Releyendo a Laura Mulvey 40 anos despues: Historiografia y feminismo

<Placer visual y cine narrativo> de Laura Mulvey (Screen, 1975) es un articulo nuclear en la configuracion de la teoria feminista del cine y su notable influencia ha excedido este ambito teorico. En el presente trabajo historiografico nos proponemos realizar una lectura critica del mismo a la luz de la creciente institucionalizacion del feminismo a partir de la decada de 1980. Para ello nos aproximamos a este texto clasico desde tres angulos interrelacionados: su contexto historico, su con texto teorico y la cuestion de las premisas metodologicas sobre las que se sostiene. En la primera parte de este trabajo, situamos <Placer visual y cine narrativo> en el contexto del movimiento feminista britanico post mayo del 68, el cual se caracterizo por el antagonismo entre las feministas funcionalistas, las marxistas culturalistas y las psicoanaliticas. Asimismo, nos ocupamos de los primeros textos psicoanaliticos de la teoria feminista del cine, escritos por Claire Johnston y Pam Cook (1973 1975) frente a los cuales Mulvey se posiciona en su articulo. Por medio de esta doble contextualizacion proponemos, en la segunda parte, que si bien Mulvey dice utilizar el psicoanalisis y, de hecho, hace un amplio uso de terminologia psicoanalitica, las bases conceptuales de <Placer visual y cine narrativo> son realmente sociologicas, lo cual (tal y como concluimos) es sobre todo palpable en su particular combate contra el Inconsciente, piedra angular del psicoanalisis.Palabras clave: teoria del cine, feminismo, historiografia, Inconsciente, Laura Mulvey, Claire Johnston,  Mulvey's <Visual Pleasure and narrative Cinema> (Screen, 1975) is a key essay in the configuration of feminist film theory and its outstanding influence has exceeded this theoretical field. The aim of this historiographical paper is to undertake a critical reading of it in the light of the increasing institucionalization of feminism from the 1980's onwards. With this in mind, this classic text will be approached from three interrelated angles: its historical context, its theoretical con text, and the question of the methodological premises on which it holds. In the first section of this paper, <Visual Pleasure and narrative Cinema> is placed within the context of the post May 68 British feminist movement, which was characterized by the antagonism between the funcionalist feminists, the Marxist culturalist feminists, and the psychoanalytic feminists. In addition, we offer a reading of the first psychoanalytic essays within feminist film theory written by Claire Johnston and Pam Cook (1973 1975) against which Mulvey positions herself in her essay. Having set in this double contextualization, the second section of this paper is dedicated to put forward the point that, despite Mulvey's contention that she uses psychoanalysis (she indeed makes extensive use of psychoanalytic terminology) the conceptual basis of <Visual Pleasure and narrative Cinema> are, in fact, sociological. As it is argued in the final part of the paper, this is especially palpable when drawing attention to her particular fight against the Unconscious, the cornerstone of psychoanalysis. film theory, feminism, historiography, Unconscious, Laura Mulvey, Claire Johnston,