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By Attilio Frajese

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8 Feeney 1991: 8–12, 19–20. 9 Feeney 1991: 36 citing Porph. 23. 79–85. 11 McGowan 2003 responding to Bordwell and Carroll 1996; developed further in McGowan 2007. Another influential account of cinematic subjectivity is Silverman 1988a. 7 The divine gaze 31 further into Lacan’s ideas about ‘the gaze’ he offers an alternative model to Mulvey’s mastering gaze. ’12 It is the moment of distortion in the field of vision, when we attempt to imagine the desire of the other that remains always inaccessible.

99 The cinema’s heightened emotionality and processes of identification are perhaps even intensified by the active involvement of the reader/listener in producing images from his or her own store of phantasiai. 100 The phenomenon of the disappearance of the cinematic apparatus from the consciousness of the viewer, the immersion of the viewer in the film world (or ‘suture’), is something that can also happen, at least to me, when reading. The awareness of turning pages, seeing words and lines, disappears, and emotional involvement intensifies to the point of laughing, crying and gasping along with the characters.

For instance, Xenophanes’ observation that:7 πάντα θεοῖσ’ ἀνέθηκαν Ὅμηρός θ’ Ἡσίοδός τε, ὅσσα παρ’ ἀνθρώποισιν ὀνείδεα καὶ ψόγος ἐστίν, κλέπτειν μοιχεύειν τε καὶ ἀλλήλους ἀπατεύειν. (Fr. 11 DK) Homer and Hesiod attributed to the gods everything, as many things as are a disgrace and a reproach to men, stealing, adultery and deceiving one another. 10 What I will suggest in this chapter and the next is that the gods in epic function like the ‘big Other’ in Lacanian film theory. 11 By going 6 Feeney 1991: 5–56.

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