In a major revision of feminist-psychoanalytic theories of film
pleasure and sexual difference, Studlar's close textual analysis of
the six Paramount films directed by Josef von Sternberg and
starring Marlene Dietrich probes the source of their visual and
psychological complexity.
Borrowing from Gilles Deleuze's psychoanalytic-literary
approach, Studlar shows how masochism extends beyond the clinical
realm, into the arena of artistic form, language, and production of
pleasure. The author's examination of the von Sternberg/Dietrich
collaborations shows how these films, with the mother figure
embodied in the alluring yet androgynous Dietrich, offer a key for
understanding film's "masochistic aesthetic."
Studlar argues that masochism's broader significance to film
study lies in the similarities between the structures of perversion
and those of the cinematic apparatus, as a dream screen reviving
archaic visual pleasures for both male and female spectators.
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