Brinkema 2010 Vision

Title Information

Author: Eugenie Brinkema

Title: The Fault Lines of Vision

Subtitle: Rashomon and The Man Left His Will on Film

In: Rape in Art Cinema

Edited by: Dominique Russell

Place: New York, NY

Publisher: Continuum

Year: 2010

Pages: 27-40

Series: Continuum Film Studies

ISBN-10: 082642967X (hbk.) – Find a Library: Wikipedia, WorldCat

ISBN-13: 9780826429674 (hbk.) – Find a Library: Wikipedia, WorldCat | ISBN-13: 9781441109774 (pbk.) – Find a Library: Wikipedia, WorldCat | ISBN-13: 9781441116147 (ebk.) – Find a Library: Wikipedia, WorldCat

Language: English

Keywords: 20th Century | Japanese History | Representations: Films / The Man Left His Will on Film, Rashomon

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Additional Information

Author: Eugenie Brinkema, Department of Literature, Massachusetts Institute of Technology

Abstract: »Eugenie Brinkema's previously mentioned reading of two Japanese art cinema classics is equally theoretically challenging and nuanced. In her essay she explores the way critical responses to the Rashomon and The Man Who Left His Will on Film pose rape a given, fixing what remains indeterminate within the text. "A stain in the field of truth," rape is not the subject of these films, the event that provokes a host of doubt, she argues, but rather the very condition that makes the films' unresolvable doubt possible. Brinkema demonstrates that in setting rape aside as a given, the critical-theoretical accounts return the raped woman to her role in the films: "in a repetition of the diegetic scenes of violence, Woman is defined as she who is always translated from a no into a yes. Forever producing imaginary affirmation in the other, she is emptied of her subjecthood through the process of rereading." Higgins and Brinkema's readings place the question of the represenation of rape – the "why&quit; in Higgins and the "how" in Brinkema – squarely in the form of art cinema itself. That is, the ambiguity so essential to art cinema is enables, in these films, by an unrepresentable sexual violence.« (Dominique Russell. »Introdution: Why Rape?« Rape in Art Cinema. Edited by Dominique Russell. New York: 2010: 8-9)

Wikipedia: Akira Kurosawa: Rashomon; Nagisa Oshima

Added: December 27, 2014 – Last updated: December 27, 2014