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<b style=""><span style="font-size:13.0pt; font-family:"Tahoma","sans-serif"; text-transform:uppercase">Screen & Cultural Studies Seminar</span></b></p>
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<b style=""><span style="font-family:"Tahoma","sans-serif"">Associate Professor Catherine Driscoll (University of Sydney)</span></b></p>
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<b style=""><span style="font-family:"Tahoma","sans-serif"">Lauren Bliss (University of Melbourne)</span></b></p>
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<span style="font-family:"Tahoma","sans-serif"">Time: 12pm-1.30pm, Thursday September 25, free<br>
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<span style="font-family:"Tahoma","sans-serif"">Venue: 4<sup>th</sup> Floor Linkway, John Medley Building, University of Melbourne</span></p>
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<b style=""><span style="font-family:"Tahoma","sans-serif"">The Modern <span class="il">
Doll</span>: Gender and Object Experience</span></b><b style=""><span style="font-size:10.0pt; font-family:"Tahoma","sans-serif""></span></b></p>
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<span style="font-family:"Tahoma","sans-serif"">Catherine Driscoll</span></p>
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<span style="font-family:"Tahoma","sans-serif"">This paper considers the ways that dolls became gendered in the late nineteenth and the early twentieth centuries, and the implications of this “girling” of the modern doll for feminist cultural studies. It begins
by exploring the significance of “the doll” for modernist figures of gendered embodiment. The “girled” modern doll represents the entanglement of subject and object experience widely held to characterise modern subjectivity as very precisely gendered and as
centrally an experience of technology. If this technology is both anthropological and instrumental (Heidegger), and is experienced as both familiar and strange (Freud, Benjamin), and thus lines up neatly with much contemporary theoretical emphasis on tools
and things and objects in all these senses the modern doll foregrounds the importance of gender for understanding this experience (Beauvoir) and of technology for understanding gender. Finally, this paper offers some reflections on the girled doll’s significance
as a nexus of style, gender, and technologised wonder.</span></p>
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<b style=""><span style="font-family:"Tahoma","sans-serif"">The Witchcraft of Cinema</span></b></p>
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<span style="font-family:"Tahoma","sans-serif"">Lauren Bliss</span></p>
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<p class="MsoNormal" style="text-align:justify; line-height:normal"><span style="font-family:"Tahoma","sans-serif"" lang="EN-US">Correlating cinema to witchcraft, this paper will problematise Laura Mulvey’s thesis of the male gaze. It argues for a
<i>feminine gaze</i> where cinema <span style="">self-conceives</span> through its imitative image. Despite</span><span style="font-family:"Tahoma","sans-serif"" lang="EN-US"> its fantastic conceit, such imitative power forms the basis for the very real persecution
of witches during the European witch-hunts in the early-modern era. Charges of witchcraft were typically related to a diabolical reproduction of the natural body and included possession of the penis, the dismemberment and devouring of infants and the unborn,
the procuring of abortions and miscarriages, and the creation of demonic children. Socio-historical investigations of the witch-hunts have largely ignored the imagistic power of witchcraft and its relation to the archaic belief in the maternal imaginary to
‘naturally’ shape or mutate the foetus, or even to conceive without a father. In figuring an artistic and technological correlation of witchcraft to cinema by way of the maternal imaginary, this paper will consider the potential for a feminine gaze.</span></p>
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