Books in English by mary ann doane
This book, Thinking Media Aesthetics, is available as Open Access. It has been selected to be par... more This book, Thinking Media Aesthetics, is available as Open Access. It has been selected to be part of the Knowledge Unlatched Crowdfunding initiative which enables libraries worldwide to invest funds for transforming academic books to Open Access.
Available here: https://www.peterlang.com/view/title/16251
Foreword by WJT Mitchell. Contributions by Samuel Weber, Ina Blom, Mary Ann Doane, Eivind Roossak, Susanne Ostby Saether, Liv Hausken, Arild Fetveit, D.N. Rodowick, Dieter Daniels and Sandra Naumann
Papers by mary ann doane
A major work of feminist film criticism examining questions of sexual difference, the female body... more A major work of feminist film criticism examining questions of sexual difference, the female body and the female spectator through a discussion of such figures as Pabst's Lulu and Rita Hayworth's Gilda.
In Bigger Than Life Mary Ann Doane examines how the scalar operations of cinema, especially those... more In Bigger Than Life Mary Ann Doane examines how the scalar operations of cinema, especially those of the close-up, disturb and reconfigure the spectator's sense of place, space, and orientation. Doane traces the history of scalar transformations from early cinema to the contemporary use of digital technology. In the early years of cinema, audiences regarded the monumental close-up, particularly of the face, as grotesque and often horrifying, even as it sought to expose a character's interiority through its magnification of detail and expression. Today, large-scale technologies such as IMAX and surround sound strive to dissolve the cinematic frame and invade the spectator's space, “immersing” them in image and sound. The notion of immersion, Doane contends, is symptomatic of a crisis of location in technologically mediated space and a reconceptualization of position, scale, and distance. In this way, cinematic scale and its modes of spatialization and despatialization hav...
Quarterly Review of Film and Video, 1989
... advertising in this particular historical conjuncture is that it continues to operate at full... more ... advertising in this particular historical conjuncture is that it continues to operate at full force despite the absence of commodities—the scarcity of ... for the duration, and throughout the war years the female spectator-consumer was sold a certain image of femininity which functioned ...
Yale French Studies, 1980
Despite a number of experiments with other types of sound/image relationships (those of Clair, La... more Despite a number of experiments with other types of sound/image relationships (those of Clair, Lang, Vigo and, more recently, Godard, Straub, and Duras), synchronous dialogue remains the dominant form of sonorous representation in the cinema. Yet, even when ...
Screen, 2007
... In the aesthet-ic of delay, the cinema's protean nature finds visibility, its capacity t... more ... In the aesthet-ic of delay, the cinema's protean nature finds visibility, its capacity to create uncertainty that is, at the same time, certainty because its magic ... In Jean-Luc Godard's film of i960, Le Petit Soldat, the answer to the question 'what is cinema?' is 'truth 24 times a second'. ...
Parallax, 2007
Peter Kilroy and Marcel Swiboda: In ‘The Afterimage, the Index, and the Accessibility of the Pres... more Peter Kilroy and Marcel Swiboda: In ‘The Afterimage, the Index, and the Accessibility of the Present’, from your book The Emergence of Cinematic Time, you conclude with a striking and highly prescient account of the philosophical work of C.S. Peirce. Writing in the wake of the nineteenth-century paradigm of the ‘persistence of vision’, Peirce interestingly explores the philosophical notions of ‘Tychism’ and ‘Synechism’, which you analyze in terms of the ‘simultaneous investment in chance and continuity’ marking Peirce’s work and the paradigm that it represents . Could you elaborate further on how you view the significance of these terms, in particular with regard to cinematic modes of inscription?
October, 1981
To those who still ask, "What do women want?" the cinema seems to provide no answer. Fo... more To those who still ask, "What do women want?" the cinema seems to provide no answer. For the cinema, in its alignment with the fantasies of the voyeur, has historically articulated its stories through a conflation of its central axis of seeing/being seen with the opposition male/female. So much so that in a classical instance such as Humoresque, when Joan Crawford almost violently attempts to appropriate the gaze for herself, she must be represented as myopic (the moments of her transformation from spectacle to spectator thus captured and constrained through their visualization as the act of putting on glasses) and eventually eliminated from the text, her death equated with that of a point of view. Cinematic images of woman have been so consistently oppressive and repressive that the very idea of a feminist filmmaking practice seems an impossibility. The simple gesture of directing a camera toward a woman has become equivalent to a terrorist act.
Critical Inquiry, 1996
The advent of mechanical reproduction inaugurated a discursive themat-ics of excess and oversatur... more The advent of mechanical reproduction inaugurated a discursive themat-ics of excess and oversaturation that is still with us today. The sheer quan-tity of images and sounds is perceived as the threat of overwhelming or suffocating the subject. In his 1927 essay on photography, Siegfried ...
Camera Obscura: Feminism, Culture, and Media Studies, 1989
differences, 2003
mary ann doane is George Hazard Crooker Professor of Modern Culture and Media and of English at B... more mary ann doane is George Hazard Crooker Professor of Modern Culture and Media and of English at Brown University. She is the author ofThe Desire to Desire: The Woman's Film of the 1940s (Indiana University Press, 1987), Femmes Fatales: Feminism, Film Theory,Psychoanalysis (Routledge, 1991), The Emergence of Cinematic Time:Modernity, Contingency, the Archive (Harvard University Press, 2002), and has published a wide range of articles on feminist film theory, sound in the cinema, psychoanalytic theory, television, and sexual and racial difference in film.
Christian Metz and the Codes of Cinema, 2018
Christian Metz's concept of the 'imaginary signifier' is in some sense oxymoronic. Metz claims th... more Christian Metz's concept of the 'imaginary signifier' is in some sense oxymoronic. Metz claims that the signifier in cinema is absent, but this assertion rests on conflating the signifier and the referent. This chapter links these contradictions to Metz's continuing allegiance to the notion of the image as defined in the phenomenological approaches of Merleau-Ponty and Sartre. Here, the image is defined primarily by an analogy with the real. Lacan, by contrast, situated the image as a conjunction of the imaginary, the symbolic, and the real. The author's analysis extends beyond the mirror stage essay to describe a relation of the subject to the image that is more productive for an understanding of cinematic space and time.
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Books in English by mary ann doane
Available here: https://www.peterlang.com/view/title/16251
Foreword by WJT Mitchell. Contributions by Samuel Weber, Ina Blom, Mary Ann Doane, Eivind Roossak, Susanne Ostby Saether, Liv Hausken, Arild Fetveit, D.N. Rodowick, Dieter Daniels and Sandra Naumann
Papers by mary ann doane
Available here: https://www.peterlang.com/view/title/16251
Foreword by WJT Mitchell. Contributions by Samuel Weber, Ina Blom, Mary Ann Doane, Eivind Roossak, Susanne Ostby Saether, Liv Hausken, Arild Fetveit, D.N. Rodowick, Dieter Daniels and Sandra Naumann