detail. Although the work that has been produced in the intervening four years seems to me to have considerably deepened our understanding of the original positions, the general framework has not changed and neither has my earlier critique. A crucial issue for feminist film criticism is the argument that "women as women" are not represented in the cinema, that they do not have a voice, that the female point of view is not heard. Agreement on this unites all attempts at a feminist critique of the cinema.