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SUMMARY:Desire\, Femininity\, and the Non-Oedipal Subject: Deleuze and the
  Films of Marguerite Duras - Katie Pleming
DTSTART:20171024T193000Z
DTEND:20171024T200000Z
UID:TALK89421@talks.cam.ac.uk
CONTACT:Alisa Molotova
DESCRIPTION:In Marguerite Duras’s books and films\, excessive desire rec
 urs as a figure for rethinking the subject\, the ethical relation\, and so
 ciety. Across the Durassian corpus\, this desire surfaces at the margins o
 f society\, in liminal spaces where bodies and the gaze are unharnessed fr
 om the domesticated Oedipal narrative. In particular\, her work imagines p
 ositions of desire for transgressive female subjects. Neither Duras nor De
 leuze defined themselves as feminist\, in each case as part of a refusal o
 f dogmatic\, pre-defined socio-political categories\; however\, both sough
 t to imagine horizons of resistance to patriarchally-defined gender identi
 ties. From the feminist gaze theory of the 1970s to the phenomenological t
 urn of film criticism in the 1990s\, cinema has emerged as a site for thin
 king desire through\, and beyond\, a psychoanalytic model predicated on an
  active-passive gender binary. Gilles Deleuze’s philosophy of desire is 
 essential to the advancement of such a project\, as it conceptualises the 
 liberation of desire from the Oedipal framework. As Duras uses film form t
 o conceive of the subject and desire outside the Oedipal\, scopophilic mod
 el\, her films occupy a privileged position at the intersection of questio
 ns of sexual difference\, the subject\, and spectatorship. Reading Duras
 ’s experimental films with Deleuze’s philosophy\, I explore the ways i
 n which desire emerges as a liberatory\, revolutionary force for the (fema
 le) subject.
LOCATION:Senior Parlour\, Gonville and Caius College
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