Introduction
1 See Mulvey 1975 and 1989; Doane 1982, 1987, and 1988–1989; Doane and
Bergstrom 1990; Hansen 1986; Diawara 1988; Silverman 1988, 1992, 1996, and
2000; de Lauretis 1984; Mayne 1990, 1993, and 1994; hooks 1992; Stacey 1994;
and White 1999.
2 The vast literature on melodrama includes the essays collected in Gledhill 1990,
Cook 1978, Brooks 1985, Modleski 1982 and 1987; Heung 1987, Doane 1987, Kap-
lan 1992, Klinger 1994, Gledhill 2000, Kozloff 2000, and Williams 1988, 1990, and
1998.
1. Moral Spectatorship
1 For example, Anthony Elliot’s introduction to psychoanalytic theory (2002) de-
scribes Mitchell’s Psychoanalysis and Feminism (1975) as a study of Lacanian and
Freudian psychoanalysis “as a means of fusing discussions of gender power with
an Althusserian-Marxist account of capitalism” (143). He does not mention the
large sections of Mitchell’s book devoted to Laing and Reik.
2 Psychoanalyst and feminist psychologist Elizabeth Wilson makes the point that
there was an added problem, in that it seemed that the Lacanian approach could
be split off from clinical practice. Lacan could be treated as theory in a way that
would be harder to do with Klein, whose work was more empirical. Many of the
Lacanian feminists at this time were not or had not been in analysis or therapy
themselves yet, and paradoxically were rather indifferent to psychoanalytic or
psychotherapeutic practice (personal written communication).
N O T E S
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