Essays in French Literature, Thought and Visual Culture
Lucy Bolton Remembering Flesh: Morvern Callar as an Irigarayan Alice 189
Lucy Bolton Remembering Flesh: Morvern Callar as an Irigarayan Alice The writings of Luce Irigaray provide an array of visually evocative concepts which can inform and illuminate our understanding of female conscious- ness on screen. Despite her analysis of the primacy of the visual as having been manipulated by Western patriarchy, Irigaray’s strategies for the crea- tion and preservation of female subjectivity (within a culture of two equal subjectivities) suggest ways of understanding the cinematic representation of women, even when that woman has committed an apparently unpardon- able act. Such an act would, under conventional moral codes, provoke the kinds of irredeemable guilt and irrecuperable shame that might threaten to definitively disrupt the continuity of female subjectivity. However, when the protagonist enters a cinematic realm that subverts the conventional moral order, such questions of female subjectivity are opened out in a manner that benefits from an Irigarayan perspective on sensory experience. Irigaray reaches out more broadly than the ‘écriture feminine’ of Cixous with which she is so frequently linked: as Sarah Cooper writes, ‘Irigaray’s writing points continually to a place beyond the written word’, and film can rewardingly be explored as such a place.1 In Irigaray’s essay, ‘The Fecundity of the Caress’, she describes the caress as the most elementary gesture of the fecundity of love.2 But how, Irigaray asks, can we remember flesh? How can we preserve the memory of touching? It is this problem which I consider Morvern Callar (dir. Lynne 1 Sarah Cooper, Relating to Queer Theory:...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.