VII. Pragmatic Reading
“I do not have to identify with everything
that interests me; nor need I be fascinated by everything with which I
identify” (Noel Carroll, film theorist)
Reading Alternatives
Despite the intuitive appeal of cine-psychoanalysis,
there is real difficulty ascribing symbolic meanings to intercultural readings
of entertainment texts. One problem involves a tendency to assign
a certain necessary reading of the text to the viewer by virtue of the
theory used to explain it – rather than independently demonstrating the
presence of such meaning within the structure of the text. Cine-psychoanalysis
involves exactly this type of circular logic, and it seems ironic that
feminist film theory in particular should draw so heavily on psychoanalysis
in attempting to explicate the patriarchal working of symbolism and identification.
These hypothetical notions also seem inherently essentialist, forcing patriarchal
(and heterosexist) assumptions regarding observation, identity, belief
and perceived value onto the presumed experiences of all film viewers.
Cultural studies approaches clearly affirm the
inevitability of widely contrasting – even contradictory – readings of
entertainment narratives, involving negotiation of the text’s meanings
by individual viewers in accordance with their unique personal and cultural
experience. This general theory of negotiated textual readings is
not constrained by specific, essentialist assumptions (whether of gender
or development). From this perspective four general questions may
be posed: whether viewers truly “identify” with film characters at
all, and – if they do – whether this is according to gender or character
function; how viewers from one culture might enthusiastically respond to
the popular entertainment texts of another culture; which textual and filmic
elements primarily determine favorable viewer response; and what broad
ideological significance may be associated with the resultant intercultural
text negotiations.