This is a critical analysis of the development of film theory since
1968. It shows how debates concerning the literary principles of
modernism - semiotics, structuralism, psychoanalysis, Marxism and
feminism - have transformed our understanding of cinematic meaning.
The author explores the literary paradigms established in France
during the late 1960s and traces their influence on the work of
diverse filmmakers/theorists including Jean-Luc Godard, Peter
Gidal, Laura Mulvey and Peter Wollen. By exploring the "new French
feminisms" of Irigaray and Kristeva, he investigates the relation
of political modernism to psychoanalysis and theories of sexual
difference.
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