Challenge for In the Cut

[olly_x]

Here is my challenge for In the Cut, the Campion film from 2003 that I would like to see proceed to the next round. I have tried to be clear, but there is a lot to say about this film. I don't expect to be in league with the great psychoanalytic writing about Hitchcock, only to borrow some of that writing's accessibility and, to me, exciting

Comments

. . . and I LOVE the opening shots of Holy Smoke

[biberkopf_bear]

On the Hitchcock/Lacan connection, I've read (and enjoyed) both Modleski and Zizek; and I'm a Campion fan, so this journal entry was crack cocaine for me!

You build a strong argument, but I still want to know how Campion's obsession with female hands (prevalent in everything she's done) factors into the fumbling towards desire and subjectivity you write about. Yes, like Janet Frame and Ada McGrath, there's the linguistic/writerly connection with Frannie. But unlike the previous characters, Frannie (and Pauline) finger and grope their paths of discovery (posted photo #2, for instance). What place does this tendency hold in your argument?

PS (And for example,)many argue that Alisdair "castrates" Ada in THE PIANO when he chops off her finger(s?), but it always seems a bit more complicated than that.

Re: . . . and I LOVE the opening shots of Holy Smoke

[olly_x]

What does campion herself say about this? I'm not usually interested in directors' commentary on their own motifs, but in this case it might be useful. I've just gotten An Angel at my Table from netflix. Do you netflix?

Re: . . . and I LOVE the opening shots of Holy Smoke

[biberkopf_bear]

Do you netflix?

No, gotta save my $. I've seen ANGEL many times, though, and I think it's the most thorough study of the issues you raise here, except envisioned through a totally different genre.