Tempestuous petticoats: Costume and desire in the piano

Screen

Volumn 36, Issue 3, 1995, Pages 257-266

  Bruzzi, Stella ^a  

^a NONE

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[No Author keywords available]

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EID: 60950616860     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/36.3.257     Document Type: Note

References (32)

1. Stella Bruzzi, 'Jane Campion: costume drama and reclaiming women's past', in Pam Cook and Philip Dodd (eds), Women and Film: a Sight and Sound Reader (London: Scarlett Press. 1993). pp. 232-42.
2. Renee Baert Skirting the issue'. Screen, vol 35. no 4 (1994). p 359
3. Hud. p 359 He is interesting to note, however, that such categoric distinctions between how women and men relate to clothing are not always valid In films such as Amefcsfi Gqok). or gangster films such as Le Samourat. Goodteltas or Resenw Dogs. low. fantasy, representation and will or desire are seen to eitsrsect on the male body and its relation to clothes
4. Michel Foucault. The History of Sexuality Volume I: an Introduction (Harmondsworth: Penguin, 1981), pp. 4-5.
5. Michel Foucault. p. 23.
6. Michel Foucault. pp. 33-5.
7. Michel Foucault. p. 12.
8. Sigmund Freud The sexual aberrations' in On Sexuality: Three Essays on the Theory of Sexuality and Other Works (Harmondsworth: Penguin, 1977), p. 69.
9. Christian Metz, 'The imaginary signifier', Screen. vol. 16. no. 2 (1975). p. 60.
10. Michel Foucault, The History of Sexuality, pp. 19-20.
11. Robert Herrick, 'Upon Julia's Clothes', in Alastair Fowler (ed.). The New Oxford Book of Seventeenth Century Verse (Oxford: Oxford University Press, 1991). p. 276.
12. Robert Herrick. 'Delight in disorder', in The New Oxford Book of Seventeenth Century Verse., pp. 257-8.
13. Robert Herrick. 'Art above nature: to Julia' in The New Oxford Book of Seventeenth Century Verse., pp. 273-4.
14. Sigmund Freud. The sexual aberrations', p. 70.
15. Sigmund Freud. p. 65.
16. Sigmund Freud. 'Fetishism'. Sexuality, pp. 354-5.
17. Laura Mulvey. 'Visual pleasure and narrative cinema', in Bill Nichols (ed.). Movies and Methods II (Berkeley: University of California Press. 1985). p. 309.
18. Mary Ann Doane, "Women's stake: filming the female body', in Femmes Fatales: Feminism. Film Theory. Psychoanalysis (New York and London: Routledge, 1991), p. 165.
19. Richard Dyer, ‘Don't look now - the male pin-up'. Screen, vol. 23, nos 3-4 (1982) pp. 61-73 fora discussion of some of the strategies posing men adopt to counter the subjugation of being framed.
20. Laura Mulvey, "Visual pleasure and narrative cinema', p. 311, I have used - but inverted - Mulvey's analysis oi direct fetishization. as she is here talking exclusively of the spectator as male.
21. Jeanne Ruppert (ed.). Gender: Literary and Cinematic Representation (Gainesville: University Press of Florida. 1994), pp. 17-24.
22. Joan Riviere. 'Womanliness as masquerade', in Victor Bürgin, James Donald and Cora Kaplan (eds). Formations of Fantasy (London: Methuen, 1986), pp. 35-44.
23. Mary Ann Doane, 'Film and the masquerade: theorising the female spectator', in Femmes Fatales, p. 25.
24. Mary Ann Doane. 'Masquerade reconsidered: further thoughts on the female spectator', in Femmes Fatales, pp. 33-43.
25. Mary Ann Doane., p. 39.
26. Richard Dyer, 'White', in The Matter of Images: Essays on Representations (London and New York: Routledge, 1993). p. 141.
27. Claire Johnston, “Women's cinema as counter-cinema', Nichols (ed.). Movies and Methods II. p. 211.
28. Luce Irigaray, This sex which is not one', in This Sex Which Is Not One. trans. Catherine Porter (New York: Cornell University Press, 1985), p. 25.
29. Luce Irigaray., p. 26.
30. Mary Ann Doane, ‘Film and the masquerade', p. 21.
31. Luce Irigaray, 'This sex which is not one', p. 31. It is also significant that Baines gradually takes his clothes off as well.
32. Alison Butler, quoted in Elizabeth Cowie's untitled entry in Camera Obscura, nos. 20-21 (1989), p. 128. Usually such identification with Stewart is absent, and scenes that revolve around him are often coloured a much colder blue.