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't Politics
.^-rior, in the signification process. These critiques of illusionism
rirctvo"--orpin a cultural politics which takes textual signifiers to be a
,ro/.t[U'
'tvn'
TEXTI-]AL POLITICS
Annette Kuhn
'"i;;;
counter-cinema. Counter-cinema may be defined as film
^iirrinist
,'1"^i,"o
which works against and challenges dominant cinema, usually
'i'u^"
,,,itrtitY
r
rq
nnerations
structure
ZSZ
253
'r Poljtics
.
. rr
r t
mr
,^"c lo feminism fall roughly into two categories. The premises
ftleva""-o each correspond more or less with those underlying the refelttlu'
tot'
ll ,*o the one immediately and unproblematically onto the other. The
;;;;*r
dominant cinema, as
separatelv.
Deconstruction
term suggests, deconstructive cinema works by a process of breakdown. On one level, the object of the deconstruction process is the
textual operations and modes of address characteristic of dominant cinema, the aim being
to provoke spectators into awareness of the actual
existence and
effectlvity of dominant codes, and consequently to engender
a critical
attitude toward these codes. Provocation. awareness, and a crittcal attitude
suggest in turn a transformation in spectator-text relations
ttorn the
passive receptivity or unthinking suspension of disbelief fostered
uJ aorninsnt
modes of address to a more active and questioning position.
ueconstructive
As the
ing
254
Filrnrnak;._
'"trt
well.
".r,
it
advances by fits and starts, like the images on a film strip. Its basic form
is that of the forceful impact on one another of separate, distinct situations
in the play. The songs, the captions included in the stage decor. the gesturat
conventions of the actors, serve to separate each situation. Thus distances
are created everywhere which are, on the whole, detrimental to illusion
among the audience. These distances are meant to make the audience adopt
a critical attitude.5
^r 'Politics
255
fPlluu'
tr''
realism'
'--OneWay
Or Another deals with the problem of "marginalism" in postrevolution Cuba. Marginalism is the culture of poverty associated with
marked
the urban slums and shanty towns of pre-revolution days, areas
propoor
educational
delinquency,
and
bv high levels of unemployment
vision, violence, and economic poverty. The integration of "marginal"
populations into the wider society is regarded as a priority and a problem
";1 voice-over.
the
It is clear from this that the effect of this epic form derives from
spectator-text relations it constructs. Formal devices are justified "lli::
crlttt""
the extent that they evoke distanciation rather than involvement' a
attitude rather than passive receptivity.
-^ ctp
,",llu
'n,jLt^:":ialist
to
2SO
^r 'Politics
feftUu'
., her work as a teacher.
'
257
,b9u].," who actually belongs to the fictional part of the film, but at this
t'rlutl;; discourse is marked as "documentary" by its codes and context.
effect of cutting off identification and relativizing the acting
tli:';;;the
,f
iu"t sequences'
tr';:;;
undr6.ot"s the substantive sociological analysis. The enunciating disc'urse of the film as a whole thereby privileges an analytical approach to
signifieds.
its
of
current situation
arguments
cludes
third discourse
by some of the distanciation devices characteristic of epic
tneater, in particular
lack of characterization and narrative interruptions.
t he address
of the film is constructed not only severally by its three
dlscourses,
but also as a whole bv the wavs in which the discourses are
articulated
together. There is little rigid separation in terms of the overall
otganization
of th" film between elements of narration, information, and
for
example. Throughout, one discourse leads into, or is interill*.*i:*'
'uPl:d by, another-once more in the Brechtian manner.
One Woy Or Another, Whose Choice? takes up familiar realist
i".11u
n,;^1'and then deconstructs them by means of fragmentation and inter;;i,:f"'thereby transforming the spectator-text relaiions which would be
a;;"tte^Sed by each discourse on its own. This transformation marks a move
,o*ll".]tot identification, involvement, and suspension of disbelief and
ficaii^iu P?." active and questioning attitude to the processes of signidu."^"ll oI the film and to its areas of concern. If One Way Or Another
un;"i:tt}tts the conventions of Hollywood and socialist realist narrative
ki.llt:lilional documentary, Whose Choice? offers a challenge to the
- wr qocumentary
address commonly associated with the agitational/
ts
marked also
258
Filmmakinp
Politics
Textuol
, ^,,1d be emphasized, then, that the films discussed in this context may
t"i:;'b,
read (and indeed most .of them have been readJ as examples of
clnema'
L.,nstructive
*i;:.issue
of a non-patriarchal
feminine texts. Whereas the former tend to break down and challenge the
forms of pleasure
260
tions of looking, narrativity and narrative discourse, subjecti,,i,lldu lututobiography, ficlion as against non-fiction, and openness as ugoinrlJilri,irl.
Thriller is structured around a rearrangement of narrative clir
dominant cinema by the instatement of a woman's questio"t"*T:i::
,:
the film's organizing principle. The film is a reworking of the opera
Lo
Bohdme, which is about a doomed love affair between a poet and i un,,.,
seamstress: the woman finally dies of consumption. Thriller Ir tolO trorl
the narrative point-of-view of Mimi, the tragic heroine, whose inte*ogutory voice-over pervades the film. The enigma set up by the film's naryati'e
is the question of how and why Mimi died, the investigator ("1") beinu
Mimi herself. By its recruitment of investigatory narrative structure anj
first-person voice-over, Thriller at once draws upon, parodies. challenges,
and transforms the narrative and cinematic codes of the Hollvwood film
noir. The female victim adds a twist to the reconstruction of her o',t'n death
not only by telling the story herself, but also by considering causes for
the unhappy romance and death of a young French working woman of a
kind-social and historical conditions, for instance-that could not possibly enter the universe either of operatic tragedy or of the private investigator of film noir.
Lives of Performers is also, on one level, a reworking of the conventiotts
of popular narrative genres. The film is subtitled "a melodrama," and the
narrative conventions it draws on are those of the "backstage romance'
In thirteen long sequences, it tells the story of the relationships between
a man and two women, a triangle. The characters, however, are "playing'
themselves-they are real-life performers in the group of dancers working
with the filmmaker, Yvonne Rainer. The film d"ia.ts quite radically from
ano
dominant conventions of film narrative in its ordrring and structure'
notr
ond
in the freedom with which it articulates elements of fiction
fiction. The plot, for instance, proceeds by leaps and bounds punctuate0
Rainer
by runnings on the spot-by ellipsis and accretion, in other words'
;" which,to}ang
says of her films: "For me the story is an
I feel no obligatigto ttl"^"r, oi
images and thoughts which need support. "*ptiTr;;;
this armature with credible details of location and time."v'lhe "'I^"ort
Lives of Performers is told with so manv asides that we never.1l,:: ;t
to the end or the bottom of it. There is no resolution. The "otid?,tr.,ih
the accretions, and the accretions are so many that they seem Io "?'^),,rot,
t-?ii^r*l
gaps elsewhere in the story, as if to make up foi lost time. The first
in-rel*.
"all
rtrb*t the performers, *-hor" lives the melodrama is about,
for what turns out to be a real-life Rainer performance' An intertili.fr ttt:
wlr"[ r1ilt
at once our tension vanished" leads into the next sequence' in
three star perfolmels "Iecall," aS voice-over, their first meetin8
261.
roxtualYottt'""
t(''
of Rainer's dance piece "Grand
rr 'r image
'
lJnion Dreams" on the
photob'i[ore recollections are punctuated at points by the filmmaker's
,rt*-"'"
rftcK' 1;r:."s of what is going
eoins on in the photographs. Where does the "real"
.'t|'i]]'the "fiction" begin? The subsequent cinematic rendering of the
pltO::'.;
is interrupted wherever "other concerns" seelrl more importanttono'ri*risition on acting, for example ["The face of this character is a
!!'i";;k"), or a direct question to the spectator about the problem of
iilil",""
iaentification ("Which woman is the director most sympathetic
'nji::;; one of the women in the triangle, Iooking directly into camera)'
l,?i",^rrrtive of Lives of Performers has its own logic, then, but it is not
]Jll tt r enigma-resolution structure of classic narrative. Nor does it
"i a closed and internally coherent fictional world: on the contrary,
""*trurtitself up at numerous points to intrusions from the "real world."
:;;
"
for spectator-text
iilt u, does this heterogeneous narrative voice imply
posed by classic
relations
the
subject
of
that
none
clear
is
It
relations?
is
impossible, and
with
characters
identification
here:
work
at
,.,urratiu. is
ellipsis and acprocesses
of
narrative
The
closure.
narrative
no
there is
than those
other
pleasures
possibility
of
the
the
contrary,
on
offer,
cretion
during a
(for
example,
accretion
of
in
moments
Firstly,
of completion.
long single-take sequence with virtually static camera, in which one of
theperformers dances a solo), the spectator has the option of pleasurable
and open-ended contemplation of an image which constructs no particularly privileged viewpoint. The ellipses offer the possibility of a rather
different pleasure, that of piecing together fragments of the story-the
active pleasure, that is, of working on a puzzle. The interpenetration of
tictional and non-fictional worlds and the lack of narrative closure set up
a radical heterogeneity
in spectator-text relations, and finally refuse any
space of unitary
subjectivity for the spectator. The textual practice of Lives
0lPerformers may then be regarded as a "putting in process of the viewing
J
-.anhs
subiect.,'
As part
262
FilrnrnaL;..
1r
263
Politics
Textuol
r:rr---rr
a
^,,-^l
will surely
read-] +L:^
this f:l-film differently.
At
r
264
Critical Methodology:
Fem in
ist
l,,r
; 'Politics
. o."iu,
.rrlress, then it will
lrnnrak;,.
265
fe(tuu'
have a tendency towards openness. The decontext seems to work rather differently, however, in that although
,t1"^"
,rtrres the fixed subjectivity characteristic of classic spectator-text
meanings are limited by the fact that the various discourses of
" l,linnr,
to work in concert with one another to "anchor" meaning.
tend
'.ltl','*t
l'u,,. although the spectator may be unsettled or distanced by epic interj,,*ionr, "acting as quotation," and so on, each of the fragmented dis|"i,16 will tend to work in a comlnon direction-in terrns, certainly, of
iioir matters of expression. It is perhaps no coincidence that both the
of deconstructive cinema discussed here have highly circum"*urptrrand predefined subject matters. The different discourses of the
,rriUed
irxt may address these topics in different ways, but in the end there is a
in the signification process. The space for
degree of overdetermination
in
the
viewing
process is opened up by the different
participation
active
modes of address of the discourses structuring the text, as well as by the
ol
ways
Whose
and
^'lrrns
cert
generate.
266
Textual
But this is not the whole story. It would surely be wrong to suggest thar
signifiers, even in "feminine" film texts, are completely free-floating:theio
url li-itations to openness. Certain feminine film texts are not tugu.Ouj
as feminist simply because, by pure chance, they have been interpretei
as such by certain audiences. Each of the films discussed here draws on
certain matters of expression which, although not necessarily speakinp
feminist issues directly, may be regarded as doing so tangentially, Aeain]
yvonne Rainer's films usefully illustrate the point, precisely because Rainer's stance on feminism might problemaltze her films for those who want
to claim them as feminist in intent. B. Ruby Rich, for example, argues that
Rainer's work is central to feminism, not because of any intentionality on
the part of the filmmaker, but because of the narrative conventions they
take up and the modes of address they construct.l4 The "backstagu ,omance" of Lives of Performers refers to a film genre that, in classic cinema,
has been both attractive to and manipulative of women-the melodrama,
The film offers both a pleasurable reworking and an ironic undercutting
of this genre. The other three films I have discussed here similarly draw
on. criticize, and transform the conventions of cultural expressions traditionally associated with women: Thriller, the melodramatic story of
doomed love, Doughter Rite, autobiography and the "family romance,"
and /eonne Dielmon . . . , the family melodrama.
If deconstructive cinema sets up the possibility of an active spectatortext relation around a specific set of signifieds, and if feminine cinematic
writing offers an openness of address in combination with matters of
expression in relation to which spectators may situate themselves as
women and/or as feminists, then clearly a feminist counter-cinema is not
simply a matter of texts or "form plus content." In different ways and-in
u"rying degrees, the moment and conditions of reception of films are also
The question of feminist counter-cinema is by no means exhausted
".,rtiul.
by discussion of feminist or feminine film texti: it has, in the final
"
instance.
to be considered also in terms of its institutional conditions ol
production and reception.
NOTES
3. fohnston, "Introduction," p. 3.
4. Laura Mulvev, "Visual Pleasure and Narrative Cinema," Screen
(1975), p. 17.
^
16, nu'
Politics
267
t"' ). NlulveY'
g. Claire Johnston, "Towards a Feminist Film Practice: Some Theses," Edinhrrreh Magazine, no. 1 (1976). p. 58.
""'"g. Co^ero Obscuro, "Yvonne Rainer: An Introduction," Comero Obscuro, no.
tt
--11.
14. Ibid.