ABSTRACT

This article is an intervention in a debate within film studies over the concept of the “gaze”. Under the influence of 1960s and 1970s “apparatus” theory and particularly feminist thinkers of film like Laura Mulvey, the gaze has long been considered a key element in the consolidation of dominant ideology, particularly regarding the construction of gender identities. However, since the 1990s certain thinkers – namely Joan Copjec and Todd McGowan – have argued that this notion of the gaze relies upon a misinterpretation of Lacan. This essay – the first to take up this revision of gaze theory in Spanish film studies – offers a close reading of two experimental films directed by female directors from different generations, historical moments and countries. It proposes a gaze that, rather than focusing a unified point of view as in traditional perspective, is more subversive when considered as an incidental element within the frame, as a spectatorial side-on glance that disrupts the workings of ideology, leading to a fragmentation of the subject. It argues that particular attention should be paid to the organization of the filmic frame, to mise-en-scène, in preference to the kind of defamiliarization favored by Mulvey.

摘要

本文是对电影研究中有关“凝视”概念的辩论的干预。在1960年代和1970年代的“装置”理论的影响下，尤其是诸如劳拉·穆维（Laura Mulvey）这样的女性主义电影思想家，凝视长期以来一直被认为是巩固主流意识形态的关键因素，特别是在性别认同的建构方面。但是，自1990年代以来，某些思想家，即琼·科普耶茨（Joan Copjec）和托德·麦克高恩（Todd McGowan），一直认为，这种注视的概念依赖于对拉康的误解。本文是西班牙电影研究中第一个对凝视理论进行修订的文章，提供了对两部由不同世代，历史时刻和国家的女导演执导的实验电影的仔细阅读。它提出了一个凝视，当被视为框架中的附带元素时，它比颠覆传统观点中统一的观点更具有颠覆性，因为它颠覆了视线，使意识形态的运作中断，导致主体的分裂。它认为，应该特别注意电影镜框的组织，电影制片人，而不是穆维偏爱的那种陌生化。