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Feminist Film Theory, with Application to Klute

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1 A Gaze of One's Own: Feminist Film Theory, with application to Klute Pamela J. Hicks UniversitySubmitted ofin terms Cape of the requirementsTown for the degree of Master of Arts University of Cape Town 1994 Supervisor: John Higgins Department of English [r .. Q >·. ···:<:; ,r c:·. , ·. : , : ·.~ :.... ;;,-~;~~:J1 ~ r-:ic. r~~->~ ~·:_·: ;·~-:·:.:::.·~-.~;<..: _:;~ .• t~~·'::;s _;~, , .. _,>:;;::; -~ ( nr fn i>·./L (>:1 ::.~ :··;_;:;: ic~ ~;.:}\J by the ;;·~JiC:". ;.~ li '.- .. ·' ' ·... · ,., ' .... :. ... -.·,.- .• ·. ,._,_,.., The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ABSTRACT 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. 2 TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................... 4 CHAPTER ONE: HISTORICAL INTRODUCTION ................................. 5 EARLY DOMINANT FILM THEORY: "FILM AS ART" ..................... 5 A PARALLEL: LITERARY THEORY ............................................. 8 COUNTER-THEORY: "FILM AS TEXT" ..................................... 10 THEORIES OF IDEOLOGY ...................................................... 13 DIFFERENCE: POST-STRUCTURAL BEGINNINGS ....................... 17 FEMINIST BEGINNINGS: IMAGE OF WOMAN ........................... 19 FEMINIST BEGINNINGS: REPRESENTATION OF WOMAN ........... 22 CLAIRE JOHNSTON .............................................................. 23 LAURA MULVEY .................................................................. 26 CHAPTER TWO: THE AXIS OF VISION ........................................ 30 THE IMAGE: PERCEPTION AND CODES ................................... 30 THE IMAGE: SIGNS .............................................................. 35 THE IMAGE: NATURALIZATION ............................................. 38 LACAN: SUBJECTIVITY, THE GAZE AND DESIRE ..................... 40 APPARATUS THEORY .......................................................... 44 APPARATUS: FEMINIST OPPOSITION ..................................... 46 APPARATUS: FEMINIST REJECTIONS ..................................... 48 APPARATUS: FEMINIST CRITIQUES ....................................... 51 3 CHAPTER THREE: LOOKING FOR THE WOMAN: IN SEARCH OF THE FEMALE GAZE .............................................. 59 LAURA MULVEY: OSCILLATION ............................................. 60 TERESA DE LAURETIS: DOUBLE IDENTIFICATION .................... 63 MARY ANN DOANE: PROXIMITY AND ADDRESS ..................... 69 CHAPTER FOUR: KLUTE: A TEXTUAL ANALYSIS .......................... 82 THE NEW HOLLYWOOD? ...................................................... 83 GENRE: KLUTE AS DETECTIVE THRILLER AND FILM NOIR ......... 87 BREE AS GENERIC MISFIT ..................................................... 90 MODEL AUDITION SEQUENCE (#36-38) .................................. 96 HOTEL ROOM SEQUENCE (#50 - 57) .................................... 104 APARTMENT SEQUENCE ((#58 - 69) .................................... 107 SUMMARY: THE FIGURATION OF BREE THROUGH GENRE ...... 113 BREE VERSUS THE IMAGE .................................................. 115 BREE AND THE MASQUERADE ............................................ 118 CHAPTER 5: CONCLUSION ...................................................... 120 WORKS CITED ........................................................................ 122 APPENDIX .............................................................................. 1 27 4 ACKNOWLEDGEMENTS I would like to acknowledge my indebtedness and record my thanks to my supervisor, John Higgins, who has never failed with patience, guidance and encouragement. He has given me a model in the quality of his scholarship and standard of his teaching to my brother Barry Hicks who has provided unconditional material and practical support whenever needed, and all without complaint and to my son Steven who, although (because?) he has known no other life, has shown remarkable tolerance for this, his mother's other creative endeavour. Thanks also to Gillian Finchilescu for help with printing to Jill Kreutz and Louisa Green for proofreading and to John Valentine for help with the images. I would also like to acknowledge with thanks the Bertha Isabel Epstein and Winifred Wilson Bursary Funds for financial assistance. 5 CHAPTER ONE HISTORICAL INTRODUCTION, This introduction presents an historical overview of aspects of the development of film theory with a particular focus on how theories of semiotics, ideology, psychoanalysis and feminism have come to have a central bearing on contemporary film theory. EARLY DOMINANT FILM THEORY: "FILM AS ART" Film theory, as a distinct tradition with its own history, began within decades of the beginnings of commercial cinema (Rosen, vii). Vachel Lindsay's The Art of the Moving Picture (1915) and Hugo Munsterberg's The Photoplay: A Psychological Study (first published in 1916) were early works that gave serious attention to the new phenomenon. In so doing, early theorists laboured under a perceived need to counter several prejudices against the new phenomenon of film: denigration of the mechanical nature of film's means of reproduction (Perkins 13); the legacy of its early association with the "low culture" of vaudeville, evident in the development of the dominant film genres of melodrama and farce (Mast 27); the class basis of film's popularity, its appeal across language barriers that brought American immigrants - the bulk of the country's working class - into exhibition halls in their millions (Terry Rams aye quoted in Rhode 29). The claim for film's status as an art was thus a central tenet in the development of film theory; the onus was on serious writers on film to counter such 6 judgements as William DeMille's in 1911, when he denounced the movies as "galloping tintypes [which] no one can expect ... to develop into anything which could, by the wildest stretch of the imagination, be called art" (quoted in Perkins 9). Although not always the central point of debate, this issue has nonetheless provided a continuous strand through the development of the tradition. But in this long 'battle for prestige', in developing film theory as a major weapon, 'the pioneers ... made it the campaign's chief casualty' (Perkins 11 ). Developments in the other arts, particularly in painting where the Post-Impressionists had led the revolt against representational
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