레즈비언 영화 비평의 전개에 대한 연구 -페미니스트 영화비평과의 관계를 중심으로-

Basic Information

Title

레즈비언 영화 비평의 전개에 대한 연구 -페미니스트 영화비평과의 관계를 중심으로-

Subtitle

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Parallel Title

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Country

국내

Production Date

2001-**-**

Language

-

Size (mm)

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Pages

99

ISBN/ISSN

-

Edition

-

Master Files

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Producer

구정아 (중앙대학교 첨단영상전문대학원 영상예술학과 영화이론전공 석사 논문 저자)

Description

(논문요약)[목적] 본 논의는 퀴어 정치학의 자기장 내에거 페미니스트 비평과 퀴어 정치학의 상호관계를 점검하고, 반본질주의적인 입장의 레즈비언 퀴어 비평이 페미니스트 영화 비평에 대해 개입하는 지점들을 밝히고자 한다.[목적] (영문초록)[영문초록] In analyzing and criticizing of contemporary films, the matter of sexual representations has always been discussed in the power relation of various positions which a person or a group takes up in a society in terms of sexual relationship. The feminist film criticism in the 70's focused on the oppositional subject position taken up by 'men' and 'women', which the confrontational understanding of the world stems from. While since the 90's, with the coming of queer politics and theory which implies the quality of disconstructualism, film criticism dealing with sexual representations started to question the identity of 'men' or 'women' and the boundary between two categories. The critics such as Gayle Rubin attacked the limits of feminism mentioning the molalistic attitude implied in feminism specially in the context of anti-porn debates late 80's, and criticized the sexual stratification planted in our contemporary society, by which so-called 'abnomal' sexualities such as homosexuality, trans-generation sex are regarded illicit. If she insisted to consider sexuality irreducible to sex or gender, Adrienne Rich as a lesbian feminist suggested such notions as 'lesbian existence' and 'lesbian continum' to emphasize the political solidarity among women so that they can form the resistant force againt the ruling of man-dominated social system. In this context, lesbian film criticism has shaped its theoretical specification and concreteness paralleling with feminist film criticism in the wider influence of queer theory. Taking account of lesbianism in understanding of contemporary culture includes the question, "what it means to be lesbian in this society" in general. And specially in the relation with feminist film criticism, lesbian film criticism has challenged the heterosexuality assumed in the studies of female spectatorship and at the same time, it challenged patriarchal ideologies adhering to cultural representations. The aim of this study is to trace a trajectory of how lesbian film criticism has developed in the relationship with feminist film criticism in the broader context of queer theory and poltics, and to situate a female subject position in filmic experience and criticism which is self-controlled, self-regulated by 'women' and independent from the order of patriarchal and heterosexual social/cultural system. To do so, first of all, this study examines the writings about the stereotypes of lesbian representations in popular films. Summed as two models of 'gender-integrative' and 'gender-separatist', lesbian sexuality has been described visaully as 'mannish woman' or 'a man trapped in the body of woman' in early popular films or just a same-sex object choice, which can't explain much of the sexual identity, in recent 'lesbian romance films'. Lesbian critics such as Teresa de Lauretis argue that in these film, heterosexuality stands for the 'institution' of heterosexuality, and not mere heterosexual behavior, and that feminist theory has argued sexuality in the dominant forms of Western culure as defined from the frame of reference of 'man'. Secondly, attempting to avoid mechanical psychoanalytic theory of sexual difference that takes as normative a relation between the sexes, not between two members of the same sex and ignores differences of race, ethnicity, class, and culture, feminist film criticism's turned to cultural feminist which focuses on audience who has real flesh and experience and hold differences for each of them. The other point that distinguishes lesbian film criticism under the influence of psychoanalytic theory is the very notion of 'fantasy'. With this notion, lesbian film criticism can explain how a lesbian, who is social and psyhosexual subject at the same time, accepts and enjoys the fantasy which a film supplies to her against all the odds of the reality that excludes lesbian viewing subject point.

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