By Teresa de de Lauretis

"There is hardly ever a web page during this number of hard-thought and brilliantly written essays that doesn't yield a few new insight." ―Hayden White

"... de Lauretis’s writing is brisk and refreshingly lucid." ―International movie Guide

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Additional info for Alice Doesn’t: Feminism, Semiotics, Cinema

Sample text

These questions are by no means exhaustive of the intricate problematic of imaging. ' In the following pages I will discuss some points at issue in the theoretical accounts of the image given by semiotics and by recent studies of perception; and in so doing I will attempt to outline the notion of imaging more precisely as the process of the articulation of meaning to images, the engagement of subjectivity in that process, and thus the mapping of a social vision into subjectivity. PROEMIUM It is customary to begin such epic tales with a classical verse as propitiatory invocation.

The city, he begins to think, is where the unconscious speaks, where its walls, arcades, and stairways signify a subject appearing and disappearing in a dialectic of difference. Upon entering the city, the traveler is taken up and shifted in the symbolic order of its layout, the disposition of buildings and empty spaces through which the traveler pursues imaginary reflections, apparitions, ghosts from the past. Here and there the traveler seems to recognize a certain place, stops for a moment, sutured; but that place is already another place, unfamiliar, different.

A great eye and ear without which the perceived would have no one to perceive it, the constitutive instance, in other words, of the cinema signifier (it is I who make the film)" (p. 51). The filmic material as "really perceived imaginary," as already imaginary, and as object, becomes significant (becomes an imaginary signifier) to a perceiving subject in language. Metz thus abandons the signified as too naive a notion of meaning (with which Saussure himself was never concerned) only to include, to subsume meaning in the signifier.

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