This is not the place (nor am I the person) to rehearse a genealogy of cultural studies to parallel that of film studies, but what is particularly pertinent to the present topic is cultural studies’ early problematizing of the status of the text, the location of meaning production, the role of the analyst, the methods for studying spectatorship, and the nature of textual engagement in general. Cultural Studies scholars will appreciate the irony here (given film theory's knee-jerk equation of empirical research with empiricism) that the foundational articulation of British Cultural Studies’ position on textuality and spectatorship, Stuart Hall's ‘Encoding and Decoding in Television Discourse’, (originally circulated as an unpublished working paper in 1973 but not published in 1980) began with an attack on American empiricist mass communication research and its simplistic reduction of the media text to a message that is unproblematically transmitted from producer to receiver. ‘Film History and the Two Presents of Feminist Film Theory’. Her contribution to the Cinema Journal colloquium on the ‘historical turn’ discusses the complicated relationship between feminist film theory and film history. In Fire and Desire: Mixed-Race Movies in the Silent Era, 24– 51. Jane Gaines, for example, pursues the metaphor of the mirror at work in psychoanalytic accounts of cinema spectatorship in her study of mixed-raced films in the silent era. (1985) ‘The Current State of Soap Opera ‘Knowledge’’, in Speaking of Soap Operas, University of North Carolina Press, Chapel Hill, ch. My own position on empiricist approaches to the study of media and culture is laid out in Allen ( 1985Īllen, R.
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