Synopses & Reviews
"... a vitally new understanding that takes us from the terms of the representation of sexual difference to an anatomy of female subjectivity which will be widely influential." --Stephen Heath
"An original work likely to have significant impact on all those with an interest in the vibrant intersection of feminism, film theory, and psychoanalysis... " --Naomi Schor
"... powerfully argued study... impressive... " --Choice
"... important because of its innovative work on Hollywood's ideologically-charged construction of subjectivity.... what is exciting about The Acoustic Mirror is that it inspires one to reevaluate a number of now classical theoretical texts, and to see films with an eye to how authorship is constructed and subjectivity is generated." --Literature and Psychology
"As evocative as it is shrewdly systematic, the pioneering theory of female subjectivity formulated in the final three chapters will have wide impact as a major contribution to feminist theory." --SubStance
The Acoustic Mirror attempts to do for the sound-track what feminist film theory of the past decade has done for the image-track--to locate the points at which it is productive of sexual difference. The specific focus is the female voice understood not merely as spoken dialogue, narration, and commentary, but as a fantasmatic projection, and as a metaphor for authorship.
The Acoustic Mirror combines an extended reflection on sound and voice in cinema with a critical examination of the possibilities and impossibilities of current theoretical approaches as they listen, or not, to questions of sexual difference.
Table of Contents
 Lost Objects and Mistaken Subjects: A Prologue
 Body Talk
 The Fantasy of the Maternal Voice: Paranoia and Compensation
 The Fantasy of the Maternal Voice: Female Subjectivity and the Negative Oedipus Complex
 Disembodying the Female Voice: Irigaray, Experimental Feminist Cinema, and Femininity
 The Female Authorial Voice