A01=Ruth McPhee
aesthetic
Author_Ruth McPhee
Bataille 2001a
breillat
Breillat's Cinema
Breillat’s Cinema
Category=JBCC
Category=JBCC1
Category=JBCT
Category=JBSF
Category=JBSF1
catherine
CCTV Screen
cinematic ethics
corporeal desire
Da Game
Delicate Cutter
desire
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Erotic Thriller
ethical analysis of female sexuality in cinema
Female Masochism
feminist film theory
gendered subjectivity
Haneke's Film
Haneke’s Film
Heteropathic Identification
Marina De Van
masochist
Masochist Aesthetic
masochistic
Masochistic Contract
Masochistic Desire
Masochistic Sexuality
Masochistic Subjectivity
Moral Masochism
Pauline's Death
Pauline’s Death
Piano Teacher
psychoanalytic criticism
Red Road
Sacher Masoch's Novels
Sacher Masoch’s Novels
Semiotic Chora
sexuality
subjectivity
transgressive aesthetics
trier
Vander Stichele
von
Von Sternberg's Films
Von Sternberg’s Films
Von Trier
Young Man
Product details
- ISBN 9780367600648
- Weight: 330g
- Dimensions: 156 x 234mm
- Publication Date: 30 Jun 2020
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Theoretically and representationally, responses to heterosexual female masochism have ranged from neglect in theories that focus predominantly or only upon masochistic sexuality within male subjects, to condemnation from feminists who regard it as an inverted expression of patriarchal control rather than a legitimate form of female desire. It has commonly been understood as a passive form of sexuality, thus ignoring the potential for activity and agency that the masochistic position may involve, which underpins the crucial argument that female masochism can be conceived as enquiring ethical activity. Taking as its subject the works of Jane Campion, Catherine Breillat, Michael Haneke and Lars von Trier as well as the films Secretary (Steven Shainberg), Dans Ma Peau (Marina de Van), Red Road (Andrea Arnold, 2006) Amer (Hélène Cattat and Bruno Forzani), and Sleeping Beauty (Julia Leigh), Female Masochism in Film avoids these reductive and simplistic approaches by focusing on the ambivalences and intricacies of this type of sexuality and subjectivity. Using the philosophical writings of Kristeva, Irigaray, Lacan, Scarry, and Bataille, McPhee argues that masochism cannot and should not be considered aside from its ethical and intersubjective implications, and furthermore, that the aesthetic tendencies emerging across these films - obscenity, extremity, confrontation and a transgressive, ambiguous form of beauty - are strongly related to these implications. Ultimately, this complex and novel work calls upon the spectator and the theorist to reconsider normative ideas about desire, corporeality, fantasy and suffering.
Ruth McPhee
