영화에서의 여성 관객성 연구 비판 -들뢰즈와 가타리의 분열분석을 중심으로-

기본 정보

본제목

영화에서의 여성 관객성 연구 비판 -들뢰즈와 가타리의 분열분석을 중심으로-

부제목

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대등제목

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국가구분

국내

생산일자

2001-**-**

언어

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크기(mm)

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페이지

77

ISBN/ISSN

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판차

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마스터파일

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생산자

김일란 (중앙대학교 첨단영상전문대학원 영상예술학과 영화이론전공 석사 논문 저자)

내용

(논문요약)[목적]본 고는 분열분석의 여러 특징들을 통해, 여성 관객성에 대한 기존의 논의에서 벗어나, 여성 내 차이를 인정하고, 그 쾌락의 차이를 포착할 수 있는 이론적 가능성을 모색해 보고자 한다. (영문초록)[영문초록]The encounter between feminism and psychoanalysis was set about since the mid-1970s. Of the various changes in the film theories, women film theorists of feminism studies have tried to establish the status of 'female' as a subject of film spectator, and to create a new form of film that makes it possible the pleasure of female spectators. In this process of forming theory, psychoanalysis gradually settled down as a theoretical instrument, which was able to explain the female identity as a film text and as a social existence. Feminist film theories, however, have criticized at once on psychoanalysis itself. In the first, psychoanalysis have fixed up a female as a negative position, and it also had a suspicion about its phallocentric properties. And the psychoanalysis perceived a subjectivity as a result of signifying(i. e. penis, representation order, or structure). This kind of perception was a fatal cause of its values limited, as in the process of understanding the reciprocal action between film and female spectators. In this thesis, therefore, I would search for the ways of its theoretical possibilities by sloughing off existing debates on the female spectatorship, recognizing the interior differences among females, and grasping differences of their pleasures. It might be found its alternative discussions in the schizo-analytic theories of Gilles Deleuze and Felix Guattari. In theories of schizo-analysis, they created a new concept of 'desiring machine' together with their criticizing the traditional history of symbols(표상??). In other words, Deleuze and Guattari criticized the linguistic semiotics which focused spectator subject as a effect of film text. Hence the inspection method of spetator subject transformed into the method of 'becoming', not into the 'identification' as a supplementation of lacked desire. Before those kinds of discussion, of course, it may be necessary to discuss the possibility of combination between schizo-analysis and feminism. The politics of differences, however, is the most disputed issue in the contemporary feminist studies, the schizo-analysis which concentrates on the generating differences is valid in its value. If we consider those meanings, the desire of women can be realized by concentrating 'her' desire which touches off 'becoming', not by the existing 'model'. Moreover, the pleasure of female spectator subject can be realized by the film as a 'desiring machine', not as an organism.

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