"The Sexual Subject" brings together writing on sexuality which has
appeared in "Screen" over the past two decades. It reflects the
journal's continuing engagement with questions of sexuality and
signification in the cinema, an engagement which has had a profound
influence on the development of academic study of film and on
alternative film and video practice.
The collection opens with Laura Mulvey's classic "Visual Pleasure
and Narrative Cinema" with its conjunction of semiotics and
psychoanalysis, the critical approach which is most closely
associated with "Screen"'s rise to international prominence. The
Reader then goes on to explore the particular questions and debates
which that conjunction provoked: arguments around pornography and
the representation of the body; questions of the representation of
femininity and masculinity, of the female spectator, and of the
social subject.
Many of the writings in "The Sexual Subject" have become
indispensable texts within the study of film. The purpose of the
collection is not only to make the articles available to a wider
readership, and to a new generation, but also to pose new
conjunctions, making connections between debates and inquiries
which spanned two crucial decades of film theory.
"The Sexual Subject" is intended not only for all those with an
interest in film and film theory, but for anyone with a commitment
to cultural theory, theories of representation, and questions of
sexuality and gender.
Contributors: Homi Bhabha, Edward Buscombe, Mary Ann Doane,
Richard Dyer, John Ellis, Christine Gledhill, Stephen Heath, Claire
Johnston, Annette Kuhn, Alan Lovell, Laura Mulvey, Steve Neale,
Claire Pajaczowska, GriseldaPollock, Jackie Stacey, Leslie Stern,
Paul Willemen, Christopher Williams, Dugald Williamson.
General
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