Grandrieux, Philippe, Vivement le désordre

"À l'origine, l'analyse du mouvement. Chronophotographie. Cheval, oiseaux, hommes, femmes. Ça court, ça saute, ça vole et ça recommence. Et tout de suite l'usage pornographique, car le cinéma c'est l'industrie des corps. Nos arrières-grands-mères sucent et se font mettre dans les cuisines. Odeur de soupe et de foutre, c'est l'odeur du siècle des locomotives et de l'inconscient. Les hommes sont musclés et moustachus, ils posent pour nos grands peintres, bandent secs face à l'objectif. Assemblage des corps, mise en scène, litanie des séquences, de toute évidence, le scénario du cinéma est d'emblée sadien. Pendant ce temps, Degas brosse les corps, femmes au bain, dos courbés, fesses charnues dans l'ombre noire de l'encre grasse, corps venus sous la main, corps avachis des putains, cuisses ouvertes, ventre bedonnants, corps épuisés des maisons closes, des chambres obscures."

CAMINERO-SANTANGELO, Marta, The Madwoman Can't Speak

« Resisting the ever-widening reach of psychiatry a host of new "radical" theories of madness emerged in the 1960s. The antipsychiatry movement was characterized by the work of R.D Laing, who argued that madness was not the result of an inherited weakness (as the evolutionists had claimed) or of faulty or incomplete development (as Freud had suggested), but rather a "special strategy that a person invents in order to live in an unlivable situation". (Politics of Experience, 115) » (8)

CAMINERO-SANTANGELO, Marta, The Madwoman Can't Speak

«In order to use madness as a metaphor for the liberatory potentials of language, feminist critics must utterly unmoor it from its associations with mental illness as understood and constructed by discourses ans practices both medical and popular. But if the connotation carried by the notion of madness must be completely suppressed in order for such a metaphor to work - if the word must be emptied of its meanings and provided with a entirely set of significations (in fact, an impossibility) - then why use it at all? » (2)

CAMINERO-SANTANGELO, Marta, The Madwoman Can't Speak

«Women are resigning themselves to silence, and to nonspeech. The speech of the other will then swallow them up, will speak for them, and instead of them.» (Makward 100, cité p. 2)

BERGSTROM, Janet, Endless Night

«(The contemporary, theoretically aware version of interpretation) is not so much interpretation of meaning of films but rather the establishment of a "theoryfilmanalysis" in which psychoanalytic concepts (narcissism, paranoia, repression, whatever) are conjoined with a film in the interests of the interpretative elaboration of issues around (mainly) sexual difference. Psychoanalysis here become, as it were, a discourse-generator, making up with film a new genre, a new imaginary (within which, for instance, to construct "the female spectator")» (35)

BERGSTROM, Janet, Endless Night

«The analyst's compulsion, moreover, is the corollary to the particular cinema's own compulsion to visibility, a cinema itselfef haunted by the possibility of something more than its vision, its controlled continuity of screened reality ; analyst and film come across and miss one another on the common ground of their failure not to be seen by this "more" - the slippages, splinters, skewings, everything that bears the trace of what is not symbolized , not in view.» (34)

BERGSTROM, Janet, Endless Night

« Freud's psychoanalysis, that is, interrupts the vision of images, challenges the sufficiency of the representations they make, where cinema aims to sustain vision, to entertain -to blind in- the spectators with images. Franz Kafka at this same time talked of cinema putting a uniform on the eye, of its images taking over : "the speed of the movements and the precipitation of successive images... condemn you to a superficial vision of a continuous kind." » (31)

- Lien avec la citation de Kafka sur le cinématographe : "I can't stand it, perhaps because I am too visual." (voir source originale, p. 54)