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the grainâ is a pleasurable form of negotiation which justifies itself in terms of an apparent resistance to hegemonic, patriarchal meanings. At the same time, though, the unconscious-an indispensable term in theories of spectatorship -presents a major challenge to both Foucauldian and Gramscian problematics. In attempting to marry female audiences with feminine spectatorial positions, we should certainly not be tempted to abandon the unconscious. In some respects, debates around female spectatorship have become so subtle that an equally useful priority might be to clear some ground, reduce the level of abstraction at which debates are conducted, and remind ourselves of our objectives. Here I see at least three sets of issues that might repay a fresh approach: (1)the problem of the relationship between subjectivity and smial formation, and how to conceptualize femalenesdfemininity within the subject/social formation nexus; (2) the specificity of television, as against film, in relation to this; and (3) the problem of power. Pursuing these questions could indeed involve a shift in the terms of the problematics deployed in feminist approaches to the readingkeception of film and television. (1) Subjectivity, social formation, and femininity: or, what is the relationship between socialization on the one hand and
Camera Obscura – Duke University Press
Published: Jan 1, 1989
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