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Annette Kuhn

Annette Kuhn the grain” 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 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Camera Obscura Duke University Press

Annette Kuhn

Camera Obscura , Volume 7 (2-3 20-21) – Jan 1, 1989

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Publisher
Duke University Press
Copyright
Copyright 1989 by Camera Obscura
ISSN
1529-1510
eISSN
1529-1510
DOI
10.1215/02705346-7-2-3_20-21-213
Publisher site
See Article on Publisher Site

Abstract

the grain” 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

Journal

Camera ObscuraDuke University Press

Published: Jan 1, 1989

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