Seeing Film and Reading Feminist Theology: A Dialogue by U. Vollmer

By U. Vollmer

Utilizing feminist conception and studying movies that describe ladies artists who see others throughout the lens of feminist theology, this ebook places ahead an unique view of the act of seeing as a moral task - a gesture of recognize for and trust in one other person's seen and invisible aspects, which promises the safekeeping of the Other's reminiscence.

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Additional info for Seeing Film and Reading Feminist Theology: A Dialogue

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Women are both seeing and seen; they are spectators and filmmakers behind and characters in front of the camera. When asking what it means to see, I am asking about the act of looking as well as about what it means to be looked at. Both questions have been issues in feminist film theory that began by problematizing images of women on cinema screens. Molly Haskell, one of the first to write on representations of women in films, pointed out that women are represented in male-authored cinema through a limited number of stereotypical roles.

20 My aim in this book is to develop an alternative understanding of seeing and being seen as something other than a pattern of dominance and submission. Since feminist film theory has generally associated the male gaze with the domineering look, I focus on women who practice the gaze in the hope of finding an alternative. But, one might ask, has this question not been asked long ago within feminist film theory? My answer in this book is that there is still space for the question to be asked, and for an answer to be put forward.

81 Through his self-expression, the Other contests any meaning that might be ascribed to him by the I and makes clear that he does not require to be defined by the I in order to have meaning. ”84 Levinas compares speech and vision directly in terms of their ability to establish an ethical relation in which the Other remains other: Speech cuts across vision. In knowledge or vision the object seen can indeed determine an act, but it is an act that in some way appropriates the “seen” to itself, integrates it into a world by endowing it with a signification, and, in the last analysis, constitutes it.

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