The Picture of Abjection

Film, Fetish, and the Nature of Difference

Nonfiction, Entertainment, Film, History & Criticism, Performing Arts, Social & Cultural Studies, Social Science, Gender Studies, Women&
Cover of the book The Picture of Abjection by Tina Chanter, Indiana University Press
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Author: Tina Chanter ISBN: 9780253027771
Publisher: Indiana University Press Publication: January 11, 2008
Imprint: Indiana University Press Language: English
Author: Tina Chanter
ISBN: 9780253027771
Publisher: Indiana University Press
Publication: January 11, 2008
Imprint: Indiana University Press
Language: English

Tina Chanter resolves a fundamental problem in film theory by negotiating a middle path between "gaze theory" approaches to film and spectator studies or cultural theory approaches that emphasize the position of the viewer and thereby take account of race, class, gender, and sexuality. Chanter argues that abjection is the unthought ground of fetishistic theories. If the feminine has been the privileged excluded other of psychoanalytic theory, fueled by the myth of castration and the logic of disavowal, when fetishism is taken up by race theory, or cultural theory, the multiple and fluid registers of abjection are obscured. By mobilizing a theory of abjection, the book shows how the appeal to phallic, fetishistic theories continues to reify the hegemonic categories of race, class, sexuality, and gender, as if they stood as self-evident categories.

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Tina Chanter resolves a fundamental problem in film theory by negotiating a middle path between "gaze theory" approaches to film and spectator studies or cultural theory approaches that emphasize the position of the viewer and thereby take account of race, class, gender, and sexuality. Chanter argues that abjection is the unthought ground of fetishistic theories. If the feminine has been the privileged excluded other of psychoanalytic theory, fueled by the myth of castration and the logic of disavowal, when fetishism is taken up by race theory, or cultural theory, the multiple and fluid registers of abjection are obscured. By mobilizing a theory of abjection, the book shows how the appeal to phallic, fetishistic theories continues to reify the hegemonic categories of race, class, sexuality, and gender, as if they stood as self-evident categories.

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