Laurie Jeanne Shrage

This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.

I shall forgive the white South much in its final judgment day: I shall forgive its slavery, for slavery is a world-old habit; I shall forgive its fighting for a well-lost cause, and for remembering that struggle with tender tears; I shall forgive its so-called “pride of race,” the passion of its hot blood, and even its dear, old, laughable strutting and posing; but one thing I shall never forgive, neither in this world nor the world to come: its wanton and continued and persistent insulting of the black womanhood which it sought and seeks to prostitute to its lust. The assumption that one can privilege gender, in advance, as a category, setting the terms of inclusion without fully considering those for whom gender alone fails to capture the multiplicity of experience, is itself an Orientalist move